Christmas 2018

Peter Harrington london

mayfair • chelsea 147

christmas 2018

All items are fully described and photographed at peterharrington.co.uk 1 We are exhibiting at these fairs: Christmas 2018 opening hours:

3–4 November 2018 Dover Street chelsea Chelsea Old Town Hall Mon 26 Nov – Sat 22 Dec Kings Road, London Mon–Fri: 10am–7pm www.chelseabookfair.com Sat: 10am–6pm Sun: closed 16–18 November boston Sun 23 Dec – Tues 1 Jan 2019: closed Boston International Antiquarian Book Fair Hynes Convention Center Fulham Road Boston, MA bostonbookfair.com Mon 26 Nov – Sat 22 Dec Mon–Thur: 10am–7pm 30 November–2 December Fri & Sat: 10am–6pm hong kong Sun: closed China in Print Hong Kong Maritime Museum Sun 23 Dec – Wed 26 Dec: closed www.chinainprint.com Thurs 27 Dec – Sat 29 Dec: 10am–6pm Sun 30 Dec – Tues 1 Jan 2019: closed 8–10 February 2019 Wed 2 Jan 2019: Normal business california hours resume Pasadena Convention Center 300 E. Green St Pasadena, CA 91101 www.cabookfair.com

7–10 March new york Park Avenue Amory 643 Park Avenue, New York www.nyantiquarianbookfair.com

Front cover image adapted from Ronald Ferns’s cover illustration for Album VAT no. gb 701 5578 50

Victorianum (Guinness Christmas Book, 1951); image opposite by Antony Groves- Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, Raines from Prodigies and Prodigals (ibid., 1939), both in item 87. 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Design: Nigel Bents; Photography: Ruth Segarra. Registered in England and Wales No: 3609982 Peter Harrington london

catalogue 147

main catalogue 1–187, gift selection 188–280

All items from this catalogue are on display at Dover Street mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 www.peterharrington.co.uk usa 011 44 20 7591 0220 2 3

endpapers. In the marbled slipcase as issued. Original (1938–2000) was an actor and director best known watercolour by the artist to the first blank, title page in for his 1982 film Eating Raoul. brown and black, colour frontispiece, numerous illustrations to the text in colour and black and white, folding £2,250 [126039] 1 colour map tipped-in at rear. Calligraphic gift inscrip - tion to first blank. Spine slightly faded, contents clean 3 and fresh. A lovely copy. 1 AMBLER, Eric. Epitaph for a Spy. London: signed limited edition, with a fine initialled ADAMS, Richard. Watership Down. Illus- original watercolour by Lawrence. Number 185 of 250 Hodder & Stoughton Limited, 1938 trated by John Lawrence. Harmondsworth: Pen- specially bound and signed copies of the first illus- Octavo. Original blue cloth, title to spine and front cover guin Books & Kestrel Books, 1976 trated edition of Adams’s first novel, signed by both in black, blue endpapers. With the dust jacket. With the ownership inscription of Welsh opera singer Geraint Ev- Large octavo. Original dark green crushed morocco by the author and illustrator. This extremely popular Sangorski & Sutcliffe, title to spine gilt, gilt fleurons to animal story was initially turned down by all major first and fifth compartments, rabbit motifs to fourth and publishing houses. When finally issued by Rex Coll- sixth in gilt, rabbit vignette to front board in gilt, edges ings in 1972, sales exceeded 100,000 in the first year and turn-ins gilt, green and yellow headbands, marbled and Adams was awarded both the Carnegie Medal and the Guardian Award for children’s fiction. £4,500 [126620]

2 ALBEE, Edward. Who’s Afraid of Virginia Woolf ? New York: Atheneum, 1962 Octavo. Original black cloth, spine lettered in gilt, front cover lettered in blind, yellow endpapers, top edge red. With the dust jacket. A fine copy in the crisp jacket, spine slightly faded, panels a little toned. first edition, first printing, inscribed by the author on the half-title, “By Edward Al- 1 bee, this copy signed for Paul Bartel”. Paul Bartel 4

2 Christmas 2018: Peter Harrington 5 ans, dated 1971, to the front free endpaper. Spine gently Hodder and Stoughton warehouse. This is Am- utation with The Birds of America (1827–39), widely re- rolled, light fading to spine, slight rubbing to extremi- bler’s most famous work, a Haycraft–Queen Cor- garded as the finest illustrated book ever produced, ties, foxing and a little light scratching to top edge; a very nerstone in detective fiction. with record-breaking auction prices to match. In good copy in the jacket with nicks to extremities, tape the early 1840s, while the octavo edition of The Birds repair to verso, tiny closed chip to fold of spine and rear £6,750 [126598] panel, slight creasing to front panel. was still in the press, Audubon begun the present equally imposing project, seeking to paint every first edition, first impression, of the au- 5 North American quadruped species. The accompa- thor’s third novel. AUDUBON, John James, & John Bachman. nying text was produced by John Bachman (1790– £2,500 [127401] The Quadrupeds of North America. New York: 1874). The project exhausted Audubon, and after V. G. Audubon, 1852–54–54 1846 his deteriorating eyesight and mental state led 4 3 volumes, large octavo (261 × 176 mm). Early 20th- to his two sons completing the project. AMBLER, Eric. The Mask of Dimitrios. Lon- century blue half morocco by P. B. Stanford, spines The work first appeared in three folio volumes, lettered and blocked in gilt, blue cloth sides, marbled don: Hodder and Stoughton Limited, 1939 1845–8. In order to reach a wider audience, the endpapers, gilt edges. Illustrated with 155 hand-finished family then prepared this edition in octavo, which Octavo. Original red cloth, title to spine in grey. With the lithographic plates, with tissue-guards. Half-titles pre- was issued in 31 parts, and subsequently in bound dust jacket. Spine slightly rolled, foot of spine slightly fad- sent. Morocco discreetly refurbished with restoration to volumes, 1849–54. Audubon died in 1851 before ed, a little foxing to edges. A very good, tight copy in the former wear, some foxing, some tissue guards formerly bright jacket, spine just faintly toned and ends a little nib- detached and tipped in, some others absent or lightly he could see the octavo edition completed. His bled and creased, extremities rubbed, closed tears to rear chipped, a few short closed tears, p. 273 of vol. II with Quadrupeds of North America is widely regarded as panel and head of front panel with tape repair to verso, paper repaired with some loss to text, plates 65 and 66 “a breathtaking accomplishment . . . the most tips slightly chipped, front panel still presenting nicely. previously detached (subsequently creased and soiled), naturalistic depiction of American mammals ever first edition, first impression, of this noted repaired at head and laid down, small hole-punch to done” (Legacies of Genius 128). plates 86–9. A very good set. rarity. Most of the first edition stock was destroyed Bennett p. 5; Reese 36; Sabin 2368. Early octavo edition. The naturalist and painter during the Blitz when the Germans bombed the £5,500 [128407] John James Audubon (1785–1851) had made his rep-

All items are fully described and photographed at peterharrington.co.uk 3 6 7

6 7 AUSTEN, Jane. Pride and Prejudice. London: [AUSTEN, Jane.] Mansfield Park. By the Au- George Allen, 1894 thor of “Pride and Prejudice.” London: John Octavo (250 × 169 mm). Finely bound by Bayntun Murray, 1816 (Riviere) in recent full green morocco, tan morocco label 3 volumes, duodecimo (171 × 102 mm). Near-contem- to spine lettered gilt, floral decoration to spine gilt, gilt porary green patterned cloth, red morocco spine labels floriate border to front cover, panel with onlaid vignette lettered gilt. Housed in a custom brown cloth slipcase. of Elizabeth Bennet in green, red, and brown morocco, Booklabel of I. A. Wedgwood to pastedowns. Bound edges and turn-ins gilt, marbled endpapers. Frontis- without half-titles and terminal blanks. A little wear to piece with tissue guard, illustrations by Hugh Thomson. the tips and spine ends, short splits to a couple of joints, Dated binder’s note in pencil to verso of front free end- 8 cm split to rear joint of vol. I, light foxing and occa- 8 paper. Extremities a trifle rubbed, else a fine, wide-mar- sional creasing to contents, tiny chip to vol. I p. 243 mar- gined copy in a luxurious binding. ginally impinging lettering. A very good set. 8 first fully illustrated edition, one of 250 second edition of Austen’s third novel. The first [AUSTEN, Jane.] Northanger Abbey: and large paper copies issued in the UK and 25 cop- edition was published by Egerton in May 1814, in Persuasion. By the author of “Pride and ies done for the US, with the illustrations specially a run of 1,250 copies. In November 1814 Austen printed on china paper and laid down. This was wrote to a friend reporting that all copies of the Prejudice,” “Mansfield Park,” &c. With a bio- the first edition to feature illustrations accompa- first edition had been sold, and that the question graphical notice of the author. London: John nying the text, as Bentley’s 1833 edition and subse- of a second edition had therefore been raised. Murray, 1818 quent printings had featured only a frontispiece. However, Austen was dissatisfied with Egerton as 4 volumes, duodecimo (178 × 101 mm). Near-contem- Hugh Thomson’s “light touch and feeling for pe- a publisher, and decided to change publisher for porary speckled half calf, red morocco labels to spines riod manners provide a charming and accessible the second edition, sending a corrected copy of (“Northanger Abbey” on each), spines ruled and num- gloss to the author’s work” (ODNB). the work to John Murray in December 1815. The bered in gilt, marbled sides. Housed in a custom brown cloth slipcase. Bookplate of the Marquess Camden to Gilson E78. second edition contains a number of changes to each volume. Half-title in vol. 1 bound after preliminar- £7,500 [126650] the text, “most noticeably in the technical details ies as usual, bound without other half-titles and terminal – probably on advice from one of the sailor broth- blanks in vol. IV. Slight rubbing to extremities and sides, ers” (ibid.). small patch of wear to front cover of vol. IV, occasional Gilson A7. light foxing to contents but generally clean and bright, leaf P1 of vol. IV partly separated at foot in gutter. A very £3,750 [128557] attractive copy.

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bled sides. Engraved vignette titles and frontispieces by social, comic, or didactic” (Davoney Looser, The William Greatbach after Ferdinand Pickering. Bound Making of Jane Austen, 2017, p. 20). without half-titles, terminal blanks and advertisements. Gilson D1–5; Sadleir 3735a. Contemporary ownership signature to front free endpapers. Some faint foxing, faint staining to initial few £12,500 [127017] leaves of Emma. A very attractive set. first collected edition. In 1832–33 Richard 10 Bentley bought the copyright of Pride and Prejudice AUSTEN, Jane. Austen’s Novels . . . A Mem- from the executors of Thomas Egerton and of the remaining novels from Henry and Cassandra oir of Jane Austen by her nephew J. E. Austen Austen. Austen’s novels had not been reissued Leigh, sixth edition to which is added Lady since 1818 so these printings—published by the Susan and fragments of two other unfinished enterprising Bentley in his Standard Novels se- tales by Miss Austen. London: Richard Bentley & ries—constitute early editions: Sense and Sensibil- Son, 1886–92 9 ity, third edition (pre-dating the first American by 6 volumes, octavo (184 × 120 mm). Near-contemporary a few months); Pride and Prejudice, fourth edition; blue half morocco by Roger de Coverly, blue marbled first edition of Jane Austen’s final published Mansfield Park, third edition; Emma, second edition paper sides, spine lettered in gilt in compartments, gilt work, pairing probably the first full-length novel (omitting the unwilling dedication to the Prince tooled raised spines, blue marbled endpapers, all edges she wrote, with her last completed novel. Her Regent included in the first edition); Northanger gilt. Engraved frontispieces with scenes from the novels brother Henry’s biographical notice, dated 13 De- Abbey/Persuasion, second edition. by Greatbatch after Pickering, engraved portrait fron- cember 1817, is the first acknowledgement in print tispiece of Jane Austen in the Memoir. Spines uniformly These are also the first English editions to be illus- of Jane Austen as the author of her six novels. lightly faded, a touch of shelfwear, faint offsetting from trated. The very first Austen illustration appeared frontispieces, occasional light foxing to endmatter. A Gilson A9; Keynes 9. in a French translation of Persuasion (entitled La very good, clean and fresh set in a handsome binding. £15,000 [127318] Famille Elliot) with a frontispiece by Delvaux after A very handsomely bound set of Austen’s novels, Chasselat (Paris: A. Bertrand, 1821). The Bentley apparently a reprint of the six-volume Steventon 9 illustrations, by the obscure Ferdinand Pickering, edition of 1882, the last complete edition of Aus- played an integral part in the reception of Austen’s AUSTEN, Jane. Sense and Sensibility; Pride ten’s works to be published by Bentley, and rather novels; according to one Austen scholar, they scarce: both Keynes and Gilson make note of this and Prejudice; Emma; Mansfield Park; Nort- “promoted a sense that her novels were best un- reprint but report having “not seen this”. hanger Abbey and Persuasion. London: Richard derstood as familial, female focused, and sensa- Gilson D13; Keynes 32. Bentley, 1833 tional. For decades, these illustrations would have 5 volumes, octavo (161 × 103 mm). Recent blue half calf, served to steer readers away from the conclusion £3,000 [127521] red morocco labels with gilt ornaments to spines, mar- that Austen’s fiction ought to be understood as

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11 (BACON, Francis.) SYLVESTER, David. In- terviews with Francis Bacon. London: Thames and Hudson, 1975 Quarto. Original illustrated wrappers, titles to front cover and spine in green and white. With 94 illustrations. Minor rubbing to extremities, negligible creasing to covers; a very good, bright copy. first edition, first impression, inscribed by the artist on the front free endpaper, “For Bruce, with all my best wishes Francis Bacon.” It is possible that the recipient was the Bacon’s friend, photo editor Bruce Bernard (1928–2000). It was subsequently re-presented, and has a gift inscription in a second hand below Bacon’s, “and for Adam with mine, Smee 10/3/82”. This work collects and illustrates a series of interviews with Ba- con from 1962 to 1974. £2,500 [127445]

12 (BALLETS RUSSES.) Comœdia illustré: Jour- nal parisien, théâtral, artistique et littéraire. Paris: Lafitte, 1908–21 10 volumes, quarto. Original publisher’s decorated cloth, but for 2 in contemporary brown quarter skiver and 1 in brown quarter cloth. Profusely illustrated in colour and black and white, all wrappers bound in. The first few vol- 12

6 Christmas 2018: Peter Harrington 12 umes with a little damping externally, skiver-bound volumes a little rubbed and with a few scrapes but contents throughout excellent, a very well preserved run. Excellent complete run of this unassailable survey of French cultural life in the early years of the 20th century. Notably, the bi-monthly journal of- 13 13 fers an incomparable record of the rise of the Bal- lets Russes, with numerous illustrations of Bakst, runs of this superbly produced periodical, offer- history; with his illustrated bookplate to the front Larionov, and Lepape watercolour designs for ing an unparalleled panorama of the belle époque, pastedown. costumes and sets. The special issues dedicated are extremely uncommon. Additionally tipped-in to the front free endpaper to their productions are far superior, and far less verso is a photo postcard of Barrie’s birthplace at common, than the official programmes. £12,250 [126311] Kirriemuir and a playbill for a 1910 run of Peter Pan Publication was suspended during the Great 13 at the Willis Wood Theater in Kansas City, with War and restarted in 1919 with a fanfare. The Maude Adams in the title role. Maude Adams magazine now included sections on cinema and BARRIE, J. M. The Little White Bird. Or Ad- (1872–1953) was the most successful and highest- circus, and jazz began to appear on its pages, ventures in Kensington Gardens. New York: paid performer of her day, and achieved her great- continuing the magazine’s long-standing com- Charles Scribner’s Sons, 1902 est success as Peter Pan, first playing the role in mitment to the avant-garde (they had published Octavo. Original green cloth, titles and pictorial deco- the 1905 Broadway production. one of the earliest pieces on Satie in 1911), all ration to spine and front cover in gilt, top edge gilt. This is the first appearance in print of Peter Pan, the while maintaining remarkable standards of Title page printed in red and black. Illustrated map of in which Peter appears as a seven-day-old infant musical and theatrical analysis, with regular con- Kensington Gardens. Paper residue to foot of front past- in this book-within-a-book story-collection for tributors such as Ravel and Sacha Guitry. In 1921 edown. Spine ever so slightly rolled, slight rubbing to adults. Barrie was increasingly turning away from Comœdia illustré merged with Le Théâtre. Sustained spine ends and tips, a little bleed-through from Barrie’s signature to first blank verso, offsetting from playbill to prose to concentrate on drama at this time, and rear free endpaper; a very good, bright, copy. two years later his stage play Peter Pan opened on first u.s. edition, first printing, in- 27 December 1904, breaking all previous theatrical scribed by the author on the first blank, records. In 1906 Barrie sanctioned the publication “Yours sincerely, J. M. Barrie”, together with a let- of the children’s gift book, Peter Pan in Kensington ter tipped-in to the front free endpaper. The letter Gardens, with the text extracted from The Little White agreeing to sign the book, dated 21 April 1927, is Bird and illustrated by Arthur Rackham. The play signed “C. Greene (For Sir James Barrie)”, that is, text was not published until 1928, the year after by Barrie’s personal secretary, Lady Cynthia As- this inscription. quith, daughter-in-law of the former prime min- £5,000 [128683] ister. The inscription was solicited by William D. Vincent (1866–1935), book collector, president of Old National Bank of Spokane, Washington, and 12 amateur historian interested in Pacific Northwest

All items are fully described and photographed at peterharrington.co.uk 7 14 15 16

14 pers, with the purchaser given the choice of send- preciated Henley’s expertise as an orientalist and (BEARDSLEY, Aubrey.) MALORY, Sir Thom- ing it back to Dent, who bound them in vellum or retained his notes in later editions. in this cream cloth case-binding with gilt blocking Vathek remains a classic of British Gothic fiction, as. The Birth, Life, and Acts of King Arthur, designed by Beardsley, or to a binder of their own. of his Noble Knights of the Round Table. alongside Walpole’s The Castle of Otranto, Ann Rad- cliffe’s Mysteries of Udolpho, and M. G. Lewis’s The Westminster: J. M. Dent, 1893–4 £2,250 [128816] Monk. It was Byron’s favourite book. He described 2 volumes, quarto. Original cream cloth, spines lettered himself as “a strenuous and public admirer” of it, in gilt, spines and front covers stamped in gilt with floral 15 and it was an evident influence on his “Turkish patterns designed by Beardsley, publisher’s device to rear [BECKFORD, William.] [Vathek.] An Ara- covers in gilt, cloth page markers, top edges gilt. With Tales”, The Giaour, The Bride of Abydos, The Corsair, photogravure frontispieces on India paper, 18 full-page bian Tale, from an unpublished manuscript: Lara, The Siege of Corinth, and Parisina, poems that wood engravings with tissue guards (5 double-page), nu- with Notes Critical and Explanatory. London: consolidated Byron’s fame after the publication of merous text illustrations and approximately 350 designs for J. Johnson, 1786 the first two cantos of Childe Harold in March 1812. for chapter headings and borders (foliate and histori- Octavo (197 × 117 mm). Early 19th-century red straight- His dramatic poem, Manfred, is thoroughly influ- ated) all by Aubrey Beardsley. Bookseller’s ticket to head grain morocco, smooth spine divided into compartments enced by it and that indebtedness extends into his of front pastedowns. Minor abrasion from removal of by single gilt rules either side of a dotted rule, lettered in unfinished masterpiece, Don Juan. bookplate to front pastedowns. Spines gently rolled and gilt and placed and dated at foot, sides with a thicker gilt very faintly toned, slight wear to tips of bottom edges, rule all round and circlets at corners, single gilt rule to £2,750 [128808] light offsetting to endpapers; a very good, bright set. board edges, gilt roll to turn-ins, Gloster pattern marbled first edition, one of 1,500 ordinary paper copies, endpapers, gilt edges. Discreet book label of Sir Robert 16 and Diana Abdy. Extremities a little rubbed, an excellent of a total edition of 1,800 copies. In 1892, seeking (BIBLE; English, Authorized.) The Holy to emulate the books of the Kelmscott Press, John copy, the binding unsigned but noticeably quality work. Bible; [bound after:] The Book of Common M. Dent commissioned the 20-year-old Beardsley first edition. Beckford’s oriental novel, Vathek, to produce this edition, work that took the young was written in French between January and May Prayer And Administration of the Sacra- artist 18 months to complete. “In Le Morte d’ Arthur 1782. This English translation by the literary schol- ments: And other Rites and Ceremonies of Beardsley learnt his job, but the result is no bun- ar Samuel Henley was published first in June 1786, the Church of England; [both bound before:] gling student’s work . . . If he had never illustrated despite Beckford’s express wish that the French The whole book of Psalmes: collected into another book, this edition of Morte d’ Arthur could edition should precede it. The latter was published English meeter by Thomas Sternhold, John stand as a monument of decorative book illustra- in Lausanne in December 1786 (postdated 1787), Hopkins and others. London: Henry Hills and tion” (John Lewis, The Twentieth Century Book, pp. with signs of hasty reconstruction from an earlier 148–9). The book was issued in 12 parts in wrap- draft. Though angered by the piracy, Beckford ap-

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John Field; [publisher not stated]; Printed for the Companie of Stationers, 1660; 1660; 1661 3 works bound in 1 volume, octavo (166 × 109 mm). 19th- century black morocco, spine lettered in gilt and richly gilt to compartments, covers panelled with gilt rules, 17 gilt edges, marbled endpapers. Additional engraved title page for Bible; all ruled in red. Contemporary female ownership signature to BCP title, 19th- and 20th-century 17 animal he ever collected immortal by giving it to the bookplate to pastedown and front free endpaper, pen- (BIG GAME HUNTING.) STOCK, Alphons museum. In his later years, he preferred to capture the animals he hunted in photographs and he was cilled transcript of section of hymn to front free endpa- (ed.) North American Big Game Hunters. per. Very minor wear to head of spine, light abrasion to a popular Goodwyn Institute lecturer, using his pic- rear cover, front joint beginning to split at foot though London & Munich: International Sport, 1963–4 tures as illustrations” (memphisflyer.com). With still firm, closely cropped at times occasionally imping- Folio (400 × 258 mm). Original red morocco, gilt panelled two certificates laid-in (“Ambassador of Cotton” ing on text, a couple of instances of very minor foxing, spine lettered direct, large gilt stag’s head block to front presented by the City of Memphis and “Personali- a few trivial short closed tears and tiny chips. The Bible board, single-line gilt panel to sides and turn-ins, gilt edg- ties of the South”, both dated 1971). has minor chipping without loss to engraved title, top es, marbled endpapers. With the original chamois cloth corner of Ii2 almost detached affecting three words, re- drawstring bag. Tissue-guarded blue-tinted photogravure This is a most impressive Who’s Who of North paired chip to first leaf of Apocrypha with slight loss and portrait frontispiece and 75 similar plates; letterpress in American big game hunters in 1963, printed in 3 cm closed tear at foot of E6. A very good copy. parallel German and English texts. A little rubbed, slight Germany by Muenchner Buchgewerbehaus, the An attractively bound copy of the Bible, Book of surface cracking at front joint, but overall very good. engravings by Kunstverlag Houbard & Co. The in- Common Prayer and Psalms, all dating from the first and limited edition, number 5 of 250 troduction is by Prince Abdul Reza Pahlavi of Iran, time of the Restoration. It is increasingly difficult to copies; this the copy of Berry B. Brooks (1902–1976), an enthusiastic hunter and wildlife conservator. Big find copies from this period complete and in good one of the three dedicatees, with his portrait as the game hunting notables include Toddie Wynne Jr., condition. The Bible is one of two issues of that year, frontispiece. “Brooks was the first American to be Roy Weatherby, Charley Vorm, Monte Van Norden, distinguished by the presence of the Apocrypha, accepted into the International Hunting Hall of Charles H. Stoll, Dr Elmer Rustin, Warren K. Page, here bound between the Old and New Testaments. Fame, and his animal trophies in the Berry B. Brooks Dr Walter Brandon Macomber, E. Roland Harri- ESTC R16969 (Bible); R210225 (BCP), R176199 (Psalms). African Hall at the Memphis Pink Palace Museum man, Eugene Du Pont III, John H. Batten, Russell were the favourite attractions for thousands of Aitken, and many others. No copies on OCLC. £2,000 [128840] Memphians and Mid-Southerners for many years. £2,250 [127618] He remarked about the sadness he sometimes felt in collecting animals but said he tried to make every

All items are fully described and photographed at peterharrington.co.uk 9 18 20

18 presentation copies of two original man- BLOCH, Robert. Psycho. New York: Simon and uscripts, both inscribed by the author to his old friend Douglas Menville, the science fiction and Schuster, 1959 fantasy writer. Octavo. Original cream cloth-backed back boards, ti- “So Run the Sands Back Up the Glass” is a correct- tle to spine in red. With the dust jacket. A little foxing 19 to endpapers, contents toned, as invariably happens. ed typescript dated 1961, and apparently unpub- A near-fine copy in the exceptionally bright and sharp the author on the limitation page. This richly il- lished, inscribed by the author on the recto, “For jacket, spine panel free from the rubbing to which it is so lustrated work documents the three years MacCor- Doug, with my friendliest wishes – this original prone, tiny closed tear to foot of front panel, some faint mack spent writing, recording, performing, living copy of a poem written this day – R.B.” Bradbury foxing, head of rear panel a touch creased and nicked. and travelling with David Bowie. The book presents has titled the 54 line poem, as well as extensively first edition, first printing, signed by approximately 200 photographs and items of mem- annotating and revising the text, in green ink, the author on the half-title, and rare with the orabilia including tour programmes, tickets and with an additional three corrections in pencil. He jacket in such nice condition. The work was the letters, from the author’s personal archives, nearly makes a number of changes, including rewriting basis for Hitchcock’s seminal film of the same ti- all of which are published here for the first time. four lines and inserting another. tle, released a year after the book was published. £2,750 [126492] “The East is Up!” is the holographic first draft of £2,750 [126639] the 48 line poem, inscribed by the author a year after publication on the recto: “For Doug Menville 20 19 at Easter—1980, this first draft of ‘The East is Up!’ BRADBURY, Ray. Two manuscript poems. With good wishes from Ray Bradbury”. Accompa- BOWIE, David, & Geoff MacCormack. From [Los Angeles: 1961 & 1980] nying it is an autograph note from Bradbury on his Station to Station. Travels with Bowie, 1973– Together 2 poems and a manuscript note. “So Run the headed paper: “To Doug—thanks for the Coblentz 1976. Guildford: Genesis Publications Limited, 2007 Sands Back Up the Glass”: corrected typescript, single Book! Handsome!—Enclosed, a small return—See Folio. Original red imitation morocco-backed, padded sheet (279 × 216 mm), with manuscript corrections in blue you!—Best—Ray B.”. “The East is Up!” was first buckram sides, titles in gilt to spine and in brown to silk la- ink on both sides, initialled and dated July 6, 1961; “The published in 1979 in Beyond 1984: A Remembrance of bel to front cover, illustrated endpapers, edges gilt. Housed East is Up!”: manuscript in black ink, single sheet (277 Things Future. The Coblentz reference in the inscrip- in the publisher’s magnetic slipcase. Richly illustrated × 214 mm) signed and dated 1980; manuscript note on tion is likely to fellow science fiction author Stanton throughout with numerous photographic reproductions. headed paper (Cheviot Drive, Los Angeles): single sheet Coblentz (1896–1982), whose work appeared along- (157 × 152 mm), together with the original envelope (Ma- signed limited edition, number 1,707 of 2,000 rina del Rey) with franked stamps, dated 28 March 1980. side Bradbury’s in Weird Tales magazine. copies signed by Bowie on the front pastedown and Very minor toning to edges of leaves; near-fine condition.

10 Christmas 2018: Peter Harrington rer, Ellis, and Acton were one person, and marketed their novels as such, until Charlotte and Anne travelled to London specifically to disabuse him of this notion. In the meantime, Harper & Brothers struck up a deal with Smith, Elder & Company to receive advance sheets of further “Bell” publications and thus became the principal American publishers of the Brontë novels in the 19th century, also publishing the first US editions of Charlotte’s Shirley, Vil- 114151 lette, and The Professor. £8,500 [114151]

22 BRONTË, Charlotte, Emily & Anne. The Novels. Edinburgh: John Grant, 1911 12 volumes, octavo. Finely bound for The Times Book 20 21 Club in half vellum, green morocco title labels and floral gilt design to spines, green cloth boards, marbled Douglas Menville (b. 1935) was editor of Forgotten tile and uncomprehending reviews. Despite this, endpapers, top edges gilt. Illustrated throughout from Fantasy magazine and a science fiction antholo- Harper & Brothers, who had had a number of re- photographs of places associated with the Brontës. An gist. He and Bradbury appear to have met in the cent successes selling the works of British authors excellent set. 1950s when Menville worked for the Famous Art- in America, including the first US edition of Jane The Thornton Edition. A particularly handsome ist Agency, Bradbury’s first media representatives. Eyre, remained keen to publish. The first US edition set of the Brontë novels, illustrated with photo- Bradbury provided the introduction to Menville’s of Wuthering Heights appeared on 21 April 1848 in graphs of places associated with the sisters, unu- Illustrated History of the Science Fiction Film (1977). both a wrapper and cloth issue. The misattribution sual in a vellum binding. Manuscript material from Bradbury is uncommon, on the title page, “By the author of ‘Jane Eyre’”, was £3,750 [127640] with just six other examples appearing at auction. the result of sustained confusion between the UK and US publishers about the Brontë sisters’s noms de £2,750 [127474] plume; Newby in particular firmly believed that Cur-

21 [BRONTË, Emily.] Wuthering Heights. A Novel. By the author of “Jane Eyre.” New York: Harper & Brothers, Publishers, 1848 Octavo (185 × 125 mm). Recently rebound in black half calf, preserving contemporary marbled paper boards, red morocco spine label. Contemporary ownership inscription to two blanks. Minor worming to top corner of front free endpaper, some loss to top edges of five leaves not affecting text, else a very good copy. first u.s. edition, the second overall. The first edition, published by Thomas Cautley Newby in London, was rushed into the shops on 4 Decem- ber 1847 to capitalise on the unexpected success of Jane Eyre, which had been published by Newby’s rivals, Smith, Elder & Company, earlier the same year. Wuthering Heights, however, attracted only hos- 22

All items are fully described and photographed at peterharrington.co.uk 11 23

23 BROOKE, Rupert. 1914 and Other Poems. London: Sidgwick & Jackson Limited, 1915 Octavo. Original blue cloth, printed paper label to head 24 of spine, spare title label tipped-in at rear, as issued, top edge trimmed, others untrimmed. With the dust jacket. Quarto. Original blue untrimmed wrappers with title and first edition, first printing. A similar cata- Portrait frontispiece with tissue guard. A fine copy, virtu- illustration in black to front cover. Housed in a black quar- logue had been produced the same year for the ally unread, in the exceptionally sharp jacket, spine pan- ter morocco solander box with chemise by the Chelsea el just faintly toned, panels a little finger-marked, but exhibition by the Brücke artists at the Fritz Gurlitt Bindery. 12 original woodcuts printed on hand made light Kunstsalon in Berlin. After that exhibition Max Pe- still very fresh, and a couple of tiny nicks to extremities. pink paper; 3 by Heckel, 4 by Kirchner including the front chstein was expelled from the group and his two first edition, first impression, rare in such cover printed on overlaid pink paper, 2 by Mueller, 3 by lovely condition. This posthumous collection of Schmidt-Rottluff and 5 reproductive plates after paintings works in the earlier catalogue are here replaced Brooke’s poetry is one of 1,000 copies issued. The printed on machine-made pink wove paper. Light wear to with two by Kirchner and one by Mueller. This is poems collected here include Brooke’s often recited spine, small chip to top edge of title page otherwise a very the seventh publication by the group. presentable copy of this scarce catalogue. “The Soldier”, and were previously published in a Bolliger & Kornfeld 41. Heckel; Dube 226–228. Kirch- number of literary journals, as well as the New States- ner; Dube 727–730. Mueller; Karsch 4. Schmidt-Rottluff; Schapire 76, 97–98. man, Pall Mall Magazine, and Basileon. This work is notably uncommon in the dust jacket with just nine £24,000 [126243] such copies traced at auction in the last 50 years. £3,500 [127549] 25 BUCHAN, John. Mr. Standfast. London: Hod- 24 der and Stoughton, 1919 (DIE BRÜCKE: Cuno Amiet, Erich Heckel, E. Octavo. Original blue cloth, spine and front cover let- L. Kirchner, Otto Mueller; Karl Schmidt-Rott- tered in black. With the dust jacket. Ownership stamps to front free endpaper and half-title. Faint marks to luff.)Ausstellung der Künstlergruppe Brücke in cloth, light foxing to edges and endpapers, else a very Galerie Commeter Hamburg Hermannstrasse. good copy in the dust jacket, lightly soiled, minor chip- Berlin-Steglitz: Künstlergruppe Brücke, 1912 ping and a couple of short closed tears at extremities. 24

12 Christmas 2018: Peter Harrington 25 27 28 first edition, first impression. The third of Bu- provenance: The copy of Major Edward Kelly of Review (1958) and Big Table (1959). Consequently, it chan’s Hannay novels, highly scarce in the dust jacket. the 1st Life Guards, with his ownership signature was first published in book form in Paris and not Hillier A46. dated 1812 to pastedown. Kelly fought at Waterloo; issued in America until 1962. the Household Calvary Museum in London holds £3,000 [127818] Maynard and Miles A2a. both the sword with which he killed Colonel Habert £4,250 [126637] of the 4th Cuirassiers (winning him a knighthood of 26 the Order of St Anne, as well as the personal com- BURNS, Robert. Poems, Chiefly in the Scot- mendation of the Russian tsar), and the tail of his 28 tish Dialect. Edinburgh: printed for the Author, favourite bay mare, which carried him to safety de- BURTON, Richard F. The Book of the and sold by William Creech, 1787 spite a fatal lance injury to the head. Sword. London: Chatto and Windus, 1884 Octavo (211 × 128 mm). Contemporary tree calf, red Egerer 2; ESTC T125274; Lamont 2; Rothschild 556. Large octavo. Original grey cloth, spine lettered and morocco label to spine. Engraved frontispiece portrait. £2,250 [128454] decorated in brown and gilt, front cover decorated in With half-title. Hinges cracked but holding, light wear brown with crossed-sword motif and arabesques, edges to extremities, a few instances of faint finger-soiling and untrimmed, black coated endpapers. With numerous foxing, else a very good copy. 27 illustrations throughout the text. Bookseller’s ticket partially removed from front pastedown. Spine gently first edinburgh edition, the second overall. BURROUGHS, William. The Naked Lunch. rolled, lightly toned, rubbing to extremities, minor wear Preceded only by the rare Kilmarnock edition of Paris: The Olympia Press, 1959 to very tips, small mark to front cover, a couple of bumps 1786, this second edition was published in an edi- Octavo. Original green wrappers, title to spine and cov- to rear cover; a very good copy. tion of approximately 3,250 copies on 17 April 1787. ers. With the Brion Gysin designed dust jacket. Spine first edition. As early as 1923 Penzer considered Two printers were used, resulting in variations in a touch rubbed, a little ghosting to wrappers from the this book “very scarce”, and it is today surprisingly some sheets of the edition. This copy has the first jacket design, small inked mark to front free endpaper. uncommon in the original cloth. Burtonintended state points: the misprint “Duke of Boxburgh” for A sharp, near-fine copy in the bright jacket, spine and edges just slightly toned, tiny closed tear to head of spine thus to be the first part of a three-volume work on “Roxburgh” in the list of subscribers on page xxxvii, with tape repair to verso. the sword, but he suffered a heart attack shortly and the correct printing of the Scots word “skink- after publication. Parts II and III were incomplete ing” (meaning watery) on page 263, later misprinted first edition, first printing, signed by upon his death in 1890 and never published. as “stinking”. This edition includes 22 new pieces, the author on the title page, with the overprice including “To a Haggis”, and the first appearance in stamp of 18 francs on the rear cover, which May- Casada 27; Penzer, pp. 107–8. print of “Death and Doctor Hornbook”, which had nard and Miles note appears on some copies. Na- £1,875 [127520] been omitted from the Kilmarnock edition. ked Lunch was censored in America when extracts were printed in the literary journals the Chicago

All items are fully described and photographed at peterharrington.co.uk 13 29 30 31

29 pieces, edges gilt, marbled endpapers. With the original Mountains resulted in his “Indian Gallery,” an cloth bound in at rear. Illustrated frontispiece with tissue CAPOTE, Truman. Breakfast at Tiffany’s. enormous collection of artefacts as well as more guard, illustrations in the text. Occasional very faint spot than four hundred paintings, including portraits New York: Random House, 1958 of foxing to contents, else a fine copy, attractively bound. and scenes of tribal life. The resultant book, first Octavo. Finely bound by the Chelsea Bindery in pink first edition. As with the first edition of Alice’s published with uncoloured plates in 1841, is “one morocco, black morocco title label, title to spine silver, Adventures in Wonderland, Through the Looking-Glass of the most original, authentic and popular works black leather onlay silhouette of Audrey Hepburn as Holly was published for the Christmas market but bears Golightly with real diamond jewellery, black plain endpa- on the subject” (Sabin). “The history and the cus- the following year’s date in its imprint. It was actu- pers, twin rule to turn-ins silver, all edges silver. Housed toms of such a people,” Catlin wrote, “preserved in a custom black velvet drawstring bag. A fine copy. ally published in December 1871, in an edition of by pictorial illustrations, are themes worthy of the 9,000 copies. first edition, first printing, of Capote’s lifetime of one man, and nothing short of the loss classic novella, the basis for the much-loved film. Williams–Madan–Green–Crutch 84. of my life, shall prevent me from becoming their Gorgeously hand-bound by the Chelsea Bindery £3,000 [126684] historian” (Hassrick). in deep rose-pink and black morocco leather, the Hassrick, 15; Sabin 11536. front cover features a silhouetted Audrey Hepburn 31 £1,875 [120061] in that iconic Givenchy little black dress and foot CATLIN, George. North American Indians. long cigarette holder. Diamond embellishments 32 on the jewellery make this luxurious and unusual Edinburgh: John Grant, 1926 binding sparkle. 2 volumes, large octavo. Original pictorial red cloth, ti- CHAMBERS, Ephraim. Cyclopaedia: or, an tles gilt to spine and front cover, with pictorial decora- universal dictionary of arts and sciences . . . £2,750 [114333] tion in gilt and black, top edge gilt, others uncut. Over The second edition, corrected and amended; 300 colour illustrations on 180 plates, including 3 maps, with some additions. London: printed for D. 30 one coloured and folding. Near-contemporary ink inscription to front of volume 1. Light rubbing to extremi- Midwinter, J. Senex, R. Gosling, W. Innys and R. CARROLL, Lewis. Through the Looking- ties and a few very small closed tears to cloth at spine Manby, R. Robinson [& 12 others in London], 1738 Glass, and What Alice Found There. London: ends, otherwise a clean, attractive copy. 2 volumes, folio (405 × 262 mm). Recent calf to style, red Macmillan and Co., 1872 A young lawyer turned portraitist, Catlin set out and green morocco labels, spines gilt to compartments. Octavo (178 × 119 mm). Bound by Bayntun (Riviere) for in 1830 from his home in Pennsylvania to record Double-page engraved frontispiece, 20 engraved plates, Sotheran in recent red morocco, title and compartments on canvas the indigenous tribes of North America of which 10 are folding, double-page Caslon printer’s gilt to spine, Red Queen design to front cover in gilt, gilt and their way of life. His eight years among the specimen, title pages in red and black. Faint rubbing around joints, second title page a little worn at extremi- rules to covers, edges, and turn-ins, with floral corner- major tribes of the Great Plains and the Rocky ties and laid down, occasional offsetting, Caslon type

14 Christmas 2018: Peter Harrington 32 33 specimen page with tear along fold, a few sporadic in- Alston III, 537; Circle of Knowledge 16; Ebert 3979; ESTC covered in vellum that has been shaved to trans- stances of short closed tears, chips and faint stains, but N47605; Printing and the Mind of Man 171 (1st ed.). parency, then tooled in gilt. This is different to the generally clean and bright. A very good copy. £3,500 [128696] method of Edwards of Halifax, who painted in re- Alston’s third edition, though stated second edi- verse directly on the underside of translucent vel- tion and generally accepted as such, of the first 33 lum. Chivers had patented his vellucent method in true general encyclopaedia, first published in 1898, and used it to create some of the most beau- 1728. Partly adapting the work of Louis Moreri (CHIVERS BINDING.) IRVING, Washing- tiful books of the turn of the century. His style in- and Pierre Bayle, Chambers included more of the ton. The Keeping of Christmas at Brace- fluenced, and became closely associated with, the humanities and introduced cross-references, an bridge Hall. London: J. M. Dent & Co.; E. P. Dut- arts and crafts movement. innovation which proved indispensable to every ton & Co., New York, 1906 The book itself is the first edition of Irving with il- subsequent lexicographer. Dean Stanley later de- Octavo (192 × 118 mm). Contemporary vellum binding lustrations by Charles Brock, and the first edition scribed Chambers as “the Father of Cyclopaedias” by Cedric Chivers of Bath with his stamp to rear cover of the text in this format, amalgamating sections of (Boswell, Life, 1.219). The work’s value was im- interior, spine and front cover lettered by hand, spine Irving’s Sketch Book (1819) and Bracebridge Hall (1822). mediately recognized, and Chambers was elected and front cover with hand-painted mistletoe and wreath F.R.S in 1729. “Although the Cyclopaedia is now but design incorporating mother of pearl inlays and gilt £3,000 [128451] a landmark in the history of encyclopaedia pub- tooling, hand-painted vignette in centre of front cover, lishing, its impact and influence upon later gen- gilt and blue ruled turn-ins, top edge gilt. Housed in the binder’s original blue cloth slipcase. Colour frontispiece, erations was incalculable. It directly influenced vignette title, and 22 plates by C. E. Brock. Very light sun- the famous French Encyclopédie of Diderot, and the ning to spine, slight foxing to verso of some illustrations, New Encyclopaedia compiled by Abraham Rees and a few marks to box, else a near-fine copy. published between 1802 and 1820” (Walsh, cited An exquisitely bound copy, and a fine example of by Alston). Cedric Chivers’s vellucent style, where the backing sheet of the binding is hand-painted before being

All items are fully described and photographed at peterharrington.co.uk 15 34

34 (CHIVERS BINDING.) RACKHAM, Arthur. The Ingoldsby Legends. Or Mirth and Mar- vels. London: J. M. Dent and Company, 1907 Large octavo (252 × 200 mm). Contemporary art nouveau- style vellucent binding by Cedric Chivers of Bath in green morocco, spine and front cover lettered and tooled in gilt, hand-painted vellum vignette of Franciscan monk and crow to front cover, turn-ins ruled in gilt, green marbled endpapers, top edge gilt. Colour frontispiece and 23 colour plates tipped-in on dark green paper, 12 tinted plates on plain paper, illustrations in the text. Spine and edges of covers faded to brown, rubbing to joints, 50 mm tear to pp. 477/8, some pages unopened. An excellent copy. first revised edition, first impression, of Rackham’s illustrated edition of The Ingoldsby Leg- ends, containing drawings not found in earlier editions. Rackham’s illustrated edition was originally published in 1898 but Rackham chose to expand the work and redraw the illustrations, including a 35 greater number in colour. Latimore & Haskell p. 11; Riall p. 26. Octavo (180 × 120 mm). Contemporary full vellum binding ship inscription to front free endpaper verso. A tiny bit of over light green paper covered boards by Cedric Chivers of creasing to spine ends, a couple of spots of faint soiling £1,800 [123254] Bath, titles lettered in gilt to spine, covers and spine deco- to vellum, negligible shallow scratches to covers and book rated with a design based on art nouveau style pen-and- block edges; a very good, unusually fresh copy, with the 35 ink and watercolour drawings by Dorothy Carlton Smyth, colour remaining bright. featuring Arthur and Guinevere, details tooled in gilt, de- A spectacular example of Cedric Chivers’s vellucent (CHIVERS BINDING.) TENNYSON, Alfred, signs within double rule gilt frames, edges of covers and binding style, with his blindstamp to the head of Lord. The Works. London: Macmillan and Co., turn-ins tooled in gilt, all edges gilt, green marbled end- the rear blank. The Arthurian design for this bind- Limited, 1898 papers. Engraved portrait frontispiece by George Stodart, from a photograph by J. Mayall, with tissue guard. Owner- ing was by Dorothy Carlton Smyth, the most pro-

16 Christmas 2018: Peter Harrington 36 37 38 lific of the women employed by Chivers, and was good condition are highly uncommon. The work 38 described in the contemporary Chivers catalogue was first published in the US in 1920. CHURCHILL, Winston S. The People’s as “strikingly original in treatment”. Smyth studied £7,500 [128803] at the Glasgow School of Art and in 1901 her stained Rights. London: Hodder & Stoughton, [1909?] glass design of Tristan and Iseult was exhibited to Octavo. Original red cloth, spine and front cover lettered wide acclaim at the International Exhibition. Other 37 in gilt, top edge gilt. No dust jacket, as with every known copy. Housed in a custom red cloth solander box, red examples of this design are known, each on copies CHRISTIE, Agatha. Towards Zero. London: for morocco label to spine lettered in gilt. Spine a little fad- of Tennyson’s works. Of the few that we have seen, the Crime Club by Collins, 1944 ed, tiny bumping to extremities, covers lightly bowed, however, this example has much better retained its Octavo. Original orange cloth, spine lettered in black. hinges just beginning to split, pages a little toned as fugitive light green hue. With the dust jacket. Map frontispiece. Spine sunned usual, light creasing to fore edge of last few leaves with a Tidcombe, p. 38 & pp. 86–7. and cloth lightly marked, covers slightly bowed, rear few tiny chips, but overall a near-fine copy. hinge split at head, else a good copy in the dust jacket, £8,750 [128946] first edition, first issue. The edition was is- lightly chipped at extremities marginally affecting letter- sued in both cloth and paper wrappers, with Cohen ing on spine, splits at foot of folds, spine panel darkened. showing that the cloth issue preceded by a couple 36 first uk edition, first impression, signed of weeks. Of the total print run of 40,000 copies, CHRISTIE, Agatha. The Mysterious Affair at by the author on the front free endpaper. To- only 100 copies were bound in cloth. There are two Styles. London: John Lane, The Bodley Head; John wards Zero was first published in the US earlier the known states of both the cloth and paper wrapper Lane Company, New York, 1921 same year. Christie dedicated the novel to Robert issues, the first state having p. 71 misnumbered Graves, with the request “that you should sternly Octavo. Original brown cloth, titles and art nouveau “1”, with the second state having the correct page restrain your critical faculties . . . when reading it. decorations to spine and front cover in black, top edge number; this copy is an example of the latter state. black. Housed in a custom black morocco solander box This is a story for your pleasure and not a candi- There were also five other later newspaper issues. with decorative gilt tooling and brown morocco onlay. date for Mr. Graves’ literary pillory!” An excellent copy of a highly rare book, noted as Slight wear to extremities, small repair to foot of front Wagstaff & Poole p. 196. “extremely scarce” by Cohen, and Langworth de- joint, partial split to rear joint but holding, minor abra- £2,750 [127817] claring it “the third rarest Churchill book after Mr. sions to covers, faint foxing to endpapers and edges, a Brodrick’s Army and For Free Trade”. very good, remarkably fresh, copy. Cohen A31.1.a; Langworth p. 96ff; Woods A16. first uk edition, first impression, of Chris- tie’s first novel and Poirot’s debut. The Mysterious £6,500 [125113] Affair at Styles was printed on cheap, poor quality stock, and bound in thin cloth, so copies in such 37

All items are fully described and photographed at peterharrington.co.uk 17 the present typescript although the opening sen- tence and several other passages are identical. “Mystery of the Body” is in large measure the same essay as that published under the title “What Do You Know About Yourself ?” (Cohen 666, also written before the war, published in the Sunday Dispatch 5 April 1942 and reprinted in Collected Essays, Vol. IV, pp. 499–503). “The River of Life” is perhaps the same essay published as “Life Under the Microscope” (Cohen C669, Sunday Dispatch 19 April 1942), though this is not reprinted in the Collected Essays. 39 40 The articles are from the collection of Churchill’s literary agent Emery Reves (1904–1981), who had 39 1953. A man who had primarily made his living by been instrumental in promoting Churchill’s pre- CHURCHILL, Winston S. Three typescript his pen, Churchill was the only major war leader War international profile by the worldwide syn- to give an authoritative account of the conflict, articles: “Are We Alone in the Universe?”, dication of many of his prophetic articles during and his ringing phrases seeped into the collective “The River of Life”, “Mystery of the Body”. the late 1930s. Their association blossomed again memory. As Max Beloff observed, there was no [c.1939] after the war when Reves negotiated the sale of the statesman of the 20th century “whose retrospec- 3 typescripts, quarto. “Alone”, 11 pp; “River”, 15 pp; US rights for The Second World War, and purchased tive accounts of the great events in which he has “Mystery”, 14 pp. Each covering page headed: “World the international rights himself, selling serializa- taken part have so dominated subsequent histori- copyright by Cooperation”. Each typescript held with a tion to 27 newspapers across the globe and secur- cal thinking”. Though Churchill was contractually paper clip at head. In excellent condition. ing book rights in 11 European countries. Church- obliged to have the American editions issued first, Three journalistic pieces attesting to Churchill’s ill was a regular visitor to La Pausa, Reves’s home he treated the London editions as authoritative prodigious output during the 1930s, when he in the south of France. and delivered his final corrections in time for their lived by his writing. “Many subjects were grist Churchill material of this nature rarely comes onto publication. to his tireless mill. Apart from anything else, he the market. Cohen A240.4 (I–VI).a. had no Cabinet salary after 1929 and it was largely Cohen C662 (“Alone”), C666 (“Mystery”). his journalism that enabled him to maintain his £3,500 [124673] £1,500 [121598] comfortable standard of living. He therefore accepted virtually every opportunity for publication 41 40 with alacrity and professionalism. Articles may CHURCHILL, Winston S. The War Speeches. have been delivered by taxi at the last possible CHURCHILL, Winston S. The Second World London: Cassell & Company Ltd, 1952 moment, but he never missed a copy date, even War. London: Cassell & Co. Ltd, 1948–54 3 volumes, octavo (241 × 146 mm). Bound for Asprey & at the height of his political worries” (Frederick 6 volumes, octavo (208 × 132 mm). Finely bound by Co. in modern full red crushed morocco, title to spines Woods, Artillery of Words: The Writings of Sir Winston Zaehnsdorf for Hatchards in later 20th-century blue gilt, rules to covers and turn-ins gilt, edges gilt, marbled Churchill, 1992, p. 11). crushed morocco, spines lettered in gilt, double gilt endpapers. Title pages printed in red and black, facsim- A version of “Are We Alone in the Universe?” was fillets to covers, gilt turn-ins, marbled endpapers, gilt ile typed notes with manuscript corrections in the text. published in the Sunday Dispatch, a Beaverbrook edges. With diagrams and tables throughout the text. Near-fine, with spines ever so slightly sunned. An attrac- Bookplate of John F. Butler to pastedowns. Spines very weekly, on 8 March 1942 under the more sensa- tively bound set. slightly faded, a few tiny marks to covers, light foxing to first collected edition, first impression. tional headline “Are There Men in the Moon?” It a few pages, else a near-fine set. is listed in Cohen’s bibliography (C662), where he Although the publication statement in volume comments “Written before the war but published first uk editions, first impressions, of I gives 1951 as the date of issue, publication was here [i.e. the Sunday Dispatch] for the first time. Churchill’s masterpiece, in a handsome binding. delayed and all three volumes appeared simultane- Subsequently published in Collected Essays, Vol. IV, The Second World War ranks as one of the supreme ously in an edition of 4,740 sets in September 1952; pp. 493–8”. The latter text differs somewhat from historical achievements of the 20th century, and 500 sets of sheets were exported for the American is commonly cited as a major factor in Churchill edition, published in 1953. The compiler Charles being awarded the Nobel Prize for Literature in Eade corrects the titles of a number of the speech-

18 Christmas 2018: Peter Harrington es and inserts the Secret Session Speeches in the cor- 43 rect chronological order. (CHURCHILL, Winston S.) Small signed Cohen A263.1(I–III)a; Woods A136. desk portrait photograph, together with a £2,000 [126663] small archive of private snapshots relating to his trip to Marrakesh in 1951. Marrakesh: 1951 Churchill the young, dynamic statesman Photographic portrait of Churchill, signed and dated 42 on the mount, presented framed and glazed in a contemporary ebonized wood standing frame; offered to- (CHURCHILL, Winston S.) SMITH, Harold gether with a group of around 40 private deckle-edged Howard. Unpublished pencil, ink and body- snapshots (c.60 × 85 mm), including a dozen featuring colour caricature. London: 1909 Churchill, his car, paintings, reviewing a French guard of honour, and another eleven 90 × 140 mm press pho- Signed original drawing on dark olive-brownish grey tographs by Photo Bertrand of Marrakech, three show- art board, (279 × 178 mm), coated moderate olive-green ing Churchill at his easel, another of his hat and coat verso, calligraphic title in white ink; subject identified with papers, and several of his hotel. Frame a little worn twice in a contemporary hand verso, together with and with old repairs, signature somewhat faded but re- “copyright” statement. Slight rubbing around edges, mains clear. otherwise very good. From the estate of Captain John Adams, the deco- Wonderfully active and apparently unpublished rated Second World War bomber pilot who piloted image of Churchill the young statesman, execut- Churchill’s chartered plane Discoverer during his ed while he was President of the Board of Trade trip to Morocco in the winter of 1950–1. His wife (1908–10) in Asquith’s cabinet, before becoming Irayna was a flight attendant on the crew. Church- Home Secretary in 1910. Smith’s caricature would ill flew out “in search of somewhere to paint and appear to be based on a photograph taken in 1904 to write in sunshine” (Gilbert, VIII, p. 576), staying and published as a postcard by Rotary Photo- at his “much favoured” Hôtel de la Mamounia. At graphic Co Ltd (NPG x197756). Churchill was also 42 the time he was working on Volume VI of The Sec- caricatured by Max Beerbohm at this time. “When ond World War. The signed portrait stood on Cap- Asquith succeeded as prime minister in March tain Adams’s night-stand until his death. 1908 he took the bold step of bringing Churchill (16 April 1908). At thirty-three, he was the young- into the cabinet as president of the Board of Trade est cabinet minister since 1866” (ODNB). £2,000 [128535] This portrait was one of a group of six caricatures of prominent political figures of the day. There is little information on the talented portraitist Harold H. Smith but he certainly worked for The Bystander, a popular weekly tabloid magazine that published Bruce Bairnsfather’s “Old Bill” series during the Great War and included work by H. M. Bateman and Heath Robinson. In 1910 he executed a series entitled “Pencil Portraits of Stage Fa- vourites” and we have traced his portraits of G. K. Chesterton and Gerald du Maurier. His confident, deft, and very appealing work is not represented at the National Portrait Gallery. £4,500 [128435]

41 43

All items are fully described and photographed at peterharrington.co.uk 19 44 CLAUSEWITZ, Carl von. Vom Kriege. Berlin: Ferdinand Dümmler, 1832–4 3 volumes, octavo (195 × 124 mm). Near-contemporary green cloth, black morocco twin labels to spines, edges speckled blue. Colophon leaf present in vol. III, absent in vol. II (colophon on verso of final text page in vol. I). Spines sunned with small stain to spine of vol. III, cloth lightly marked, contents foxed in places (more severely to vol. I), running dampstains at fore edges. A very good set, with small contemporary ink-stamps, ownership inscriptions, and press-marks of the Bibliothek der leichten Infanterie Halb-Brigade to front endpapers and title pages, together with a slightly later ink-stamp of the Erstes Königlich Sächsisches Jäger-Bataillon. 44 45 first edition. Clausewitz’s works were published posthumously, edited by his widow, and these, the first edition in english, conspicuously un- ceived the Légion d’honneur and was subsequently first three volumes of ten, contain the first appear- common when complete as here. The translator’s posted to Salonika, where he headed four divisions ance of Vom Kriege (On War), his dialectical analysis copy: initialled and dated on the front free endpa- of the French force as part of the grandly-named of the function of war in human society. per of volume I (“C.F.A., 24. 4. 12”) and “Published Franco-Russian army. His memoir of his Great War July 1 1914” on the front free endpaper of volume experiences, Une brigade au feu, was published in 1921. “The book is less a manual of strategy and tactics, II. In addition, pasted to the front free endpaper of although it incorporates the lessons learned from volume I is a portion of a half-title from the French the French Revolutionary and Napoleonic Wars, edition inscribed: “A Monsieur Atkinson, Capitaine than a general enquiry into the interdependence au 1st. bataillon du London Regiment (Royal Fusi- of politics and warfare and the principles govern- 45 liers), Hommage de l’ auteur, Courbevoie, le 19 Avril ing either or both . . . [It] won immediate recogni- 1911, Colonel Cordonnier”; an envelope tipped to tion as the most profound exposition of the phi- the front pastedown of the same volume is lettered Atkinson (b. 1880) originally served with the 1st losophy of war—a place that has never been dis- “Reviews” and contains a group of contemporary Nottinghamshire (Robin Hood) Volunteer Rifle puted” (PMM). Daniel Moran concurs, describing clippings, presumably assembled by Atkinson. Corps and joined the Royal Fusiliers in December it in his article on Clausewitz in The Oxford Compan- ion to Military History (2001) as “the most important This key study of the Russo-Japanese War is far general treatment of its subject yet produced”. from common: institutionally and commercially Printing and the Mind of Man 297. scarce: Copac cites complete sets at just five Brit- ish and Irish institutional libraries (BL, Scotland, £8,500 [126983] Wales, Cambridge, Trinity College Dublin), OCLC adds Kings College London, Calgary, William & The translator’s copy Mary, Victoria, Minnesota, among international 45 holdings. Originally published as Les Japonais en Mandchourie in 1911, it contains some extremely in- CORDONNIER, E. L. V. The Japanese in teresting commentary and “brought French mili- Manchuria 1904. Translated by Captain C. F. tary experience to bear on the war” (Warner, p. 594). Atkinson. London: Hugh Rees, Ltd., 1912–14 Emilien Louis Victor Cordonnier (1858–1936), “one 45 3 volumes, octavo (2 vols. text, map case). Original red of France’s finest generals” (Geoffrey Blainey, The vertical-rib cloth, gilt lettered spines and front covers, Causes of War, 1988, p. 38), attended St Cyr and fol- 1904 He found a post-war niche as the author and map case with brown cloth ties intact. Folding maps lowing graduation alternated between staff duties in pocket at end of vol. I (numbered 1–12) and in map translator of a number of military studies. case (numbered 13–22), one full-page sketch map (vol. and regimental service in Algeria and the Alps. He Warner, The Tide at Sunrise: A History of the Russo-Japanese II p. 96). Spines dulled, those of text volumes with a few was a brigade commander in 1914, promoted to a War, 1904–1905, 2004. divisional command (3rd Division) at the Marne and splash marks, scattered foxing and light signs of han- £1,500 [127069] dling, yet a very good set. the Argonne. Wounded on 15 September 1914 he re-

20 Christmas 2018: Peter Harrington The drummer of the Boston Symphony Orchestra (who married a Wall St broker named Norman) was masturbating her uncle at a nickel a time when she was 8: at 11 she saw she was being chiselled, and stood out for a dime. Even in ‘Effete Yurrup’ Nina Olivier was seduced by her father, professor in the University of Grenoble at 11; three years later she switched to her brother; at 17 I took her on. AC”. Nina Olivier was an artist’s model and in 1903 a lover of Crowley’s. Of their relationship, which began in Montparnasse, Crowley claimed, “My adoration of Nina made her the most famous girl in the quarter for a dozen years and more”, adding that, “In my sun- light she had blossomed into La Dame de Montpar- no, the Queen of the Quarter” (Confessions of Aleister 46 47 Crowley, p. 335–6). She features both as a dedicatee in The Star and the Garter (1903), in the poem itself, “and also in several lyrics, notably ‘The Rondel’ —‘You 46 “In my experience, people never troubled to retire laughing little light of wickedness’ ” (ibid.). in order to copulate” (CRESSET PRESS.) SWIFT, Jonathan. Gul- The Wild Party was banned upon publication in the liver’s Travels. Illustrated by Rex Whistler. 47 US, where it was first published in the same year, London: The Cresset Press, 1930 (CROWLEY, Aleister.) MARCH, Joseph due to its decadent and explicit content. Crowley’s 2 volumes, folio. Original green half morocco by Wood, Moncure. The Wild Party. London: Martin annotations of this supposedly notorious book, spines lettered in gilt direct, vellum sides, top edges Secker, 1928 however, suggest that he found the work disap- gilt, others untrimmed. Housed in a custom grey card pointedly tame. Commenting on a passage on p. Octavo. Original dark blue cloth, spine and front cover slipcase. Hand-coloured frontispiece to each volume, 10 66 in which a character asks themselves about the similar plates, vignette portrait of Swift to title pages, lettered in gilt, top edge gilt, others untrimmed. Own- goings-on of an amorous couple behind closed 5 maps, head- and tailpieces, all engraved after the de- ership stamp in green ink to front free endpaper. Spine signs of Rex Whistler. Shelfmark to rear of slipcase and gently rolled and slightly faded, spine ends and tips doors, Crowley comments, “This seems strange; to verso of title pages. Lightly refurbished with colour lightly worn, covers a little marked and soiled, occasion- in my experience, people never troubled to retire improved and slipcase extremities repaired, hinges split, al light foxing to contents. A very good copy. in order to copulate”. On the final page Crowley light offsets from illustrations. A very good set. first uk edition, first impression, a re- summarises: “And all this comes from ill-bred first cresset press edition. Number 100 of markable association copy, from the li- people aping their social superiors”. 195 copies on handmade paper (there were also 10 brary of aleister crowley with his owner- Crowley has also made a pencil notation on the copies on vellum). The short-lived Cresset Press, ship inscription to the front free endpaper, “Aleis- front pastedown, seemingly unrelated to the text: co-founded by John Eldred Howard in 1927 and run ter Crowley (a present from Montgomery Evans)”. “Pearl made a note that Gwen Thomas told you ‘he by Dennis Cohen and A. I. Meyers until 1931, pro- Evans was an aspiring American writer, journalist, can’t win, because there was nothing in writing,’ duced fine editions of the classics and of continen- and notable book collector, with whom Crow- Tex 25, Build 50, Tail 30, Resume 50 Wal., Mapl. tal literature. Gulliver’s Travels is one of the Press’s ley had an extensive correspondence. Evans took Zachin. Rosen Amesco Whiteley, Flat 145”. finest books, and a masterpiece of book design. great pleasure from his relationship with Crowley, £3,950 [126686] The illustrative style of Rex Whistler (1905–1944), carefully preserving his letters, many of which are which eschewed the experimentalism of the 1920s, now stored at the Indiana University Lilly Library. found its inspiration in the 17th and 18th centu- Crowley has annotated the text in a number of plac- ries and so was well matched to Swift’s classic. In es (pp. 34, 58, 66, 72, and 100), often to add relevant this book Whistler employed his favourite device anecdotes to the text. The most notable, on p. 34, is of setting most of the illustrations within a highly in response to the character of Nadine, described as decorative rococo marginal frame. “fourteen: No man had kissed her . . . she knew only £5,000 [126924] what had been told her”. Crowley adds, in typically provocative style: “This seems to me far-fetched. 47

All items are fully described and photographed at peterharrington.co.uk 21 48 49 50

48 provenance: this copy was directly acquired by weave pattern paper-covered slipcase and the whole con- Peter Harrington from a family member. tained in a large open fronted blue paper covered box. DAHL, Roald. Danny the Champion of the Illustrated throughout. A fine set. £3,000 [128806] World. London: Jonathan Cape, 1975 limited edition, number 53 of 500 numbered Octavo. Original pale orange boards, titles to spine gilt, sets only, published to celebrate Dahl’s 75th birth- top edge orange, beige endpapers. With the pictorial 50 day on 13 September 1991. dust jacket. Black and white illustrations by Jill Bennett in the text. Negligible rubbing to spine ends, a couple of DAHL, Roald. Matilda. London: Jonathan Cape, £2,250 [126493] small scratches to top edge; a bright, near-fine copy in 1988 the jacket with faded spine, slight nicks to spine ends, Octavo. Original red boards, titles to spine in gilt. With a tiny closed tear to head of spine, and small abrasion the dust jacket. Illustrations by Quentin Blake. A fine to front panel. copy in the bright, slightly creased jacket. first edition, first impression, inscribed first edition, first impression, inscribed by the author on the front free endpaper, “To by the author on the half-title, “Camilla, love Joanne, with love, Roald Dahl, 1976”. This work Roald Dahl”. Matilda won the Children’s Book was the basis for the 1989 film of the same title. Award in the year of its publication. It formed the £2,500 [127442] basis for both the 1996 film directed by Danny DeVito and the successful stage musical which premiered at the RSC’s Courtyard Theatre in Strat- 49 ford-upon-Avon in November 2010. DAHL, Roald. Boy. London: Jonathan Cape, 1984 £3,500 [125998] Octavo. Original blue cloth, spine lettered in gilt, pictorial endpapers. With the dust jacket. Black and white illustrations, and photographic reproductions in the 51 text. Covers lightly bowed, else a very good copy in the DAHL, Roald. The Commemorative Limited dust jacket, slightly creased at extremities and to rear fold and flap. Edition of the Works. London: Harper Collins and Jonathan Cape, 1991 first edition, first impression, presentation copy, inscribed by the author on the front free end- 15 volumes, octavo. Original blue quarter morocco, spine lettered in gilt, weave pattern paper boards, top edges paper to his dentist and family: “Happy Christmas gilt, buff endpapers. Each copy housed in a matching to the Rigdens from Roald Dahl 1984”. 51

22 Christmas 2018: Peter Harrington 52

52 DALÍ, Salvador. Dalí: de Draeger. Max Gé- rard a recueilli le propos de ce livre. [Paris:] Le Soleil Noir, 1968 Quarto. Original pictorial cloth, spine and front cover lettered in white, pictorial endpapers. With the pictorial- gilt dust jacket. Copiously illustrated throughout in col- 53 53 our and toned gravure. Minor rubbing to extremities; a near-fine copy in the jacket with slight creasing to edges and light scratching to covers. 53 Society and so without the letters F.R.S. after his name on the second title. The accounts of first edition, first printing, trade issue, DARWIN, Charles, & others. Narrative of the the voyages of HMS Adventure and Beagle include inscribed by the artist on the front free endpa- Surveying Voyages of His Majesty’s Ships Ad- Darwin’s first published book, his Journal and per verso, “Pour Mlle Suzy Kemp, Hommage de S venture and Beagle, between the years 1826 Remarks, are “now famous as the genesis of his Dali, 1968”, with a card written in a second hand, and 1836. London: Henry Colburn, 1839 theory of evolutionary biology” (Hill). It is an reading “Mlle Suzy Kemp”, laid in. This work is 3 volumes in 4 (vols. I–III and Appendix to vol. II), quarto outstanding account of natural history explora- additionally signed for the publisher, although un- (234 × 145 mm). Recent half calf, red and green twin mo- tion, describing the fieldwork that ultimately led called for, on the limitation page. There was also rocco labels to spines, gilt ship ornaments to compart- to the Origin of Species. an issue of 1,500 deluxe copies with an original ments, marbled sides. With 8 folding engraved maps bronze sculpture. in cover pockets and 48 engraved plates (including two “The five years of the voyage were the most impor- frontispieces and one folding map). Half-titles present, tant event in Darwin’s intellectual life and in the A splendid collection of Dalí’s work, produced as is addenda leaf in vol. II. Recent pencilled ownership history of biological science” (DSB). under his supervision, in a beautiful pictorial-gilt inscription to endpapers and a few early pencil annota- Freeman 10; Hill 607; Sabin 37826. dust jacket with “The Persistence of Time” inset tions. A few faint blemishes, occasional slight foxing on the front panel, this printing was issued the and light creasing, tiny chips at extremities of a couple of £25,000 [127081] same year as the English edition, with no priority pages, a few pages opened a little roughly, some pocket established. maps with small chips and short tears along folds, discreet repair to some tissue guards and folding maps. £3,750 [127471] Overall a very good set. first edition, first issue of the Darwin volume, printed before he was elected to the Royal

All items are fully described and photographed at peterharrington.co.uk 23 55

54 lished on 9 November; the second, with cancel to Laura, Lady Olliffe, wife of the physician Sir titles, omitting the sub-title and giving Dickens’s Joseph Francis Olliffe (1808–1869). In that letter 54 name as the author, and with the “Church” plate at Dickens thanks her for her “note of parting” and [DICKENS, Charles.] Oliver Twist; or, the the end, was issued on 16 November. states that “I have set my grosser hand to this work Parish Boy’s Progress. By “Boz.” London: Rich- With a loosely inserted former catalogue descrip- with unusual pleasure” (Collected Letters, Pilgrim ard Bentley, 1838 tion, and a handwritten letter from Dickens’s bib- edition, vol. 7, p. 542). It is probable that this volume was delivered to Dickens at the Hotel Meurice 3 volumes, octavo. Original reddish brown fine-diaper liographer John C. Eckel to a former owner, dated cloth, spine in compartments with gilt titles, sides each February 1931, stating that the absence of dates with a request from Lady Olliffe to sign, which stamped in blind with an arabesque cartouche, yellow and imprints on some of the plates was due to the may explain the unusual format of the inscription, coated endpapers. Housed in a custom later 20th-cen- inattentiveness of the binder, rather than being an with its simple signature and date. tury green cloth slipcase within a green half-morocco issue point. In February 1855 Dickens, accompanied by Wilkie box, spine lettered in gilt, green cloth sides. 24 etched Smith 4; Eckel pp. 59–63. Collins, travelled to France with the intention of plates by George Cruikshank including the “Fireside” visiting Bordeaux and arrived in Paris on 12 Febru- plate (facing p. 313 in vol. III), occasionally trimmed at £12,500 [125917] foot as usual. Half-titles to vols. I and II, as issued; initial ary. Peter Ackroyd describes this visit, explaining advert leaf to vol. III. Contemporary pencilled ownership that Dickens usually stayed at the Hotel Bright- inscription to half-titles of first 2 volumes and to recto of 55 on—“his normal quarters”—but that the Meurice, frontispiece of vol. III, contemporary bookseller’s ticket DICKENS, Charles. Master Humphrey’s on the rue de Rivoli, “allowed the two men more to front pastedown of vol. I. With 2 tiny spots of wear to Clock. London: Chapman and Hall, 1840–1 freedom in dining out”. However, Collins “suf- spine of vol. III, sides lightly rubbed, a few trivial blem- 3 volumes, octavo (261 × 180 mm). Skilfully bound to pe- fered a sudden attack of rheumatic gout, and was ishes internally, small patch of discolouration to vol. II for most of the day ‘laid up’ in the gorgeous apart- p. 203 and adjacent pages, some plates with minor mar- riod-style in green half calf, raised bands to spine tooled ment while Dickens walked and walked through ginal oxidisation. Light rubbing to spine of box. A very in gilt, red morocco labels, compartments ruled in blind, good copy, square and tight, the cloth unusually bright single blind roll to covers, marbled sides, brown endpa- the city” (Dickens, 1990, pp. 725–7). To speed Col- and fresh with inner hinges intact. pers. Full-page wood-engraved frontispieces by Ebenezer lins’s recovery, Dickens requested the medical as- Landells after H. K. Browne and illustrations throughout, sistance of Sir Joseph Olliffe, physician to the Brit- first edition, first issue, with Boz title pages 25 figurative initials. Scattered foxing and some signs of ish embassy in Paris, writing to him: “Mr. Collins and the “Fireside” plate. Bentley rushed Oliver Twist handling internally. A handsomely bound set. the writer, who is my travelling companion, has out in book form before serialization was complete, first edition in book form, first issue, a misgiving that he wants ‘advice’” (Letters, ibid., forcing Cruikshank to hurry the last few plates. vol. ii signed by dickens on the title page, p. 535). Collins’s illness, combined with wintery Dickens disliked the final “Fireside” plate and “Charles Dickens, Paris, Eighteenth February conditions, meant that it was impossible for the asked Cruikshank for a new design, the “Church” 1855”. This is almost certainly the inscription repair to travel to Bordeaux, “The posts are delayed, plate. He also decided that he no longer wished to ferred to by Dickens in his letter of the same date the roads feet deep in snow, the cold is intense, be styled “Boz”. The first issue, as here, was pub-

24 Christmas 2018: Peter Harrington 57

57 56 DICKENS, Charles. A Tale of Two Cities. Lon- and going on to Bordeaux appears to be out of the first editions, first printings, of Dickens’s don: Chapman and Hall, 1859 question” (Letter to W. H. Wills, dated 16 Febru- Christmas books. A Christmas Carol is the first issue, Octavo (205 × 132 mm). Contemporary black pebble- ary, ibid., p. 541). with “Stave I” on the first page of text, red and blue grain half morocco, possibly continental, brown marbled paper sides, spine lettered in two fonts in gilt, title page, green endpapers, and all the first edi- Eckel, p. 67; Ray, The Illustrator and the Book in England from raised bands tooled in gilt, brown marbled endpapers, 1790 to 1940, 60; Smith I, 6; Storey, Tillotson, & Easson tion textual points. The hand-coloured green end- top edge gilt, others untrimmed. Frontispiece mounted (eds.), The Pilgrim Edition of the Letters of Charles Dickens, vol. papers, Dickens’s original choice for his lavish gift on cloth stub, engraved title page, and 14 other plates by 7 1853–1855 (1993). book, proved a disappointment, as the colour tend- H. K. Browne (“Phiz”). Pencil ownership inscription and £25,000 [123004] ed to dust off and smudge, so the endpapers were partially erased contemporary ownership inscription to changed to yellow, not requiring hand work. Proba- recto of frontispiece, another to head of title page. Mar- ginal pencil annotations to plate list, p. 10 and p. 208, 56 bly in the middle of binding, as demand grew faster than the current endpaper stock, it was decided to manuscript note dated 1923 loosely inserted at pp. 212–3 making note of the issue point. Professional repair to DICKENS, Charles. [The Christmas books:] use up the green paper, and thereafter it was used short closed tear to fore edge of plate facing p. 136, faint A Christmas Carol; The Chimes; The Cricket indiscriminately with yellow, but discarded again water stain to plates facing p. 198 and p. 224. Slight wear on the Hearth; The Battle of Life; The Haunt- when the initial supply of green became exhausted. to spine ends, tips and fore edge of front board, slight ed Man. London: Chapman & Hall; Bradbury & Primary copies therefore occur with either green rubbing to sides, rear hinge a little split but holding, Evans, 1843–8 or yellow endpapers, with some collectors prefer- light foxing to contents; a very good copy. 5 volumes, octavo. Original pinkish-brown and red cloth, ring green as the author’s original prepublication first edition, bound from parts, first is- titles and pictorial design to spines and front boards gilt, choice. The Chimes has the first state vignette title sue, with page 213 incorrectly numbered 113 and borders to boards blocked in blind, green endpapers to page; The Cricket on the Hearth has the first state of the signature “b” on list of plates. The novel was origi- Christmas Carol, yellow endpapers to other volumes, all advertisement leaf; and The Battle of Life has the sec- nally serialised in the weekly journal All the Year edges gilt. Housed in custom green cloth chemises and ond variant vignette title, all as described by Smith. Round, from 30 April to 26 November 1859, and a green quarter morocco and cloth slipcase. Christmas A Christmas Carol was an instant success, reportedly was also published in eight monthly parts between Carol with hand-coloured frontispiece, 3 full-page hand- coloured plates, illustrations within the text; other titles selling all 6,000 copies of the first edition on the June and December 1859 It was first published in with frontispiece and engraved title, illustrations in the first day of publication, and Dickens went on to book form on 21 November 1859. text by Leech, Maclise, Stanfield, Doyle and Landseer. Gift produce a small festive book for each successive Eckel, pp. 86–90; Gimbel A142; Hatton & Cleaver p. 331; inscription to front endpapers of Battle of Life and Chimes, Yuletide. The final book, The Haunted Man, was Sadleir 701; Smith 13. trace of bookplate removal to front pastedown of Haunted published in 1848, after Dickens postponed the £3,750 [128548] Man. Christmas Carol: a very nice, unrestored, sharp copy, planned book for Christmas 1847 to focus on com- slight marks to rear cover, else bright, contents fresh. Oth- pleting Dombey and Son. er volumes: a little wear to tips and spine ends, couple of hinges cracked but holding, Battle of Life a little marked and Smith II.4; 5; 6; 8; 9. soiled, overall an excellent set in original cloth. £17,500 [125927]

All items are fully described and photographed at peterharrington.co.uk 25 his sale, Sotheby’s New York, 30 April 1990, lot 2776, $12,100 inclusive. Keynes 1. £35,000 [128761]

60 DONALDSON, Julia. The Gruffalo.London: Macmillan Children’s Books, 2007 Large octavo. Original green cloth, titles and decoration to spine in gilt, illustration to front cover in gilt surrounding mounted colour illustration, illustrated vignette to rear cover, illustrated endpapers. Housed in the original pictorial slipcase. Illustrated throughout by Axel Scheffler. A fine copy. first gift edition, signed by both the au- 58 thor and illustrator on the title page, together with an original ink drawing of the Gruf- 58 falo by Scheffler next to his signature. First pub- DICKENS, Charles. The Nonesuch Dickens. lished in 1999, The Gruffalo won the Smarties Book London: The Nonesuch Press, 1938–9 Prize in the same year. 24 volumes, large octavo. Original buckram in various £1,500 [129119] colours, black morocco label to each spine, top edges rough gilt, others untrimmed. Illustrated after the origi- 59 nal plates. The last volume contains a mounted engraving and original steel plate from Martin Chuzzlewit by H. K. Browne together with a laid-in certificate of au- The Bradley Martin copy in contemporary vellum thenticity from Chapman and Hall. Bookplate to front 59 pastedown of each volume, pages nice and clean with just very occasional faint offsetting from plates, spines DONNE, John. Pseudo-Martyr. London: Print- of ten volumes sunned, title labels still fresh with one ed by W[illiam] Stansby for Walter Burre, 1610 ever so slightly curled at one corner, some boards lightly Quarto (221 × 163 mm). Contemporary limp vellum, marked and some mottling to seven volumes most sig- spine lettered in manuscript, tawed skin ties. Dark red nificantly toNickleby, Chuzzlewit and Sketches by Boz, overall morocco-backed folding case, fleece lined. Hole in vel- a very good set. lum approximately 2 cm in diameter at upper inner cor- the nonesuch edition, number 492 of 877 sets ner of front cover, vellum a little soiled, single tie only only. This peculiar limitation is due to the inclu- complete, front inside hinge separated at lower cord, sion with each set of one of the original plates worm costing letters to last two leaves, overall a very used in Chapman and Hall’s first printings of good copy in contemporary state. each title. Since they held in their archive 877 such first edition of donne’s first published plates—the majority steel but with a number of book (though written after Biathanatos), an ar- wood blocks—the limitation was enforced. This gument for conformity by English Catholics. A set includes the steel plate of Phiz’s illustration desirable copy with a rich provenance: from the “Mr. Nadgett breathes, as usual, an atmosphere Buxton family library at Shadwell Park, Norfolk, of mystery” f0r Martin Chuzzlewit, with a letter of with book label dated 1842; subsequent collec- authentication from Chapman and Hall signed by tors’ book labels and plates of Clarence S. Be- Arthur Waugh. mens, Leonard Klein, Harold Greenhill (1893– 1968), and H. Bradley Martin (1906–1988), sold at £8,500 [129300] 60

26 Christmas 2018: Peter Harrington 61 62 63

61 slightly foxed (mainly marginal), old marginal damp- Octavo (230 × 161 mm). Finely bound by the Doves Bind- stain to head of pp. 256–363, not affecting text. ery in near-contemporary pinkish-brown sealskin, title DORN, Edward. Gunslinger. Los Angeles, CA: first edition of Dostoevsky’s masterpiece in to spine gilt with raised bands, gilt three line border, Black Sparrow Press, 1968–9 and three line panel and lozenge, open circles at outer the original Russian, and rare with the half-titles corners of lozenge, to sides, turn-ins gilt-ruled, all edges 2 volumes, octavo. Original green fabric and brown present. Originally published in serial form in The sheep, printed labels to spines and front covers, green gilt. Housed in a brown cloth flat-back box by the Chel- Russian Messenger, 1879–80, and hugely popular and brown endpapers. Minor scratch to front cover of sea Bindery. Spine ends a bit rubbed, tiny chip to head of vol. II, else a near-fine set. throughout Russian society, The Brothers Karamazov spine, boards slightly bowed with a few spots of damp- stands as Dostoevsky’s largest, final, and greatest staining, endpapers lightly foxed, a touch of marginal first editions, first printings, deluxe is- novel. This first edition quickly sold out. “Those foxing, leaves lightly cockled, overall an attractive copy. sue presentation copies, inscribed to the who go to the novels of Dostoevsky in search of first edition, one of 12 unnumbered cop- publisher on the dedication page: “for John solutions to life’s problems will be quickly disap- ies on vellum. This copy is bound at the Doves Martin and thanks, Ed, Los Angeles Aug 69”. John pointed, Dostoevsky writes rather for those who Bindery to a design reflecting the restraint typi- Martin was the founder and owner of the Black wish to know what things are worth thinking cal of the Doves Press by T. J. Cobden-Sanderson, Sparrow Press. This is the deluxe issue specially about. This is possibly the reason his books pos- signed and dated “19 C-S 19”. bound, in chapskin and buckskin respectively, sess such vital energy” (Kjetssa, 336). Writing The each volume designated “Publisher’s Copy” and “Cobden-Sanderson ordered sealskins from Rich- Brothers Karamazov was for Dostoevsky a profound signed by Dorn on the colophon, aside from 26 ardson’s in Newcastle. He apparently liked it, as and personal journey: “When I have written this lettered copies. Book Three was later issued by a seal was used as an alternative to goatskin for bind- last novel, I shall be ready to die, for I shall have different publisher. ing many other Doves Press books. The sealskin uttered therein my whole heart’s burden.” used ranges in colour from orange to brick-red or £1,750 [126568] Kilgour 286. terracotta, and some of the skins were probably £25,000 [129125] specially selected by Cobden-Sanderson for their 62 attractive blotchy appearance” (Tidcombe, p. 94). DOSTOEVSKY, Fyodor. Brat’ ya Karamazovy 63 Franklin, p. 281; Tidcombe, Doves Bindery (1991). (Brothers Karamazov). St Petersburg: Pateleevyi (DOVES PRESS.) William Caxton. A Paper £5,000 [126472] Brothers, 1881 Read at a Meeting of the Club of Odd Vol- 2 volumes, octavo (215 × 142 mm). Contemporary (pos- umes in Boston Massachusetts U.S.A. in Jan- sibly publisher’s) purple quarter morocco, purple cloth sides, spines with gilt lettering in Cyrillic, blue page- uary mdcccviii by George Parker Winship. marker to vol. I. Tips a little rubbed, edges and contents Hammersmith: Doves Press, 1909

All items are fully described and photographed at peterharrington.co.uk 27 64 65 66

64 Quarto. Original limp vellum by the Doves Bindery 67 (inkstamp at foot of rear pastedown), spine lettered in (DOVES PRESS.) SHAKESPEARE, William. gilt. Blue buckram folding case by Sangorski & Sutcliffe DOYLE, James E. A Chronicle of England, The Tragicall Historie of Hamlet Prince of Printed in red and black on vellum. Minor spotting on a b.c. 55–a.d. 1485. London: Longman, Green, Denmarke. Hammersmith: The Doves Press, June few leaves, else a fine copy. Longman, Roberts, & Green, 1864 1909 first doves press edition, one of 25 copies Quarto. Original limp vellum by the Doves Bindery, spine on vellum (a further 325 copies were printed on lettered in gilt. Housed in a custom brown morocco box paper). The Doves Tennyson is the spiritual mani- by Sangorski and Sutcliffe, spine lettered in gilt. Printed festo of the Doves Press—the seven poems includ- in red and black, hand-illuminated initial in green. The ing “Ulysses” and “The Lotos Eaters” are on clas- lightest of soiling to vellum, minute chip at foot of front sical subjects, and the two translations are from cover and tiny creases at head, else a near-fine copy. the Iliad. This vellum copy comes from The Garden first doves press edition, one of 250 unnum- sale (lot 252), with the morocco bookplate. bered copies on paper (there were also 15 on vel- Franklin 210; Ransom Private Presses 250; Tomkinson 54. lum), signed by Cobden-Sanderson on the rear pastedown, dated 1909. The work was issued in £6,000 [127264] both limp vellum and in linen-backed Michalet boards, without priority but the vellum consid- 66 ered more desirable. The Doves Press printed four DOYLE, Arthur Conan. The Valley of Fear. Shakespeare plays, the other three being Julius London: Smith, Elder & Co., 1915 Caesar, Anthony and Cleopatra, and Coriolanus. Octavo. Original red cloth, spine and front cover let- Ransom 17. tered in gilt. Frontispiece by Frank Wiles. Some foxing to £5,500 [127824] edges and contents, yet with exceptionally bright, well- preserved cloth. 65 first uk edition, first impression. Pub- lished 3 June 1915, the last Holmes novel was pre- (DOVES PRESS.) TENNYSON, Alfred, Lord. ceded by the US edition, released earlier the same Seven Poems & Two Translations. Hammer- year, on 27 February. smith: by T. J. Cobden-Sanderson & Emery Walker Greene & Gibson A39a. at The Doves Press, 1902 £2,500 [126265] 67

28 Christmas 2018: Peter Harrington 68 69 70

Large octavo (270 × 202 mm). Contemporary red straight- 68 led to the publisher destroying all but 788 copies, grain morocco by Riviere, spine tooled in gilt, four black ELIOT, T. S. The Waste Land. New York: Boni which were sent out to retain copyright. The work morocco bands to spine tooled in gilt, elaborate gilt was reprinted, with these second printing copies frame to covers, floral gilt rolls to turn-ins and edges, & Liveright, 1922 distinguished by the absence of the “first Ameri- marbled endpapers, all edges gilt. Title page printed in Octavo. Original black cloth, titles to spine and front red and black, 81 colour-printed wood-engraved illus- can edition” slug, here present. The small number board gilt. With the dust jacket. A bright copy in the dust of copies of the first printing which survived the trations in the text by Edmund Evans after James Doyle. jacket with just a hint of soiling to spine, touch of wear Contemporary shelf mark to front pastedown. Minor along extremities. An excellent, unopened copy. publisher’s decision means that the book is now wear to edges, covers lightly soiled, a couple of tiny scarce in any state, but especially so in good condi- scratches to covers, very faint water stain to outer margin first edition, second impression, number 575 of tion in the dust jacket. a limited issue of 1,000 copies. Although the colo- of last 50 pp., a very good, bright, copy. Gallup A43.a. phon describes this as the “second edition” Gallup first edition of “the first book with original confirms it is actually a second impression from £2,500 [126199] work printed in colour expressly designed for the the same setting of type as the first, with the error original text” (Muir, p. 158). A Chronicle of England demonstrates “colour printing at its best, the col- “mount in” on line 339, p. 41 left uncorrected. 70 ours fresh as if they had just been painted, the Gallup A6b. ELIOT, T. S. The Cocktail Party. London: Faber typography clear and beautiful” (Slythe, p. 28). £3,750 [100870] and Faber Ltd, 1950 Indeed, in the designer Edmund Evans’s opinion, Octavo. Original green cloth, titles to spine gilt. With the this work was “the most carefully executed book 69 dust jacket. A couple of tiny faint marks to endpapers; a he had ever printed” (Hardie, p. 270). fine copy in the exceptionally bright jacket. ELIOT, T. S. Four Quartets. New York: Harcourt, Martin Hardie, English Coloured Books (1906); Muir, first edition, first impression, signed by Victorian Illustrated Books (1971); Ray, The Illustrator and the Brace and Company, 1943 the author on the title page, with his printed Book in England from 1790 to 1914, 241; R. Margaret Slythe, Octavo. Original black cloth, spine lettered in gilt. With name struck through. The Cocktail Party was first The Art of Illustration 1750–1900 (1970). the dust jacket. A very good copy in the lightly toned dust produced at the Edinburgh Festival from 22 to 27 £1,850 [128691] jacket, a few nicks, tiny chip to rear panel, short split at head of front flap fold. August 1949. Gallup A55. first collected edition, first printing, with the slug “first American edition” to the verso £2,000 [128719] of the title page. Two printings were produced prior to publication. The first printing constituted 4,165 copies, but the poor quality of the printing

All items are fully described and photographed at peterharrington.co.uk 29 71 72

Inscribed with much admiration by John Ruskin 72 73 71 (ETON COLLEGE.) Eton College Chronicle. FITZGERALD, F. Scott. The Great Gatsby. (EMBROIDERED BINDING.) Novum Tes- Conducted by Present Etonians. Eton: Spottis- New York: Charles Scribner’s Sons, 1925 tamentum [Greek New Testament]. Oxford: woode, Ballantyne & Co. Ltd., 1892–1926 Octavo. Finely bound by the Chelsea Bindery in green Clarendon Press, 1880 10 volumes, folio (335 × 208 mm). Contemporary Eton morocco, titles and decoration to spine gilt, raised bands, blue half hard-grained morocco, dark red fine pebble- single rule to boards gilt, inner dentelles to turn-ins gilt, Octavo (149 × 110 mm). Finely bound in a contempo- grained cloth, title gilt direct to the spines, low bands with marbled endpapers, gilt edges. The occasional minor rary arts and crafts embroidered binding, incorporat- fleuron-ended single gilt fillet, framed by pairs of grouped blemish otherwise an excellent copy in a fine binding. ing a green, pink, white and blue floral design around wavy, dotted and double fillets, top edges gilt, marbled religious iconography and Greek lettering, gilt edges. first edition, first state, with “chatter” endpapers. Masthead with the college arms to each issue, Housed in a custom green velvet box. Frayed around ex- p. 60:16, “northern” p. 119:22, “sick in tired” p. occasional portraits. Spines slightly sunned, some mildly tremities, else a near-fine copy. 205:9–10, and “Union Street station” p. 211:7–8. spotted and a few scuffed, one with mild tide-mark to the An exquisite example of late Victorian embroi- lower edge, just a touch rubbed, some sporadic foxing to £4,500 [118504] dered binding by Helen Margaret Dixon. Inscribed the contents, but remains an attractive run. by John Ruskin, expressing his admiration, to the first editions. A complete 34-year run of the Eton 74 rear endpaper: “much admired by yours truly John College Chronicle, the magazine reporting on sporting FLEMING, Ian. Goldfinger. London: Jonathan Ruskin, 25th June 93”. The binding was shown to and other school events, but covering the period of Cape, 1959 Ruskin by his cousin Joan Severn at Brantwood both the Second Anglo-Boer War and, crucially, the that month, with a letter known from Severn to First World War, so also containing numerous obit- Octavo. Original black cloth, skull design blindstamped to front cover with gilt “coins” in the eye sockets (Gilbert’s Dixon telling her of Ruskin’s esteem for her craft. uaries and other biographical and service-related Helen Margaret Dixon (1858–1955) wrote several second state binding, no priority), titles to spine gilt. With material. A copy typescript listing First World War the dust jacket. Spine gently rolled, very minor bumps to collections of children’s stories, and later became obituaries is loosely inserted. It is extremely unu- spine ends, light browning to top edge, negligible bump a Sister of the Order of Saint Dominic. sual to find such an extensive sequence of volumes, to rear of book block, a very good, bright copy in the dust £4,750 [128504] all the more so presented handsomely. jacket with light browning to spine, and slight nicks to £2,500 [126854] spine ends, very short closed tear to head of spine.

30 Christmas 2018: Peter Harrington 74 75 76 first edition, first impression, of the sev- the car to lower edge of front board, twin rule to turn-ins based on rationality: positive science . . . In truth enth book in the James Bond series. gilt, marbled endpapers, gilt edges. Illustrated through- he was engaged all the while in a covert campaign out by John Burningham. A fine copy. Gilbert A7a (1.2). against religion in general and Christianity in par- first edition, first impression. ticular and may perhaps be seen, along with H. G. £2,000 [127371] £2,250 [126101] Wells, as the most important exponent of secular- ism in the 20th century” (ODNB). 75 77 Printing and the Mind of Man 374. FLEMING, Ian. For Your Eyes Only. London: £1,750 [126285] Jonathan Cape, 1960 FRAZER, James George. The Golden Bough. Octavo. Original black boards, spine lettered in gilt, eye A Study in Comparative Religion. In Two Vol- design to front board in white. With the illustrated dust umes. London & New York: Macmillan and Co., 1890 jacket. Top edge lightly foxed. A near-fine copy in the 2 volumes, octavo. Original green cloth, spines lettered in ever-so-slightly rubbed jacket, the spine panel, so prone gilt, mistletoe design blocked to front covers in gilt, dark to fading, is unusually bright. green endpapers, edges uncut. Frontispiece with tissue first edition, first impression of Fleming’s guard. Pencilled ownership signature to front free endpa- first collection of short stories. Apart from the per. Light wear to extremities, a few marks to cloth, minor foxing to initial and final leaves. A very good set. titular story, the collection includes “From a View to a Kill”, “Quantum of Solace”, “Risico”, and “The first edition of Frazer’s ground-breaking study Hildebrand Rarity”. of comparative religion. “Frazer’s true subject is Gilbert A8a (1.1). nothing less than humanity’s long upward strug- gle towards an understanding of itself and the £2,250 [126541] world. In Frazer’s view that movement towards the light began in earliest times with the priest–king 76 employing magic to compel the gods to do his FLEMING, Ian. Chitty Chitty Bang Bang. bidding, followed by a religious stage in which hu- London: Jonathan Cape Ltd, 1964 mans admit their powerlessness and now beseech rather than command the gods. Thus for Frazer 3 volumes in one, octavo. Finely bound by the Chelsea religion is a necessary stage in mental evolution, Bindery in full dark green morocco, titles to spine gilt, raised bands, single rule to boards gilt, colour onlay of but one that is based on mistaken premises; it has now in turn been superseded by a world-view 77

All items are fully described and photographed at peterharrington.co.uk 31 78 79

78 79 GARDNER, Erle Stanley. The Case of the Vel- GIBRAN, Kahlil. The Prophet. New York: Al- vet Claws. New York: Morrow, 1933 78 fred A. Knopf, 1923 Octavo. Original black cloth, titles to spine and front Octavo. Original black cloth, title gilt to spine and to the cover in red. Housed in a black quarter morocco solan- mistaken for bootleggers, although such suspicions front board together with a decorative roundel after a de- der box by the Chelsea Bindery. Front tip a little bumped, were not entirely unfounded: Sutro recalled at the sign by the author, top edge black. Housed in a custom spine ends and tips a little rubbed, cloth a little marked, end of their trip that “one oversight had occurred. black cloth folding case. Frontispiece and 11 other plates touch of offsetting to endpapers from pastedowns. A When returning to American waters, we had forgot- after drawings by Gibran. Spine tanned and the titles very nice, fresh copy. dulled, some marks to cloth, ends and corners somewhat ten to leave our rather ample supply of beverages in first edition, first printing, presenta- worn, small chip at lower gutter of one leaf with no loss to Canada. It was a blunder that paid off delightfully text, and one other leaf with small closed tear again not af- tion copy, inscribed by the author to his close for years” (Boating, p. 99). The voyage was the basis fecting text, still a good copy, sound and internally clean. friend on the front free endpaper, “To Adolph for Gardner’s short story “Beyond the Limit” (Sunset first edition, first printing. Gibran is one of G. Sutro with compliments & best wishes of Erle magazine, April 1925), featuring an eccentric yacht- a select group of literary geniuses whose greatest Stanley Gardner February 1933. All of which means owning millionaire based on Sutro. I hope you like this yarn, dealing as it does with a works were written in a language other than that Inscribed copies of this work—the first Perry Ma- lawyer who gets results and a snooty bitch, both of their birth. Gibran emigrated from Lebanon to son mystery and Gardner’s first full-length nov- characters being true to life”, and with Sutro’s the US and having published several works in Ara- el—are rare. Gardner’s reference in his inscrip- ownership stamp to the front pastedown. bic he produced The Prophet, his masterpiece, in tion to “a lawyer who gets results” is to himself: English in 1923 It has remained in print ever since. Adolph Gilbert Sutro (1891–1981) was the grandson a practising trial lawyer at the time of publication, This first printing, which ran to 2,000 copies, is of Adolph Sutro, the wealthy German-American he had made a name for himself representing Chi- now a scarce and coveted book in any state. engineer and mayor of San Francisco in 1894. A nese Americans and other minority clients. The “pragmatic millionaire yachtsman”, the younger book was an immediate best-seller, and Gardner £6,000 [127580] Sutro “had once read one of [Gardner’s] stories and left the law to write full time in the mid-1930s. told him, ‘If you get a check for that I’ll think it’s Adolph G. Sutro, “Alaska—a rollicking voyage North”, 80 a pippin. If you get a rejection slip, I’ll say it’s rot- pp. 46–9 & 86–9, in Boating (September 1969); Francis GIBRAN, Kahlil. The Prophet; The Madman; ten’” (Fugate, 2014). A decade before he inscribed Fugate, Secrets of the World’s Bestselling Writer: The Storytell- The Forerunner; Sand and Foam; Jesus the Son this copy, Gardner joined Sutro aboard the latter’s ing Techniques of Erle Stanley Gardner (2014); Brad Dimock, schooner, the Spray, on a sailing trip from San Fran- Sunk Without a Sound (2001). of Man; The Earth Gods; The Wanderer; The Garden of the Prophet; Prose Poems; Nymphs cisco to Alaska. On several occasions the crew were £12,500 [127697]

32 Christmas 2018: Peter Harrington 80 of the Valley; Spirits Rebellious; A Tear and a Smile. New York: Alfred A. Knopf, 1962–5 12 volumes, small quarto (246 × 182 mm) and 11 octavo 81 (200 × 134 mm). Finely bound by Sangorski & Sutcliffe in contemporary red morocco, titles gilt to spines di- title page; a truly rare Ginsberg item, self-printed ruins during this trip. Shields lived on the cocoa rect with two raised bands and gilt tooling, gilt border to sides, “O.C.S.” initials gilt to bottom fore-corners of and self-published in summer 1956 while aboard plantation on which the ruins stood, and had writ- front boards, gilt-ruled board edges and turn-ins, mar- a navy ship off the coast of Alaska, before he re- ten a number of scholarly papers on Mayan cul- bled endpapers, all edges gilt. Illustrated plates by Gi- turned to San Francisco and realised his literary ture and a popular book, Three in the Jungle (1944). bran. Spines evenly sunned, otherwise a fine set. destiny and fame as the author of Howl, published Shields had lived in Palenque since early child- An attractively bound set, collecting 1960s edi- that November. hood and had discovered a number of lost cities tions of each of his works originally published by Upon printing this work, Ginsberg sent 13 copies in the area, meaning that “she was just the sort of Knopf between 1918 and 1950, with the exception to his publisher Lawrence Ferlinghetti, instruct- person Allen needed to meet in order to see the of the large-format Twelve Drawings. The edition of ing him on 4 August 1956 to “keep one yourself real Mexico and when she invited him to visit her The Prophet is handsomely produced in somewhat and put the other dozen on sale at 50 cents each cocoa finca, he readily accepted” (Miles, p. 156). larger format from the rest, befitting its status if you think you can sell them. Give the proceeds Ginsberg’s first production had been the 25 mime- among his works. to Mike McClure for us for Moby Magazine. You can ographed and privately distributed copies of the £2,000 [127638] advertise them as a charity type shot for Moby. I original version of Howl in May of the same year. made up another forty and am keeping them or Siesta in Xbalba is a considerable rarity in the Gins- sending them out as whim strikes me” (Morgan, berg canon. Of the 53 copies produced, 33 are now 81 p. 5). Ginsberg sent one such copy to his father, held institutionally, and many others must have GINSBERG, Allen. Siesta in Xbalba and Re- Louis, who responded encouragingly. “It’s very in- been lost, leaving precious few available to collec- turn to the States. Icy Cape, Alaska: published by teresting with cinematic flashbacks of scenes and tors. Only three other copies are traced at auction, the author, July 1956 people. There is entangled in your lines a nostalgia of which only one was signed (in the Rechler sale Small quarto (204 × 165 mm), pp. 22. Mimeographed for the past and for ruins that make a pulpit for of 2002—conceivably the present copy). typescript, printed on both sides, stapled as issued. Sin- mortality. Congratulations!” (Miles, p. 206). Miles, Allen Ginsberg: Beat Poet (1989); ed. Morgan, The gle central crease, a spot of marginal foxing to first four Ginsberg’s second book is a long poem written Selected Correspondence of Lawrence Ferlinghetti and Allen pages; a remarkably well-maintained copy. during his 1954 travels in Mexico. The poem is Ginsberg 1955–1997 (2015); Morgan A2. first edition, sole impression, one of an dedicated to Karena Shields, a historian and an- £17,500 [127591] estimated 53 copies, signed by Ginsberg on the thropologist whom Ginsberg met in the Palenque

All items are fully described and photographed at peterharrington.co.uk 33 83

maybe Dylan until the announcer said that it was Ginsberg reciting Howl. Lennon admitted that he had never understood the poem before and told Allen that usually he couldn’t ‘get anything from 82 print.’ Once he heard Howl read aloud, he suddenly understood why Dylan dug it so much. For a dec- 82 tvic attempt by the sub-culture spokesmen to com- ade Lennon had known Allen was famous, but had (GINSBERG, Allen.) Chicago Trial Testimo- municate new consciousness to the entrenched never understood his true importance until then. establishment. Ginsberg’s astute attempt to bridge ny. San Francisco: City Lights Books, 1975 Immediately afterward Allen mailed John several the gap, typical of his special genius, climaxed with cassettes of his readings of Howl, Kaddish, and Blake. Quarto. Original illustrated wrappers, stapled at the a loud OM silencing Judge and courtroom at mo- Starstruck as always, Allen was proud that someone fold. Chip with small loss to the bottom corner of rear ment of intemperate quarrel.” wrapper, generally very good condition. of Lennon’s stature considered him a fellow artist Ginsberg, delighted with his performance, here worth listening to” (Bill Morgan, I Celebrate Myself: first edition, presentation copy from chose to present the evidence of it to his friend The Somewhat Private Life of Allen Ginsberg, pp. 516–17). ginsberg to john lennon and yoko ono, in- John Lennon. Ginsberg idolised Lennon and the scribed, “for John and Yoko, many happy returns, This copy has been read and annotated with sev- Beatles, as much for their star quality as for their Allen Ginsberg, July 20, 1976, N.Y.C.” eral marginal marks and ticks, not definitely ascrib- ability to reach large masses of people at a time. able to John or Yoko though that seems of course This City Lights printing is a verbatim transcript of He met them for the first time at a party in London most likely. Ginsberg mentioned the Beatles in the Ginsberg’s testimony as witness for the defendants after Bob Dylan’s concert on May 9, 1965, and over trial, regarding his and Abbie Hoffman’s plans for a at the “Chicago Seven” trial in 1969, following the the coming years, would spend more time with “Festival of Life”: “Mr. Hoffman asked me if I could arrest of Abbie Hoffman, Jerry Rubin, David Del- Lennon after concerts, at studio recordings, and contact the Beatles or Bob Dylan and tell them what linger, Tom Hayden, Rennie Davis, John Froines, on visits to his apartment. was afoot and ask them if they could join us so that and Lee Weiner for organising the anti-Vietnam During a 1976 visit to their home in the Dakota we could actually put on a really beautiful thing that protests at the 1968 Democratic National Conven- apartments, Lennon and Ono mentioned they “had would turn everybody on in the sense of like uplift tion in Chicago. Many figures of the cultural left retired temporarily from the Los Angeles music everybody’s spirit and show actually what we were were called upon as witnesses, including Phil Ochs, scene. They were staying in New York with their actually feeling as far as delight instead of the hor- Judy Collins, Arlo Guthrie, Norman Mailer, and new baby to try, like Allen, to maintain a healthy ror that was surrounding us.” Timothy Leary. Ginsberg in particular baffled the lifestyle . . . Lennon preferred New York after all the courtroom with his poetic recitals and “Om” chant- £7,500 [126146] cocaine madness around Hollywood. He told how ing. The City Lights blurb thus enthuses: “This his- one night as he listened to the radio he heard some- torical legal proceeding demonstrated a bodhisat- one reading a long poem on the air. He thought

34 Christmas 2018: Peter Harrington 84 85 86

83 84 beautiful condition. The text was changed to avoid (GRAHAME, Kenneth.) MILNE, A. A. Toad GRAVES, Robert. I, Claudius [and:] Claudius a libel suit threatened by J. B. Priestley, one of Heinemann’s biggest authors. Greene recalled in of Toad Hall. A play from Kenneth Grahame’s the God and his wife Messalina. London: Ar- A Sort of Life that it was made clear “that if Heine- Book “The Wind in the Willows”. London: thur Barker, 1934 mann were going to lose an author, they would Methuen & Co. Ltd, 1929 2 works, octavo (208 × 132 mm). Recent black full mo- much prefer to lose me”. Two whole sections were Large octavo. Original blue cloth-backed cream paper rocco by Asprey, titles in gilt to spines in compartments, reprinted, as the original sheets had not yet been boards, printed paper label to front cover, top edge single rule gilt frame to covers, single rule to cover edges bound and no pages needed cancelling. trimmed, others untrimmed, pages unopened, the spare and turn-ins in gilt, grey marbled endpapers, all edges label tipped-in at rear, as issued. Front board very gently gilt. With 3 folding genealogical tables. A fine set. £4,500 [126638] bowed, one tip a bit rubbed, top edge faintly dust toned, first editions, first impressions, of Graves’s a near-fine, unopened copy in the notably fresh jacket, first two historical novels, in a handsome binding. 86 entirely unrestored, with a few minor nicks to extremi- I, Claudius was the winner of the Hawthornden and ties, short closed tear to foot of front panel. GREENE, Graham. Our Man in Havana. An James Tait Black memorial prizes, and in 1976 was entertainment. London: Heinemann, 1958 first edition, signed limited issue, num- adapted into a critically acclaimed BBC television ber 58 of 200 copies signed by both Grahame and production, starring Derek Jacobi. Octavo. Original blue cloth, spine lettered in gilt, publisher’s device in blind to rear cover. With the dust jacket. Milne and printed on handmade paper. This was Higginson A42; Higginson A43. the first adaptation of the novel, first performed at Spine ends lightly bumped, spine ends and tips a little £2,500 [129120] rubbed, faint mottling to front cover, cloth otherwise the Lyric Theatre on 17 December 1929, and highly bright, a touch of foxing to edges and a couple of pages. successful. Milne’s introduction states “I have, A near-fine copy in the crisp jacket, spine panel slightly I hope, made some sort of entertainment, with 85 faded, spine ends a little creased and rubbed with a few enough of Kenneth Grahame in it to appease his GREENE, Graham. Stamboul Train. London: tiny nicks, a little foxing to rear panel. many admirers, and enough of me in it to justify Heinemann, 1932 first edition, first impression, warmly in- my name upon the title-page”. Octavo. Original black cloth, titles to spine gilt. With scribed by the author on the front free end- £2,500 [127523] the Youngman Carter designed dust jacket. Spine rolled, paper, “For James, who has rescued me from so front hinge cracked but holding, contents clean and much in San Paolo, with grateful affection—can tight. A near-fine copy in a superb example of the jacket, one say that after two days? From Graham, San crisp and bright, short closed tear to head of front panel Paolo July 29 1960”, and with James Currie’s book- with a little associated creasing and no loss. plate to the front pastedown. first edition, first impression, with the cor- Miller 37a. rected text as usual, rare with the jacket in such £3,750 [126683]

All items are fully described and photographed at peterharrington.co.uk 35 87 88

87 tool by the Guinness Book of World Records. Complete 89 (GUINNESS.) Complete set of the Guinness sets are uncommon on the market. The first edi- HAMMETT, Dashiell. [Complete detective tion, first impression of the Guinness Alice has a Christmas books. Dublin: Guinness, St. James’s laid-in compliments slip from Arthur Guinness, novels:] Red Harvest; The Dain Curse; The Gate, 1933–66 Son and Company, as do 11 further publications. Maltese Falcon; The Glass Key; The Thin Man. 26 works, octavo and quarto. Original pictorial wrappers New York & London: Alfred A. Knopf, 1929–34 £4,750 [105183] stapled. Housed in a full black morocco solander box by 5 volumes, octavo. Finely bound by the Chelsea Bindery the Chelsea Bindery with a white morocco head imitating in dark blue morocco, pictorial motifs gilt to front boards a pint of Guinness and the Guinness logo blocked gilt to 88 after the originals, single rule to boards, twin rule to turn- spine. Illustrations by John Gilroy, Rex Whistler, H. M. HAMILTON, Patrick. Hangover Square or The ins, burgundy endpapers, gilt edges. Housed in a dark Bateman, Antony Groves-Raines, Ronald Ferns, Edward blue cloth slipcase by the Chelsea Bindery. A fine set. Ardizzone, John Nash, Rowland Emmett, Gerard Hoff- Man With Two Minds. London: Constable, 1941 first editions, first printings, of the complete nung, Michael ffolkes, and John Ireland. A little toning Octavo. Original buff cloth, titles to spine in red. With the to a few of the wrappers, minor paper abrasion to single dust jacket. Contemporary gift inscription to front free series of Hammett’s seminal full-length detective front wrapper, a few dark spots to text blocks. Otherwise endpaper. Spine a little sunned, rear fore-corner slightly novels. As usual The Glass Key is the first American a near-fine set. bumped, endpapers and edges a touch foxed, contents edition; the first impression was printed in London first editions, first impressions, of the otherwise clean. A very good copy in bright cloth in the in the same year during Knopf ’s ill-fated attempt to complete set of Guinness Christmas books, with scarce jacket, spine panel somewhat toned, ends a bit break into the British market and is scarce. an additional, fully-coloured, second impression nicked and chipped, couple of shallow chips to extremities, front flap price-clipped, closed tear to rear flap, still a £12,500 [116919] of the first publication, the Guinness Alice. Guin- bright and remarkably well-preserved example. ness began sending promotional booklets to doc- 90 tors in 1933, continuing the practice up until the first edition, first impression, of this war- beginning of the Second World War, and then res- time publication, especially rare with the jacket [HARDY, Thomas.] Desperate Remedies. urrected it in 1950 until 1966. They began as gentle in such nice condition. Hamilton’s masterpiece London: Tinsley Brothers, 1871 parodies of Lewis Carroll and other 19th-century provided the title, but not much else, for the 1945 3 volumes, octavo (185 × 123 mm). Recent brown crushed stalwarts such as Edward Lear, and in time were film noir. morocco, spines lettered and tooled in gilt, double gilt updated to include satires on the machine age and £2,500 [126658] fillet to covers, gilt turn-ins, brown endpapers, with the finally the vogue for foreign travel. Every publica- original cloth bound in at end. Light foxing to half-title of vol. I, else a fine, clean copy. tion from 1933 to 1966 was a high quality booklet with rhymes, text and cartoons created by some of first edition of hardy’s first book, signed the top illustrators and writers of the time. Even- by the author on the half-title verso of volume tually the series was superseded as a marketing I. Published anonymously by Tinsley Brothers, the

36 Christmas 2018: Peter Harrington 89 90 91 novel was printed in an edition of 500 copies on 25 rocco book label, two of the great American book The Buccaneers on her. Hardy encountered her in the March 1871. While positively reviewed in the Ath- collectors. salons and, per Millgate, once heard her give an enaeum (April 1) and the Morning Post (13 April), the Purdy, pp. 96–7; Sadleir 1119; Wolff 2999. impressive recitation of the entirety of “Elegy in a Spectator (22 April) was savage. Partially due to this, Country Churchyard” at Thomas Gray’s grave. £2,500 [127693] sales were not good: within three months, Smith Presentation copies of this work are rare. Hardy’s and Son’s and Mudies were offering it for a tenth bibliographer Purdy knew of four, inscribed to of the original price. The work was never reprinted 92 Gosse, the Earl of Pembroke, Sir Francis Jeune, in its original three-volume form and Hardy him- HARDY, Thomas. Life’s Little Ironies. Lon- and the publisher Clarence McIlvaine. We have ad- self destroyed the original manuscript. don: Osgood, McIlvaine and Co., 1894 ditionally handled copies presented to the Coun- Purdy, pp. 3–5. Octavo (184 × 119 mm). Contemporary green half calf, tess of Malmesbury and Lord Houghton. £13,500 [127687] spine lettered in gilt, marbled sides and endpapers. Purdy, pp. 81–6. Housed in a custom blue cloth box, spine lettered in gilt. Light rubbing to extremities, joints beginning to split £8,000 [127692] 91 but still firm. A very good, attractive copy. HARDY, Thomas. Wessex Tales. London: Mac- first edition, presentation copy, inscribed millan and Co., 1888 by the author on the front free endpaper to Con- 2 volumes, octavo. Original green cloth, spines lettered suelo Montagu, Duchess of Manchester: “To The in gilt, covers ruled in blind. Housed in a custom green Duchess of Manchester. From Thomas Hardy. cloth slipcase, spine lettered in gilt. Frontispiece, twelve Feb. 1894”. The copy was specially bound for the full-page illustrations and eighteen head- and tailpieces duchess, with the crowned letter “M” in gilt on drawn by Hardy. Lightly rolled, cloth a little marked, the front cover, and with her bookplate to the black patch to spine of vol. I, some pages unopened, front pastedown. Born on a Louisiana plantation small residue mark to splicase. A very good copy. to an aristocratic Cuban father and a New Eng- first edition of hardy’s first collection land mother, Maria Consuelo Yznaga del Valle of short stories, one of only 634 copies bound (1858–1909) married George Montagu, Viscount up (of 750 printed). With a distinguished book Monteville and later 8th Duke of Manchester, in collecting provenance, being the copy of Carl H. 1876. She was a fixture of London salon life, and Pforzheimer with his library stamps to the rear following her husband’s death in 1892 she became pastedown, and of Herschel V. Jones with his mo- one of the most prominent social hostesses of her era. Sargent painted her portrait, and Edith Whar- ton based the character of “Conchita Closson” in 92

All items are fully described and photographed at peterharrington.co.uk 37 93 94 95

93 the Real” (Rosemarie Morgan, Student Companion to wrapper. Golding has laid in a clipping from the HARDY, Thomas. Time’s Laughingstocks Thomas Hardy, 2007, p. 194). 14 October 1966 New Statesman printing three of Presentation copies of this work are rare. Hardy’s Heaney’s poems “Relic of Memory”, “May Day”, and Other Verses. London: Macmillan and Co., and “Aubade”, of which only the first was collected Limited, 1909 bibliographer Purdy knew of six, inscribed to his sister Mary, Florence Dugdale, Edward Clodd, Ed- in Door into the Dark (1969). Octavo. Original green cloth, spine lettered in gilt, gilt mund Gosse, Henry Newbolt, and the Vice-Chan- monogram within roundel to front cover. Bookplate of £8,500 [127277] dedicatee to pastedown, lightly offsetting to endpaper. cellor of Oxford. The Vice-Chancellor’s copy was Spine lightly sunned, slight bumps at extremities, a few auctioned at Sotheby’s in 1961, with the Dugdale 95 trivial marks to cloth, else a near-fine copy. and Gosse copies appearing at the same auction house in 2001. HEANEY, Seamus. North. London: Faber and first edition, first impression, presenta- Faber Ltd, 1975 tion copy, inscribed by the author on the front Purdy, pp. 138–50. free endpaper in the month of publication: “The Octavo. Original blue cloth, titles to spine gilt. With the £6,750 [127834] dust jacket. Ownership inscription “Thwaite” to front Earl of Crewe, from Thomas Hardy. December free endpaper. Cloth and jacket both somewhat mottled, 1909”. The recipient was Robert Crewe-Milnes 94 ends and corners lightly rubbed, foxing to endpapers (1858–1945), the accomplished Liberal statesman. and blanks, small tears or chips to jacket ends at front Then the Earl of Crewe, he was later elevated to the HEANEY, Seamus. Eleven Poems. Belfast: Fes- joint and the upper fore-corner, a good copy. Marquess of Crewe, the title by which he is now tival Publications, [1965] first edition, first impression, signed by known. He had previously held the title of Lord Single octavo quire, printed card wrappers as issued. the author on the title page, the scarce cloth Houghton, and it was in this position that he and Housed in a black flat-back cloth box by the Chelsea issue. With the ownership inscription of Anthony Bindery. Faint toning at the spine fold, else a fine copy. Hardy met. In May 1893 Hardy had visited his Vice- Thwaite (b. 1930), an important English poet and regal Lodge in Dublin, where a “life-altering event” first edition, the coveted first issue editor of “the Movement”, and the literary execu- occurred: “the door was opened to Hardy by a re- with the nine-pointed star to front cover. This is tor of Philip Larkin. Thwaite had favourably remarkably handsome woman—Lord Houghton’s Heaney’s first published work, with the printed viewed Heaney’s 1969 collection Door into the Dark sister. This ‘charming intuitive woman’ (as Hardy notice with regard to his “First book of poems, in the New Statesman, welcoming him into “the described her on first meeting) was Florence Hen- ‘Death of a Naturalist’, due from Faber, Spring Tribe of Ted” (Hughes). niker, and she was to become his most cherished 1966”. This copy comes from the library of Martin lifelong friend. Henniker was already the author S. Golding, librarian and director of English stud- £1,750 [126140] of three novels, and later she and Hardy would ies at Peterhouse, Cambridge, with his contem- collaborate as authors, on another—The Spectre of porary ink ownership inscription inside the front

38 Christmas 2018: Peter Harrington 96 HEARN, Lafcadio. The Writings. Boston: Houghton Mifflin Company, 1922 16 volumes, octavo. Bound at The Riverside Press for the publishers in full red morocco, title and decoration to spine gilt, covers panelled in gilt, turn-ins and top edges gilt, others untrimmed, red silk endpapers, red silk page markers. Title pages printed in red and black. Colour frontispieces and photogravure plates, largely from photographs by Charles S. Olcott, all printed on japon and with captioned tissue guards. A little occasional scuffing to covers, a near-fine, very attractively bound set, partially unopened. limited edition, number 16 of 750 large paper copies, with a manuscript leaf by Hearn inlaid and bound in to volume I, and signed by his widow, Setsu Koizumi, on an inserted japon leaf, all as issued. The leaf is from one of the autobiographic papers found after Hearn’s death, recording inci- dents from his early years. The fragment is from a piece entitled “My Guardian Angel”. In it, Hearn recalls how, when he was nearly six years old, a visitor named Cousin Jane instructed him about hell- fire, the knowledge of which disturbed him deeply. He subsequently acquired such a fear of Cousin 97 Jane that he hallucinated her faceless presence one night. A portion of his description of the incident is Japanese culture and literature, as well as his im- Tall octavo. Original paper covered boards printed in contained in this autograph leaf: “I cried out in as- pressions of New Orleans. This is the first appear- red with titles in black, edges uncut. Woodcut portrait tonishment, “Cousin Jane!”—but she did not seem ance in print of Creole Sketches. frontispiece of the author by Henry Strater. A near-fine to hear; and she walked on slowly, with her head copy, bright and crisp, with a little wear to the corners £4,250 [126574] of the spine. still thrown back that I could see nothing of her face above the chin. She walked directly past me . . .” first edition, number 137 of 170 copies on Rives 97 handmade paper. Hemingway’s second book was Lafcadio Hearn (1850–1904) was an American published in a small edition, the final part of a journalist and author known for his writings on HEMINGWAY, Ernest. In Our Time. Paris: Three Mountains Press, 1924 series published by the Three Mountains Press under the editorship of Ezra Pound, entitled ‘The Inquest into the state of contemporary English prose’. Having got hold of a copy, F. Scott Fitzger- ald wrote immediately to Maxwell Perkins: “This is to tell you about a young man named Ernest Hem- mingway [sic] . . . I’d look him up right away. He’s the real thing” (10 October 1924). The fragile nature of this production means copies have not generally worn well, so copies as well preserved as this are very seldom encountered. Hanneman A2(a); Connolly, The Modern Movement 49. £37,500 [126981]

All items are fully described and photographed at peterharrington.co.uk 39 98 99 100

98 99 101 HEMINGWAY, Ernest. The Old Man and the HEMINGWAY, Ernest. Two Christmas Tales. HUGHES, Ted. Wolf-Watching; Great Dream Sea. New York: Charles Scribner’s Sons, 1952 Illustrated by Victor Anderson. Berkeley: The of Elephants; Mice are Funny Little Crea- Octavo. Original light blue calico-grain cloth, spine let- Hart Press, 1959 tures; Weasels at Work; Fly Inspects. [North tered in silver, author’s name to front board in blind. Small quarto. Original illustrated wrappers, titles to Tawton, Devon:] Morrigu Press, 1982–3 With the pictorial dust jacket. Spine a touch faded, else a front cover in black. Decorated title page and histori- 5 volumes. Original wrappers, hand-stitched as issued, fine copy in the unusually fresh jacket, remarkably sharp ated initials. Minor fading to wrappers, corners lightly labels lettered in red to front wrappers. Each volume and bright, with just a hint of sunning to spine panel and creased. An excellent copy. with a colophon etching of a crow by Leonard Baskin and tiny faint mark to head of spine panel. first edition in book form, published as a the final three volumes with an etching of a mouse, wea- first edition, first printing, in the first is- limited edition of 150 copies, none of which were sel and fly to the respective title pages, also by Baskin. sue jacket, rare in such lovely condition. The offered for sale. The tales originally appeared in Mainly near-fine copies, with a little dampness to the corner of Wolf-Watching, and a little bleed from the colour jacket has the points as called for by Grissom: it the Toronto Star Weekly, on 23 December 1923. With wrappers of a couple of copies. is printed in brown and there is no mention of the publisher’s compliments slip laid-in. Hemingway’s Nobel Prize. Previously, much has first editions, first impressions, a com- been made of the colour tint on the rear panel por- £1,750 [99897] plete set of the morrigu press booklets, trait on the dust jacket as an issue point. However, each number 10 of 75 copies only, presentation Grissom refutes Hanneman’s earlier assertion 100 copies, inscribed by the author and Nicholas that the blue tinted photograph on the rear panel HERBERT, Frank. Dune. Philadelphia: Chilton Hughes, who hand-printed the work, to Olwyn predates the olive tint, noting, “the identification Books, 1965 Hughes, Ted’s sister and Nicholas’s aunt, on the of a first-printing jacket does not require identify- colophon in Ted’s hand, “For Olwyn with love Octavo. Original light blue cloth, spine lettered in white, ing ambiguous rear-jacket colours: It is the brown from Ted and [in Nicholas’s hand] Nicholas”. decorative endpapers. With the dust jacket designed by printing on the flaps and rear panel that identify John Schoenherr. Spine ends and head of covers lightly Hughes was very close to his sister Olwyn. Af- the first-printing Scribner’s jacket”. sunned, contents clean. A near-fine copy in the lightly ter Plath’s suicide in 1963 Olwyn helped to bring Grissom A24.1.a; Hanneman 24a. rubbed jacket, spine panel sunned, foot of spine a bit up their children, became her brother’s literary nicked, short closed tear to front fold. agent, established the Rainbow Press with Ted in £3,000 [127562] first edition, first printing. Dune won the 1971 to produce fine press editions of his works, first Nebula Award for Best Novel in 1966 and the and remained devoted to him her entire life. This Hugo Award the following year. copy is from the library of Frieda Hughes, daugh- £4,500 [126881]

40 Christmas 2018: Peter Harrington 101 101 102 ter of Ted Hughes and Sylvia Plath and sister of January 27 1931”. Isherwood then gifted the book 103 Nicholas, though unmarked as such. to Hamilton with the inscription, “Handed on to JAMES, P. D. A Mind to Murder. London: Faber Sagar & Tabor A79–84. Comrade Hamilton with revolutionary greetings Nov. 15. 32, Christopher I.” Twenty-five years later and Faber, 1963 £3,750 [126488] Hamilton passed on the book to an unidentified Octavo. Original red cloth, titles to spine gilt. With the recipient, inscribing it, “To Brest[?] from Com- dust jacket. Spine rolled, otherwise a near-fine copy in the jacket with a few trivial nicks to edges. 102 rade Gerald Hamilton Jan 1958”. first edition, first impression, of the au- (ISHERWOOD, Christopher, & Stephen The first inscription dates to Spender’s first visit thor’s second book, the second in the Adam Dal- Spender.) RAYNAL, Maurice. Picasso. Aus to Berlin in early 1931 to be with Isherwood, who gliesh series. dem französischen Manuskript übersetzt had lived there since 1929. It was in Berlin that von Dr. Ludwig Gorm Zeite, vermehrte Au- Isherwood met Hamilton in the winter of 1930–1. £2,500 [126846] flage mit 8 Kupferdrucken und 99 Abbil- Hamilton was employed in Berlin as the German dungstafeln nach Radierungen, Handzeich- sales representative for The Times and would become the model for Isherwood’s conman in Mr nungen, Skulpturen und Gemälden. Munich: Norris Changes Trains (1935). “Prior to the novel’s Delphin-Verlag, 1921 publication Hamilton expressed hurt and alarm at Square octavo. Original buff cloth, spine lettered in the many similarities between himself and Norris, black, design to front cover in black, top edge black. Pho- and was particularly offended by Norris’s betrayal tographic frontispiece and 106 black and white plates. of his communist associates—something Hamil- Spine and edges of covers toned, cloth slightly marked and soiled, boards gently bowed, a couple of bumps to ton claimed himself incapable of doing. He was board edges, hinges cracked but holding, edges a little subsequently won round by Isherwood’s reassur- toned, a little marking to endpapers, plates clean. A very ances, and later settled comfortably into his role good copy. as a literary prototype” (ODNB). first edition, first impression, a superb £2,500 [126222] association copy, with three remarkable gift inscriptions on the front free endpaper by Ste- phen Spender, Christopher Isherwood, and Ger- ald Hamilton. The first is from Spender to Isher- wood, “For Christopher Isherwood from Stephen 103

All items are fully described and photographed at peterharrington.co.uk 41 104 105

104 ings had, in philology, the effect which Newton’s but very good. The folding case has the bookplate of the renowned Joyce collector Alexander Neubauer. JOHNSON, Samuel. A Dictionary of the Eng- discoveries had in mathematics” (Webster). lish Language. London: by W. Strahan, for J. and Courtney and Smith p. 54; Chapman & Hazen p. 137; James Joyce writes to Beryl de Zoete (1879–1962) Fleeman 554D/1a; Printing and the Mind of Man 201; declining her proposal that he provide a preface to P. Knapton; T. and T. Longman; C. Hitch and L. Rothschild 1237. her translation of Italo Svevo’s novel Senilita. Joyce Hawes; A. Millar; and R. and J. Dodsley, 1755 £14,500 [72604] recommends Ford Madox Ford in his place and as- 2 volumes, folio (415 × 257 mm). Sometime rebound to sures de Zoete that Ford “has promised to write style in half calf, red and black morocco labels, raised Unpublished letter signed by Joyce it.” Joyce adds: “In reply to your question, yes, bands, old marbled paper sides. Paper restoration at Schmitz [Ettore Schmitz, alias Italo Svevo] was lower margin and upper inner corner of first title leaf and 105 born a Jew, became a christian when he marries at top margin of second leaf, sporadic minor browning; front free endpaper of vol. I loose. A good copy. JOYCE, James. Typed letter signed to Beryl Miss Livia Veneziani and was buried in the Jewish cemetery of Trieste.” first edition of this most famous of English dic- de Zoete. Paris: 192 rue de Grenelle, 4 January 1931 tionaries. This work has at various times been called [together with the 1950 New Directions book- Although unwilling to provide a preface for de “the most important British cultural monument of let printing Svevo’s 1927 lecture on Joyce.] Zoete’s translation, Joyce did suggest its English title, “As a Man Grows Older”. The book was ul- the 18th century” (Hitchings); “the only dictionary Single page (230 × 160 mm), cream deckle-edged paper, [of the English language] compiled by a writer of the typed in black and signed in full. Svevo lecture a sextodec- timately published under that title with an intro- first rank” (Robert Burchfield); “the most amazing, imo booklet in plain card wrappers with photographically duction by Stanislaus Joyce. This letter remains enduring and endearing one-man feat in the field illustrated dust jacket. Housed together in a blue quarter unpublished, although a published letter to Livia of lexicography” (PMM); and the first genuinely de- morocco solander box by the Chelsea Bindery. The letter Svevo, 25 Jan. 1931, makes reference to it and re- with vertical and horizontal crease from folding but other- scriptive dictionary in any language. “Johnson’s writ- states Joyce’s long-standing decision not to write wise excellent, the lecture a little rubbed at the extremities critical essays or prefaces.

42 Christmas 2018: Peter Harrington The accompanying booklet is entitled James Joyce, A Lecture Delivered in Milan in 1927 by his friend Italo Svevo, And now translated by Stanislaus Joyce for James Laughlin as a keep-sake for his friends and those of New Directions. It was printed in Christmas 1950, in an edition of 1,600 numbered copies and published in America by New Directions. This copy is number 26, and is inscribed by James Laughlin to the legendary English bookseller George Sims (1923– 1999), “For G. F. Sims from J. Laughlin”. £13,750 [127296]

106 (KAUFFER, E. McKnight.) DEFOE, Daniel. The life and strange surprizing adventures of Robinson Crusoe of York Mariner. London: 107 108 Frederick Etchells & Hugh Macdonald, 1929 Octavo. Finely bound by the Chelsea Bindery in terracotta morocco, two raised bands to spine with green 107 108 morocco block, pictorial block to front board gilt, twin KEYNES, John Maynard. The General Theo- KIPLING, Rudyard. The Jungle Book; [to- rule to turn-ins, dark green endpapers, gilt edges. With 7 hand coloured illustrations by E. McKnight Kauffer, us- ry of Employment Interest and Money. Lon- gether with:] The Second Jungle Book. Lon- ing the pochoir process. A fine copy. don: Macmillan and Co, Limited, 1936 don: Macmillan and Co., 1894 & 1895 first edition, number 510 of 500 copies un- Octavo. Original dark green cloth, titles to spine gilt, 2 works, octavo. Original blue cloth, spines lettered in signed (there were 35 signed). Kauffer was born in double rules to spine gilt and to boards in blind. With gilt, pictorial designs to front covers in gilt, green coated the dust jacket. Contemporary ownership inscription endpapers, edges gilt. Illustrated frontispiece to The Jun- the United States but settled in England in 1914 He and bookseller’s stamp to front free endpaper. Spine gle Book, illustrations in the text of both volumes. Spines was a member of both Wyndham Lewis’s Group X gently rolled, corners of front boards slightly bumped, gently rolled and slightly faded, a touch of wear to ex- and the Cumberland Market Group. Kauffer’s real edges of text block and endleaves a little spotted, light tremities, a few small spots to covers, a bit of bubbling to genius was in advertising art: he produced seminal partial tanning to free endpapers. An excellent copy in a sides of The Second Jungle Book but cloth notably bright, a posters for the London Transport Board and for mildly chipped, toned and spotted price-clipped jacket little foxing to contents. A very good pair. the Great Western Railway, as well as book jackets with mild toning and spotting, a few small chips and two first editions. The two Jungle Books were collec- tiny ink stains to front panel. and illustrations. tions of stories which had previously appeared in £1,750 [125858] first edition, first impression. Written in periodicals. Originally published in book form in the aftermath of the great depression, Keynes’s a print run of 7,000 and 10,000 respectively, they masterwork is generally regarded as probably the went through numerous reprints and have re- most influential social science treatise of the cen- mained two of Kipling’s best known works. tury; it quickly and permanently changed the way Richards A76 & A85. the world looked at the economy and the role of government in society. £3,500 [126049] Moggridge A10.1; Printing and the Mind of Man 423. £6,500 [96982]

106

All items are fully described and photographed at peterharrington.co.uk 43 110

are an extended bibliography and a lavishly illustrated biography. £2,500 [126476]

111 LANG, Andrew (ed.) The Violet Fairy Book. London: Longmans, Green, and Co., 1901 Octavo. Original purple cloth, titles and elaborate pictorial designs to spine and front cover in gilt, black endpapers, edges gilt. With the dust jacket. Colour frontispiece 109 109 110 KIPLING, Rudyard. The Works. London: Mac- KOONS, Jeff. Koons. Cologne: Taschen, 2007 millan & Co., 1913–38 Folio. Original pictorial cloth. Housed in a red cloth so- 31 volumes, octavo. Finely bound by Asprey in blue half lander box. Fine. morocco, titles and decoration to spines gilt, raised bands, signed limited edition, one of 1,500 num- blue cloth boards, marbled endpapers, top edges gilt. Mild bered copies, signed by the artist. This exhaustive browning to the signed half-title, else an excellent set. monograph, the most comprehensive study of the The Bombay Edition, signed by the author on the artist’s work yet published, includes a biographical half-title of vol. I, one of only 500 possible com- essay by Interview magazine editor-in-chief Ingrid plete sets. The Bombay edition was initially pub- Sischy, as well as a text by Eckhard Schneider’s lished in 20 volumes and limited to 1,000 copies. analyzing Koons from a European perspective. Ar- The edition eventually grew to 31 volumes, but the ranged in chronological chapters by work groups, last 11 volumes were limited to 500 copies only. the main body of the book features art historian Because the later volumes were issued separately and critic Katy Siegel’s detailed analyses alongside and at a lower limitation, complete sets such as hundreds of large-format images tracing Koons’s this are rare. career from 1979 to date. Rounding off the book £12,500 [127234] 111

44 Christmas 2018: Peter Harrington 126029

112 113 114 with tissue guard, 7 colour plates, 25 full-page engraved 113 he overcame the difficulties lying in the way of an plates, illustrations within the text. Spine ends lightly LAWRENCE, D. H. Lady Chatterley’s Lover. individual publishing and distributing his own bumped, faint marking to rear cover, else a very good, book. With the help of the Florentine bookseller bright copy in the dust jacket, small chips at extremities, Florence: Privately Printed, 1928 Pino Orioli, the handsome volume was printed spine panel a little darkened, short tear at head of rear Square octavo. Original pinkish-brown paper covered fold, a few faint soiling patches. in and distributed from Florence, and made Law- boards, printed spine label, Lawrence’s phoenix device rence more money than he had ever imagined” first edition, first impression, of the sev- blocked in black on front cover, untrimmed and largely unopened. With the unprinted cream dust jacket. (ODNB). The unexpurgated text was not published enth title in the Fairy Book series, and scarce in the in the UK until 1960. dust jacket. Housed in a brown cloth box with printed spine label and phoenix device blocked in black to the front by the Chel- Roberts & Poplawski A42a (not mentioning the existence £2,000 [128647] sea Bindery. Couple of faint marks to boards, light foxing of the dust jacket). to edges, contents clean. A near-fine copy in the fragile £15,000 [126044] 112 LANG, Andrew (ed.) The Brown Fairy Book. 114 London: Longmans, Green, and Co, 1904 LE CARRÉ, John. Call for the Dead. London: Octavo. Original brown cloth, spine lettered in gilt, elabo- Victor Gollancz, Ltd, 1961 rate pictorial decorations to front cover in gilt, brown coat- Octavo. Original red boards, titles to spine in gilt. With ed endpapers with illustrations in silver, edges gilt. With the dust jacket. Housed in a custom brown folding case. the dust jacket. Colour frontispiece with tissue guard, vi- A fine copy in the crisp and fresh jacket, head of spine just gnette engraved title page, 7 colour plates, 22 black and 113 slightly nicked. An exceptionally well-preserved example. white plates and numerous engraved illustrations in the text. Spine ends lightly bumped, else a very good copy in first edition, first impression, of Le Carré’s the dust jacket, with slight chipping at extremities and to jacket, slightly foxed and extremities lightly nicked; a first book and the inaugural appearance of Smiley, rear fold, and a small mark to foot of spine panel. very well-preserved example. rare in such beautiful condition. first edition, first impression, of the ninth first edition, number 78 of 1,000 copies signed £17,500 [126029] instalment in Lang’s Fairy Books series, gathering by Lawrence, uncommon in the jacket. “The publi- exotic tales from North America, Brazil, Australia, cation (for subscribers) of the final version of Lady Africa, Persia, India, Lapland and the Pacific Is- Chatterley’s Lover—written in the astonishing time lands, and scarce in the dust jacket. of just five weeks, in one of Lawrence’s last great £1,750 [128646] bursts of creative energy—also sustained him, as

All items are fully described and photographed at peterharrington.co.uk 45 115 116 117

115 process, 80 plates of scripts on 40 sheets, double-page de Laval invented the technique of “Lottinoplas- engraved route map. Atlas: a little skilful refurbishment LENNON, John. A Spaniard in the Works. tie” for taking moulds of sculptures using papier to extremities of spine, touch of foxing to margins of maché and was the author of the Manuel complet de London: Jonathan Cape, 1965 lithographs, overall a particularly attractive set. Lottinoplastie, l’ art du moulage de la sculpture en’ bas-re- Octavo. Original pictorial laminated boards, front cover first edition, an exceptional copy from one of lief et en creux mis à la portée de tout le monde (Paris: Du- and spine lettered in white on pink ground. Without a the finest libraries of the 19th century, the Bib- sacq, 1857). He used the process to mould entire dust jacket, as issued. Laminate at joints lifting slightly, liothèque du Barante, with engraved armorial as invariably happens, a couple of tiny spots of foxing to monuments in the Middle East, returning with bookplate in the text volume. The prime mover edges, else a fine, fresh copy. some 200 kilograms of lottinoplasties; the French in the expansion of the library was Prosper Bru- government later acquired the process from him. first edition, first impression, signed by giere, Baron Barante (1782–1866), who would This is a superbly illustrated and important work the author on the front free endpaper. Len- have acquired this set, which is decidedly scarce with a fine provenance. non’s second book, A Spaniard in the Works is a col- when accompanied by the volume of text. Lottin lection of nonsensical stories and drawings much Blackmer 1033 (with the atlas); Brunet III 1181; Gay 81; de Laval (1810–1903), under the direction of the Ibrahim-Hilmy I 393. like his first book, In His Own Write (1964). French government, was commissioned by the £12,500 [126035] £6,500 [127033] Orientalist and archaeologist Félicien de Saulcy to reconstruct the path of the Israelites in their 117 116 exodus from Egypt. Setting off from Alexandria, Lottin de Laval, in the company of an Egyptian MACDIARMID, Hugh. A Drunk Man Looks LOTTIN DE LAVAL, Pierre-Victorien. Voy- servant, three Bedouins and six camels, travelled at a Thistle. Edinburgh: William Blackwood & age dans la péninsule arabique du Sinaï et along the coast of the Gulf of Suez before arriv- Sons Ltd, 1926 l’Égypte moyenne histoire, géographie, épig- ing at the monastery of St. Catherine at Sinai. He Octavo. Original dark blue cloth, spine and front cover raphie. Paris: Gide et Cie, 1855–9 climbed Mount Sinai (Gabal Musa) and explored lettered in gilt, double rule border in blind to front cover 2 volumes, quarto text (269 × 207 mm) and folio atlas the massif from Serabit el-Khadim (southwest Si- enclosing gilt vignette. With the dust jacket. Spine gently (477 × 308 mm). Publisher’s binding of deep purple quar- nai Peninsula). He was back in Suez at the end of rolled, a little pale foxing to edges and a few pages, con- ter morocco (tickets of the Parisian fine art dealer Léon March but fell ill and was forced to stay in Cairo tents generally clean. A very good copy in the scarce jack- Berville), purple straight-grained morocco cloth sides for several weeks. In May 1851 he returned to Paris et, spine slightly toned and a little marked, head of spine (atlas lettered in gilt on front cover), speckled edges, with a remarkable collection of objects, casts and and a couple of tips a little chipped, panels lightly foxed. marbled endpapers, cloth hinges. 15 tinted lithographic inscriptions that were bequeathed to the Louvre. plates by Eugene Cicéri or Léon Jean-Baptiste Sabatier first edition, first impression, a nice associ- after the author, 17 photolithographed plates of inscrip- The work includes some of the earliest examples ation copy, with the illustrated bookplate of fellow tions on stone printed by Lemercier using the Poitevin of photography applied to book illustration. Lottin Scots poet Charles Murray (1864–1941). Murray

46 Christmas 2018: Peter Harrington 118 120 wrote in the Doric dialect of the north-east of Scot- 119 land and was a key figure in the vernacular revival MANDELA, Nelson. The Illustrated Long within Scottish poetry. MacDiarmid was critical of 120 Murray as sentimental and considered the Doric Walk to Freedom. Boston: Little, Brown and revival as “mental parochialism, a constitutional Company, 2001 incomprehension and hatred of culture” (Lyall, Quarto (261 × 223 mm). Bound by Abbey Bookbindery in 120 Hugh MacDiarmid and the Scottish Renaissance, 2012, p. contemporary tan morocco, titles to spine gilt and front MANN, Sally. Photographs and Poetry. South 173) as opposed to his own modernist programme. board gilt on black, facsimile signature to front board gilt, marbled edges and endpapers. With the presenta- Dennis, MA: 21st Editions, 2005 Murray’s is an appealing poetic association for tion box as issued, containing 4 photographs signed by Folio. Original buff paper covered boards, titles to front Scotland’s masterpiece of modernism, with a the photographer Grant Warren. Colour and black and board in silver, fore edge and bottom edge untrimmed, compelling frisson. white photographs throughout. A fine copy. printed with letterpress on hand made cotton rag pa- £1,750 [126864] per, patterned endpapers. Housed in the original buff raw silk clamshell box with titles to cover. Illustrated throughout with 10 full page black and white platinum 118 prints each initialled by Mann lower right. Together with MACQUOID, Percy. A History of English Fur- one free standing platinum print signed by Mann lower right (image sizes: 25.2 × 18.7 cm, sheet sizes: 35.3 × 30.2 niture. London: Lawrence & Bullen, 1904–8 cm.) All in excellent condition. 4 volumes, folio (382 × 276 mm). Near-contemporary red first and only edition, number 96 of 100 num- morocco by Zaehnsdorf, spines lettered in gilt, triple gilt 119 bered copies signed by Mann on the colophon, fillets to covers, red silk endpapers, top edges gilt. 60 colour plates with captioned tissue guards. A bit of very with each of the 10 bound prints initialled and minor rubbing and markings to covers, some faint fox- signed limited edition, number 112 out of a the free standing print signed. Ten lettered copies ing, else a highly attractive, near-fine set. planned edition of 950 copies (only 250 were pro- were also issued. This is a collection of stunning first editions, first impressions. A hand- duced), signed by Mandela and specially bound, and provocative photographs, each accompanied somely bound set of this richly illustrated survey of issued to celebrate Mandela’s 85th birthday on 18 by a poem, by the controversial photographer Sally English furniture, the most comprehensive to date, July 2003. This is an abridged version of Mandela’s Mann, named “America’s Best Photographer” by with Macquoid’s four “ages” of oak, walnut, ma- autobiography, first published in the UK in 1994. Times Magazine in 2001. 21st Editions received the hogany, and satinwood still being terms used today. £4,000 [126424] 3rd Annual Lucie Award for Photographic Book Publisher of the Year for this publication. £2,250 [129145] £16,000 [126395]

All items are fully described and photographed at peterharrington.co.uk 47 127381

121 121 122

121 reading “li men wo yong” instead of “li yong wo His Little Red Book, however, sometimes referred to MAO (Tse-Tung or Zedung.) Mao Zhu Xi Yu men” (Schiller, p. 36). as the “Chinese Bible”, “forms a brilliant compila- This copy also has the Lin Biao calligraphic en- tion that is still readable and admired today for its Lu [Quotations from Chairman Mao.] [No lo- political theories and strategies” (ibid., p. 57). cation, but probably Beijing or Tianjin, May 1964] dorsement leaf intact, after the frontispiece. In 1972 an edict was issued that Lin’s name was to Schiller, Quotations of Chairman Mao 1964–2014. A short Duodecimo. Original red vinyl, title to front cover in be obliterated from history, following disclosures bibliographical study (2014). blind, printed errata slip in rear pocket. Frontispiece portrait of Chairman Mao; Lin Biao calligraphic en- that he had plotted a coup and planned to assas- £17,500 [127381] dorsement printed in black (no priority). Covers bright sinate Mao; consequently, “many surviving copies and sharp, with a couple of tiny marks, mild scattered in the Chinese language have that page legitimate- 122 spotting and foxing to contents, faint offsetting to pp. ly torn away, mutilated or censored” (Schiller, p. 122–3. A very nice, near-fine copy. 36). The endorsement leaf also contains an error MARSHALL, Alfred. Principles of Econom- first edition, first printing, in the first state in one word: a superfluous brush stroke occurring ics. Vol. I [all published]. London and New York: with uncorrected text, and rare errata leaf at rear. in the second character from the top in the second Macmillan and Co. 1890 The first edition, printed for the General Political vertical line from the right, “ting” (the equivalent Octavo. Original blue-green cloth, three-line rules in gilt Department of the People’s Liberation Army, was of crossing a “t” or dotting an “i” twice in English). to spine continued in blind to sides, spine lettered in gilt, issued in two distinct states and bindings: the un- By the start of the Cultural Revolution in 1966, the green endpapers. With Macmillan adverts at end dated February 1890. Bookplate of the Argentine politician and corrected first state text in red vinyl plastic, and red vinyl design had become symbolic of Mao’s Minister for Economic Affairs Luis L. Dominguez (1819– the corrected second state text in printed wrap- slogan “The East is Red”, and the paper wrappers 1898) to front pastedown, additional bookplate to front pers. The corrected copies, issued in wrappers and were discontinued. The year 1966 also “signaled the endpaper and pencilled ownership signature of Carlos intended for high-ranking officers, were released start of a major translation and publication project M. Dominguez to half-title. Head of spine and foot of first; the uncorrected copies, issued in red vinyl when the Little Red Book was issued in over 50 differ- front joint professionally restored, a few marks to cloth, and for use by brigade teams of up to eight men, ent languages of countries where Socialism might bottom tips rubbed; a very good copy. were released shortly afterwards, as the sturdier triumph” (Schiller, p. 55). The book was printed in first edition of an economic classic, the first binding took longer to manufacture. The mistake vast quantities until Mao’s death in 1976; by the late full exposition of Marshall’s theoretical position. in the text occurs at the bottom of p. 82 and the 1970s, however, a change of government meant fur- Keynes described its publication as inaugurating top of p. 83, consisting of a transposed character, ther circulation of the book was discouraged, with “the modern age of British economics” (Economic millions of copies were collected and destroyed. Journal, 1940). Schumpeter writes that “Marshall’s

48 Christmas 2018: Peter Harrington 124 great work is the classical achievement of the pe- 124 page to vol. 1, illustrated frontispieces and 51 illustrated plates, all with captioned tissue guards, illustrated chap- riod, that is, the work that embodies more per- MAUPASSANT, Guy de. The Life Works. Il- fectly than any other, the classical situation that ter headings. Gift inscription to front binder’s blanks. emerged around 1900” (History of Economic Thought, lustrated from original drawings by eminent Spines and edges of covers faded consistently to brown, French and American artists. London: Printed a little wear to upper tips with occasional refurbishment. p. 834). Marshall maintained for 20 years that this A handsomely bound set. volume would be followed by a companion volume for subscribers only by M. Walter Dunne, 1903 covering foreign trade, money, trade fluctuations, 17 volumes, octavo (230 × 166 mm). Contemporary green First Bourget edition, number 431 of 750 copies taxation, collectivism and more, but none was half morocco, raised bands to spines, lettered and tooled signed by Robert Arnot. ever published. Running to 750 text pages with a in gilt, single gilt rule to marbled sides, monogram of £3,250 [126081] hefty text block that places strain on its case, the “EHR” within a laurel crown in gilt to front covers, marbled endpapers, top edges gilt, others untrimmed. book is increasingly scarce in the original cloth. Elaborate decorative title page to all vols. and limitation Batson, p. 146; Einaudi 3736; Mattioli 2256; Sraffa 3798. £8,500 [127185]

123 MAUGHAM, W. Somerset. The Razor’s Edge. Garden City, NY: Doubleday, Doran & Co., Inc., 1944 Octavo. Original red cloth, spine lettered in gilt on a black background, bevelled boards, publisher’s device to front cover in blind, top edge gilt, fore edge untrimmed. Spine slightly faded, spine ends and tips lightly rubbed, a few spots of foxing to hinges, contents crisp. A near- fine copy. first edition, signed limited issue, number 611 of 750 copies signed by the author. Toole Stott A63a.

£1,750 [126397] 123 124

All items are fully described and photographed at peterharrington.co.uk 49 125 128

125 unique flora under threat as it was being heavily border, illustrated endpapers printed in blue, edges gilt. Illustrations by Shepard in the text. Spine and very MELLISS, John Charles. St. Helena. London: modified by the island’s inhabitants and a number of species were in the process of becoming extinct. head of rear cover slightly faded, a couple of tiny marks L. Reeve & Co., 1875 to heads of covers, a touch of wear to spine ends, back Large octavo. Original brown pebble-grain cloth over £1,750 [128828] cover very gently bowed; a very good copy in bright cloth. bevelled boards, spine lettered in gilt and blocked in first u.s. edition, signed limited small black, gilt arms of St. Helena and black frames blocked 126 paper issue. Number 141 of 250 copies signed in black to front cover, frames blocked in blind to rear by both the author and illustrator. A large paper cover, green coated endpapers, partially unopened. MILNE, A. A. The House at Pooh Corner. New issue was released simultaneously in a run of 250 Mounted colour lithographic frontispiece with tissue York: E. P. Dutton & Co., Inc., 1928 copies. Both issues used the same limitation page, guard, 7 similar plates, 45 further lithographic plates Octavo. Original pink cloth, spine and front cover let- mainly of botanical subjects, 3 maps of which one fold- tered in gilt, gilt vignette to front cover within gilt ruled with “Large paper edition” blacked out by the pub- ing and one to the text, folding plate of geological cross- sections. With L. Reeve’s 16-page catalogue at the end. Bookseller’s ticket to head of front pastedown. Minor wear to spine ends and tips, top edge lightly dust toned, occasional foxing to contents; a very good, bright, copy. first edition of this “landmark book which established [Melliss] as the first historian of the island and included a section on natural history intended as a precursor for an ambitious broader study of the African islands of the southern Atlan- tic” (Natural History Museum). Melliss, a military officer with the Royal Engineers, was born on St Helena and later found employment with the colonial government of the island, where he lived with his wife, who provided the botanical illustrations for this work. Whilst there he worked on various projects including the restoration of Longwood House, the residence of Napoleon. This work provides important documentary evidence of a 126 127

50 Christmas 2018: Peter Harrington lisher in the small paper issue. This, the final Pooh book, was published in London and New York in October 1928. £2,750 [127077]

127 MILNE, A. A. Winnie-the-Pooh. London: Methuen Children’s Books, 1973 Octavo. Publisher’s deluxe blue morocco by Zaehns- dorf, spine lettered in gilt with raised bands and motifs in blind, vignette to front cover in gilt, illustrated map endpapers, all edges gilt. Housed in the publisher’s blue slipcase, spine lettered in gilt. Illustrated in colour throughout. Spine lightly toned, a near-fine copy in the gently rubbed slipcase. first colour-illustrated edition, signed limited issue, number 297 of 300 copies signed by the illustrator. Winnie-the-Pooh, one of the great classics of children’s literature, was first published in 1924 with uncoloured illustrations by Shepard. £1,500 [127406]

128 (NAPOLEON.) IRELAND, William Henry, & George Cruikshank. Life of Napoleon Bona- 129 parte. London: Printed and Published by John Fair- burn, 1823–8 tion was then taken over by Cumberland, who is- plates, 2 folding letterpress tables, woodcut initials, sued 16 more parts” (Tooley). Abbey remarks that initial-borders and head- and tailpieces. With errata at 4 volumes, octavo (210 × 130 mm). Contemporary blue the “Fairburn venture must have been unsuccessful, end, without half-titles and blank 2 (Dd4) as usual. Outer straight-grain half morocco, titles and fleur-de-lis to for sets carrying his imprints are very unusual, and leaves a little dusty, a few minor spots, but generally a spine in gilt in compartments, raised bands tooled in gilt, very good copy, the paper clean and strong. marbled sides, all edges gilt, marbled endpapers. With examples of the three printed titles definitely rare”. 27 folding plates, including 24 hand-coloured aquatints, Credited to Ireland, the notorious Shakespearean first edition in english of the Principia, based with the engraved John Cumberland title pages, dated forger, the text of this work is in fact the same as on the 1726 Pemberton edition of the Latin text and 1823 to vols. I and II, with no date to vol. III, and 1828 to that for Count Excelman’s History of Napoleon. dedicated to Sir Hans Sloane as President of the Roy- vol. IV, vignettes of arms of the Bonaparte family on man- al Society. The translator Andrew Motte (1696–1734) Abbey 359; Cohn 435; Tooley 278. teaux, no printed title to vols. II, III and IV. Library plate was the son of the printer Benjamin Motte and very of James W. Paul Jr., a Philadelphian financier, to front £2,250 [128967] briefly a lecturer on geometry at Gresham College. pastedown of each volume, pencil inscription to rear free Also included is Machin’s attempt to rectify New- endpaper recto of vol. I. Bound without half-titles. Plates ton’s lunar theory. Machin (1686?–1751) was on the trimmed, occasionally removing imprint. Paper tape sup- 129 port to folds of four plates. Rubbing to extremities and NEWTON, Isaac. The Mathematical Princi- Royal Society’s committee set up to adjudicate the priority dispute between Newton and Leibnitz over spine joints, slight flaking to leather at spine joints, front ples of Natural Philosophy. London: for Benja- hinge of vol. I starting, small closed tear to first blank of the invention of the calculus, which vindicated New- vol. I, occasional faint foxing, pale brown splash marks to min Motte, 1729 ton, and one of the editors of the resulting Commer- pp. 470–1 of vol. IV; a very good set. 2 volumes, octavo (194 × 119 mm). Later, probably 20th- cium epistolicum. He was professor of astronomy at century, dark calf to style, red morocco spine labels, Gresham College from 1713 until his death. first edition, first issue, with all required numbered in gilt direct, double blind rules to sides, mar- points where visible. Originally issued in 64 parts, bled edges. Engraved allegorical frontispieces and en- Babson 20; Gray 23; Norman Library 1587; Wallis 23. the first 48 being issued by Fairburn, “the publica- graved headpieces by the translator, 47 folding engraved £50,000 [127587]

All items are fully described and photographed at peterharrington.co.uk 51 ans—wished to believe about their motives as they took over tropical Africa in the late 19th century: in effect he redeemed the colonial project” (ODNB). The editor Horace Waller was a member of the first Universities’ Mission to Central Africa in 1860, and met Livingstone while working as a lay missionary in Nyasaland. Howgego IV L36; Speake II p. 732. 130 £5,000 [126633]

131 OMAR KHAYYÁM. Rubáiyát. Portland, ME: Privately Printed by Thomas B. Mosher & Emilié Grigsby, May 1899 Quarto. Original limp vellum, titles gilt to spine, gold silk ties, the whole text printed on vellum. With the original patterned-paper decorated card slipcase. Vellum covers somewhat spotted, otherwise excellent condition, with 130 130 the slipcase somewhat worn and lacking a portion of top and bottom edge. Florence Nightingale’s copy of David Livingstone’s tury: Nightingale held Livingstone in the highest first edition thus, number 6 of 10 copies Last Journals regard, bordering on idolatry. Her heartfelt letter printed on vellum by Mosher and Grigsby, this to Livingstone’s daughter, dated 18 February 1874, 130 copy additionally inscribed by Grigsby on the sec- was appended as a “beautiful wreath” towards the ond blank, “To John Law, in friendship, Emilié (NIGHTINGALE, Florence.) LIVINGSTONE, end of William Garden Blaikie’s The Personal Life of Grigsby, May 23rd 1901”. Mosher had produced David. The Last Journals, in Central Africa, David Livingstone (London: John Murray, 1880). In small format editions of the Rubáiyát before, but from 1865 to his Death. London: John Murray, this she described Livingstone as “the greatest this is the first large format Rubáiyát he achieved, 1874 man of his generation”, continuing “Dr Living- and the first printed on pure vellum. He executed stone stood alone as the great Missionary Travel- 2 volumes, octavo. Original purple cloth, spines lettered another run of 10 copies on vellum in 1902, but this and decorated in gilt, blind ornamental panel to cov- ler . . . I always think of him as what John the Bap- 1899 vellum edition is the first. The last auction ers enclosing gilt vignette of Livingstone being carried tist, had he been living in the 19th century, would record for this vellum issue was in the 1948 Parke shoulder-high during a river-crossing (from the illustra- have been . . . We cannot console ourselves for our Bernet sale of Mosher’s own library. tion at vol. II, p. 268), brown coated endpapers. Wood- loss. He is irreplaceable”. Also with her marginal Between 1898 and 1913, Mosher printed more ti- engraved frontispiece to each volume, 17 similar plates, 3 pencil markings to some 14 pages (a number dog- leaves of lithographic facsimile (one in colour), illustra- tles on vellum than any other publisher in America eared by her), occasionally with a more emphatic (46 in all), but this Rubáiyát stands at a very early tions in the text, folding colour map in vol. I end-pocket, double or triple-lining in the margin against a pas- similar map bound in at rear of vol. II, both as issued. stage in this campaign. Only two titles precede it: sage that clearly resonated: “may the Lord of all Spines lightly sunned, a little wear to extremities, inner The Germ: Thoughts toward Nature in Poetry, Literature joints cracked but sound, large folding map split at fold help me to show myself one of His stout-hearted and Art (four copies), and In Praise of Omar; an Ad- but withal a very good copy, with the publisher’s 6 pp. servants” (vol. II, p. 170); and indexing notes on dress before the Omar Khayyám Club, by the Hon. John and 20 pp. catalogues at the end of each volume (dated the recto of each rear free endpaper, noting such Hay (four copies), both in 1898. December and November 1874 respectively). things as “God’s love”, “God will decide”, “Educa- tion of the World”. Though we have not been able to identify John first edition, Florence Nightingale’s copy, Law, this book has a compelling early provenance: inscribed by her in pencil on each front free end- This is a key text in the formation of the Living- the front pastedown has the ex-libris of Crosby paper verso, “Florence Nightingale, Xmas, 1874”, stone legend, “fastidiously edited [and] a poign- Gaige (1882–1949), the New York based publisher and with her indexing notes at the back of each ant testimony to soul-searching, suffering, for- and theatrical impresario who pioneered in the volume. An outstanding provenance uniting two bearance, and tenacity . . . Livingstone became late 1920s the production of fine press collections of the most remarkable figures of the 19th cen- a symbol of what the British—and other Europe- for living authors (which he described as “flow-

52 Christmas 2018: Peter Harrington 131 132 133 ers for the living” as opposed to “garlands for the pressive measures and censorship, yet it still man- ers, a shorter distance to the Pole, better clothing dead”) such as Woolf (Orlando), Joyce (Anna Livia aged to reach a wide audience, going through nu- and equipment, well-planned supply depots en Plurabella), Sassoon, and Hardy. Gaige was also a merous reprints and various translations. “In this route, including more nutritious food with plenty great epicure and frequenter of New York’s finest sense, the confrontation led to victory for Paine; of B vitamins, fortunate weather, and a modicum supper clubs and cocktail lounges, writing several it is Burke’s political system which has failed to of luck . . . Amundsen and four of his colleagues books on cookery and cocktails. stand the test of time” (Williamson, p. 124). reached the South Pole on December 14, 1911, £5,750 [127254] See Audrey Williamson, Thomas Paine: His Life, Work, and carefully plotted their location, left messages for Times (Allen & Unwin, 1973). Scott and King Haakon VII, and then returned to £2,750 [127289] their Framhein base on January 25, 1912, only nine 132 days after the disheartened Scott party reached the PAINE, Thomas. Rights of Man: Being an Pole” (Books on Ice). “To their credit, John Murray Answer to Mr. Burke’s Attack on the French 133 produced a two volume set of real quality, incor- Revolution. Fifth edition. London: printed for J. (POLAR.) AMUNDSEN, Roald. The South porating the Norwegian flag, despite realising that S. Jordan, 1791 Pole. London: John Murray, 1912 British disappointment at being beaten to the Pole would ensure that it was not a publishing success Octavo (212 × 124 mm). Contemporary red levant mo- 2 volumes, octavo. Original dark red cloth, gilt titles rocco, spine lettered in gilt and divided into compart- and enamelled Norwegian flags to spines and within in the United Kingdom. Altogether, there are 63 ments with urn motifs and roundel cornerpieces, single simple red frame to front boards, top edges gilt, others full-page photographic reproductions in this ver- fillet rule border to boards, Greek-roll to inner dentelles untrimmed. Photogravure frontispiece to each volume, sion (as opposed to 53 in the original Norwegian in gilt, marbled endpapers, edges gilt, green cloth page 92 similar plates (several containing multiple images), publication)” (Taurus). News of Scott’s death marker. A finely bound copy, spine faintly sunned and a 2 plates of manuscript facsimile, 6 maps and charts came three months after publication. few spots of rubbing to extremities, one shallow scratch of which 3 folding, 16 charts and tables to the text. Cloth a little sunned with a few tiny marks, spine ends Books on Ice 71; Howgego IV A13; Rosove 9.A1; Spence 16; to rear board, free endpapers a little browned, else the Taurus 71. contents crisp and clean, stab-holes visible. bumped, some very faint foxing to page extremities. A very good set. Fifth edition of Paine’s famous response to Burke’s £3,000 [126930] Reflections, handsomely bound. Rights of Man was first edition in english, first impression, first printed by Joseph Johnson in early 1791, but of Amundsen’s account of his “legendary dash to publishing of it was soon taken over by J. S. Jordan the Pole, in which he gained priority over Robert (who republished it with some amendments), ap- Falcon Scott’s British Expedition by a month . . . parently because Johnson feared prosecution. The His success over Scott was due to highly disci- work alarmed the Pitt government and led to re- plined dogsled teams, more accomplished ski-

All items are fully described and photographed at peterharrington.co.uk 53 134

Inscribed on the official date of publication 134 (POLAR.) SCOTT, Robert F. The Voyage of the “Discovery”. London: Smith, Elder, & Co., 1905 2 volumes, large octavo. Original dark blue fine vertical- ribbed cloth, titles gilt to spines, gilt embossed medal- lions to front boards (reverse and obverse of the medal struck by the RGS), top edges gilt, others untrimmed. 135 Photogravure frontispieces by Emery Walker (Discovery in vol. I, portrait of Scott in vol. II), title pages printed in red pedition, Rob. F. Scott, Oct 12th: 1905”, and with 135 and black, 12 colour plates, 158 half-tone photographic the bookplates of Edward Evans, later knighted, plates, 12 further black and white plates, 5 double-page (POLAR.) SCOTT, Robert Falcon. Scott me- a director of the company. Evans, Sons, Lescher panoramas of which 4 from photographs, 5 maps of which morial portrait. London: Maull & Fox, 1913 one double-page and 2 folding in end-pockets. A typically & Webb Ltd were wholesale and export druggists Photogravure (400 × 240 mm). Framed and glazed in the shaky copy, inner joints cracked, some wear to extremities and manufacturing chemists, who supplied the original stained oak frame with gilt sight-line. A couple of bindings, spines dulled, customary scattered foxing, lime juice for the expedition and are thanked by of small dings to the frame, but overall very good. some leaves clumsily opened, with concomitant tears, Scott in the text (vol. I, page 41). folding map in pocket to vol. II torn across and profes- Following the announcement of the death of Scott, Rosove remarks that “copies inscribed by Scott sionally repaired, remains a clean and complete copy. the photographers Maull & Fox issued an advertis- are uncommon; he apparently dated a fair num- ing leaflet; “Messrs. Maull & Fox being the propri- first edition, first impression, presenta- ber of them 12 October 1905, the official date of etors of the copyright in the only photographs of tion copy, inscribed by the author on the half- publication”. title of volume I: “To Messrs. Evans, Lescher & the Late Captain Robert Falcon Scott, R.N., C.V.O. Books on Ice 66; Rosove 286 A1 and n.2; Spence 1050; taken in his full dress uniform, wearing his deco- Webb in remembrance of their contribution and Taurus 41. with the compliments of the authorities of the Ex- rations: have prepared from his favourite likeness £5,750 [128411]

54 Christmas 2018: Peter Harrington 136, 137, 138 a photogravure plate . . .” Scott is wearing the col- front cover, occasional very light foxing; a very good, lar of Commander of the Royal Victorian Order, handsome copy. and his Polar medal awarded in 1905 for the Discov- signed limited edition, number 983 of 1,000 ery Expedition, both now in the collection of the copies signed by the artist for sale in Great Britain British Museum. The publisher enhanced the im- and Ireland. age by the addition of a facsimile signature. Latimore & Haskell p. 32; Riall p. 87. £1,650 [127826] £2,250 [127364]

136 136 138 (RACKHAM, Arthur.) BARRIE, J. M. Peter (RACKHAM, Arthur.) SWIFT, Jonathan. Pan in Kensington Gardens (From “The Little was published specifically as a children’s gift book Gulliver’s Travels, into several remote na- White Bird”). London: Hodder & Stoughton, 1906 (the play was unpublished until 1928). Copies re- tions of the world. London & New York: J. M. taining the original yellow silk ties are especially Quarto. Original vellum, titles to spine and front cover Dent & Co., E. P. Dutton & Co., 1909 gilt, design blocked in gilt to front cover, map endpa- uncommon. Large octavo. Original white cloth boards, spine and pers, top edge gilt, others untrimmed, original yellow Latimore & Haskell, pp. 27–28; Riall, p. 74. front cover lettered in gilt, marbled endpapers illus- ribbon ties. Colour frontispiece and 49 colour plates trated in gilt, top edge gilt, others untrimmed, red silk mounted on brown paper with captioned tissue guards, £8,500 [128517] ties, red silk page marker. Minor rubbing to extremities, black and white illustrations in the text, all by Rackham. negligible wear to very tip of single corner, slight fraying An exceptional copy, the vellum unusually bright, retain- 137 to ties, a near-fine, fresh copy. ing its original sheen. (RACKHAM, Arthur.) SHAKESPEARE, Wil- first u.s. edition, signed limited issue, signed limited edition, number 62 of 500 liam. A Midsummer-Night’s Dream. London: number 534 of 750 copies signed by the artist. copies signed by the artist. After the enormous Rackham’s Gulliver’s Travels was originally pub- success of the play Peter Pan, which opened on 27 William Heinemann; Doubleday, Page & Co., New lished solely in the UK in 1900. This is a revised December 1904 and broke all previous theatrical York, 1908 and expanded edition, with additional illustra- records, Barrie sanctioned this publication, in col- Quarto. Original vellum covers, titles to spine and front tions and others redrawn and coloured. laboration with Rackham as illustrator. The text cover gilt, image blocked in gilt to front cover, brown was extracted, with minor revisions, from Barrie’s endpapers. Colour frontispiece and 39 colour plates Riall, pp. 91–2. mounted on heavy brown paper, black and white illus- book-within-a-book in his London story-collec- trations in the text, all by Rackham. Minor wear to tips, £1,750 [127525] tion for adults, The Little White Bird (1902), and it light natural soiling to vellum, tiny chip to top edge of

All items are fully described and photographed at peterharrington.co.uk 55 139, 140, 141

139 red, and black, 3 double page illustrations printed in in 1903. Her older brother, William Joseph Myles green, red, and black, silhouette illustrations through- (RACKHAM, Arthur.) DICKENS, Charles. A Starkie, was a Greek scholar and last Resident Com- out the text. Wear to extremities, foxing to covers, light missioner of National Education for Ireland. Christmas Carol. London: William Heinemann; foxing to edges; a very good copy. Latimore & Haskell, pp. 49 & 50. J. B. Lippincott Co., New York, 1915 first trade edition, first impression, pres- Large quarto. Original vellum, titles and pictorial deco- entation copy, inscribed by the illustrator to his £2,250 [129322] ration to spine and front cover, pictorial endpapers, top brother- and sister-in-law, with an original ink edge gilt, others untrimmed, yellow ribbon ties renewed. drawing (similar to that on p. 102) on the half-title, 141 Colour frontispiece and 11 colour plates mounted on “To Will & May, with best wishes, from Edyth & thick brown paper, with captioned tissue guards, black (RACKHAM, Arthur.) EVANS, C. S. The Arthur Rackham, Christmas 1919”. Rackham mar- and white illustrations in the text, all by Rackham. Gift Sleeping Beauty. London: William Heinemann; J. ried Edyth Starkie, a portrait painter and sculptor, inscription to first blank. Spine gilt a little rubbed, faint B. Lippincott Co., Philadelphia, 1920 offsetting from plates; a very good, bright copy. Tall quarto. Original pink cloth-backed pink and black signed limited edition, number 448 of 500 pictorial boards, titles and decoration to spine in black, copies signed by the artist, with an additional 25 green illustrated endpapers. Tipped-in colour frontispiece copies reserved for presentation. This was the first within illustrated frame, illustrated title page printed in of Dickens’s works illustrated by Rackham. Latimore & Haskell, pp. 44–5; Riall, pp. 124–5. £5,000 [125707]

140 (RACKHAM, Arthur.) EVANS, C. S. Cinder- ella. London: William Heinemann; J. B. Lippincott Co., Philadelphia, 1919 Tall quarto. Original orange cloth-backed orange and black pictorial boards, titles and decoration to spine in black, illustrated green endpapers, edges untrimmed. Tipped-in colour frontispiece with tissue guard, illustrated frontispiece frame and title page printed in green, 140 141

56 Christmas 2018: Peter Harrington 142, 143, 144 green, pink, and black, three double page illustrations 142 to spine, with matching limitation number in manu- printed in green, pink, and black, silhouette illustrations script by the publisher. Title page printed in red and throughout the text. Spine browned, wear to spine ends (RACKHAM, Arthur.) IRVING, Washington. black. Frontispiece and 3 colour plates, illustrations in and tips, loss to bottom tip of front cover, light offsetting The Legend of Sleepy Hollow. London: George the text. A fine copy, in the original slipcase, a bit worn to endpapers, slight browning to margins; a good copy. G. Harrap & Co. Ltd, 1928 and partly split. first trade edition, first impression, Octavo. Original green cloth, spine and front board let- first rackham edition, signed limited is- presentation copy, inscribed by the illustrator tered gilt, gilt vignette to front board, top edge gilt, fore sue, number 104 of 550 copies signed by the illus- to his sister-in-law together with an original pen- edge untrimmed, illustrated endpapers. Colour frontis- trator; this was one of 275 copies issued for the UK. piece and 7 colour plates, title page printed in green and and-ink drawing on the half-title, “May, with love Latimore & Haskell, p. 66; Riall, p. 174. from Edyth & Arthur Rackham, Christmas 1920”. black, black and white illustrations to text, all by Arthur Rackham. Spine and head of rear cover lightly faded, £1,875 [126735] (See previous item for note on the recipients.) very slight wear to spine ends and tips, slight rubbing to Latimore and Haskell, p. 52; Riall, p. 141. sides, a couple of faint marks to cloth, a very good copy. 144 £2,250 [129323] first trade edition, first impression, presentation copy, inscribed by the illustra- (RACKHAM, Arthur.) POE, Edgar Allan. tor to his sister-in-law together with an original Tales of Mystery and Imagination. London: pen-and-ink drawing on the first blank, “To May George G. Harrap & Co Ltd, 1935 Starkie with love from Edyth & Arthur Rackham, Quarto. Original vellum, titles and decorations to spine Christmas 1928”. (See item 140.) and front cover in gilt, pictorial endpapers, top edge gilt. With the original numbered slipcase. Colour fron- Latimore & Haskell, pp. 63–64; Riall, pp. 164–165. tispiece and 11 colour plates tipped-in with captioned £2,250 [129316] tissue guards, 17 black and white plates, illustrations in the text, all by Rackham. Bookplate to front pastedown. Boards very slightly bowed, couple of marks to covers, a 143 near-fine copy. (RACKHAM, Arthur.) MOORE, Clement C. signed limited edition, number 37 of 460 cop- The Night Before Christmas. London: George G. ies signed by the artist. Harrap & Co. Ltd, 1931 Latimore & Haskell, pp. 72–73; Riall, p. 189. Octavo. Original limp vellum, front cover lettered in gilt, £3,000 [123560] pictorial endpapers, top edge gilt, others untrimmed. 142 Housed in the original card slipcase, printed paper label

All items are fully described and photographed at peterharrington.co.uk 57 145, 146, 147, 148

145 147 148 RANSOME, Arthur. Winter Holiday. London: (RICCARDI PRESS.) OMAR KHAYYÁM. (RICCARDI PRESS.) SHAKESPEARE, Wil- Jonathan Cape, 1933 The Rubáiyát Rendered Into English Verse by liam. The Sonnets. London: Published for the Octavo. Original green cloth, titles lettered in gilt to spine, Edward Fitzgerald. London: Philip Lee Warner, Medici Society by Philip Lee Warner, 1913 blocked in blind to front cover, map endpapers, bottom publisher to the Medici Society, 1913 Octavo. Original limp vellum, titles to spine and cover edge untrimmed. With the dust jacket. With 27 black and Octavo. Original limp vellum, titles to spine and cover gilt, green silk ties, top edge gilt, others untrimmed. white illustrations. Contemporary gift inscription in pen- gilt, green silk ties, top edge gilt, others untrimmed. Housed in a maroon morocco solander case by Bayntun cil to first blank. Spine ever-so-slightly rolled; a fine copy Bookseller’s tickets to front pastedown. Small catalogu- Riviere. A fine copy. in the jacket with browned spine, tiny closed tear to foot of ing note attached to front free endpaper. Binding and front panel, and minor nicks to extremities. first riccardi press edition, number 3 of 12 text clean and fresh. A beautiful copy in fine condition. copies on vellum, of which 10 were for sale, out of a first edition, first impression, of the fourth first riccardi press edition, number 10 of limited edition of 1,012 copies. This copy of Shake- title in the Swallows and Amazons series. only 12 copies printed on vellum, of which 10 were speare’s Sonnets was presented to John Gielgud by a £3,000 [128527] for sale, out of a limited edition of 1,012 copies. grateful admirer for his performance in the role that As Tomkinson indicates, the Riccardi Press “was made him famous – a work by Scottish playwright 146 adopted in 1909 by the Medici Society at 7 Grafton Gordon Daviot (better known as mystery writer Jo- sephine Tey): “To John Gielgud from Gwendolen RANSOME, Arthur. Coot Club. London: Jona- Street, London: the books [were] printed at the Jefferson in appreciation of his genius and charm than Cape, 1934 Chiswick Press and published by Philip Lee Warn- er, who was publisher to the Medici Society until as Richard of Bordeaux, July 1933”, on the front free Octavo. Original green cloth, titles to spine in gilt and his death in 1925 . . The aim of the Press has been endpaper. The play opened on 2 February 1933 and stamped in blind to front cover, pictorial map endpa- met with high praise from the critics. pers, bottom edge untrimmed. With the dust jacket. Il- to produce finely printed books at reasonable pric- lustrated by Arthur Ransome. Spine very gently rolled, es and for sale through the ordinary channels of £7,500 [127269] a near-fine copy in the jacket with very faint browning trade.” Their print runs were larger than other pri- to spine, minor nicks to spine ends, a couple of short vate presses, and the paper productions generally closed tears to head of rear panel, another to foot. not as highly prized as those of the Kelmscott or first edition, first impression, of the fifth Ashendene presses, but these small issues printed book in the Swallows and Amazons series. on vellum are beautiful and highly sought after. £2,750 [128526] Ransom, p. 396. £6,000 [127266] 148

58 Christmas 2018: Peter Harrington 149 ROOSEVELT, Franklin D. Log of the Cruise aboard the Schooner Yacht Sewanna to Maine, Nova Scotia, and New Brunswick, 14 July 1936–28 July 1936. [Washington: Government Printing Office, 1937] Octavo. Original blue cloth, gilt-stamped anchor device to front cover. Housed in a custom blue chemise within black quarter morocco slipcase, spine lettered in gilt, blue cloth sides incorporating black morocco label to front of box. Photographic frontispiece pasted in, large colour folding chart at rear. Frontispiece and front free endpaper lightly creased, else a near-fine copy. Sticker residue on front of slipcase. first and only edition, a superb association copy, inscribed by President Roosevelt to his son: “For John A. Roosevelt from his affection- 149 ate father Franklin D. Roosevelt”. John accompanied his father during the presidential trip aboard first edition, trade issue, inscribed by the the schooner, where they fished for tuna and cod. author and the three scientists from his The sojourn was a brief break following Franklin’s expedition on the front free endpaper: “Theo- re-nomination for president, and before the 1936 dore Roosevelt Good Luck! / Edgar A. Mearns / election campaign began in earnest. The book was Edmund Heller Best wishes / J. Alden Loring kind 150 printed for private distribution (not at government regards”. The scientists joined Roosevelt as part of expense), with no copies for sale. It is a great rarity: his principal team. Mearns was an ornithologist “Lavishly illustrated, African Game Trails was ir- in institutional holdings, only the Library of Con- and longtime friend of Roosevelt’s; Heller, a zoolo- resistible to readers who could stomach the me- gress and the Dutch Maritime Library copies are gist and taxidermist for the Smithsonian Institution ticulous descriptions of bullets drilling hearts known; at auction, only two other copies are known with previous experience in Africa; and Loring, a and brains. Even those who could not . . . had to to have appeared (both also presentation copies). mammalogist and field collector. Loring and Hel- concede that Roosevelt was scientific in his scru- Halter, p. 190. ler supplied some of the photographs that illustrate tiny of every aspect of the African wilderness, and £7,500 [129128] Roosevelt’s book, “one of the most famous of all often movingly lyrical. The density of recorded big-game hunting epics” (Czech), while Loring and details, whether ornithological, paleontological, 150 Mearns both contributed to the appendices. Ap- botanical, or anthropological, was almost over- pendix C contains Loring’s notes on East Africa, whelming. Most came not from notes, but from ROOSEVELT, Theodore. African Game and Roosevelt drew on Mearns’s notes of his and the author’s movie-camera memory, which in ad- Trails. New York: Charles Scribner’s Sons, 1910 Loring’s biological survey of Mount Kenya, under- vance of any system yet available in nickelodeons, Octavo. Original brown cloth, titles to spine and be- taken while Roosevelt was on a solo hunt. registered both sight and sound. Over and above tween elephant-head vignettes to front board gilt, fore its documentary appeal, the book exuded a kind and bottom edges untrimmed, partly unopened. Housed Absenting himself from politics for a year, Roosevelt set off on an elaborate hunting trip to of savage romance new to American readers” (Ed- in a custom brown quarter morocco solander box with mund Morris, Colonel Roosevelt, 2010). marbled sides. Portrait frontispiece with captioned tis- gather specimens for the Smithsonian. He was sue guard, 8 photogravure plates from drawings by determined not to hire laboratory scientists (“lit- Czech pp. 138–9; Johnson, American First Editions; Lunde, Philip R. Goodwin with captioned tissue guards, 40 half- tle scientific men”), and instead sought out these The Naturalist: Theodore Roosevelt, A Lifetime of Exploration, and the Triumph of American Natural History (2016). tone plates from photographs, sketch map. Ownership professional naturalists with experience in the signature to front pastedown. Bookseller’s ticket to rear field. “Roosevelt was as much a museum natural- £3,250 [126689] pastedown. Spine ends, front joint, and hinges neatly re- ist as Heller, Loring, or Mearns, but he also under- paired, couple of tips slightly worn, small old pale marginal stain to pp. 356–61, else contents fresh and clean. stood the importance of conveying his passion to a A very good copy. much broader audience” (Lunde, p. 240).

All items are fully described and photographed at peterharrington.co.uk 59 151 152 153 155

151 first edition, first impression, signed by notably bright, short closed tear to foot of front panel, spine ends and tips a little rubbed and nicked. ROWLING, J. K. Harry Potter and the Cham- the author on the dedication page. ber of Secrets. London: Bloomsbury, 1998 Errington A9(a). first edition, first printing, in a remarkably £2,000 [129364] well-preserved example of the eye-catching jacket Octavo. Original pictorial boards. With the pictorial dust designed by Michael Mitchell. jacket. Spine gently rolled, slight bumps to extremities, minor rubbing to very tips, a couple faint marks to edg- 153 £15,000 [127528] es, small mark to rear cover, short closed tear to head of ROWLING, J. K. Harry Potter and the Death- gutter to pp. 34–5; a very good copy, jacket a little creased 155 and rubbed to spine ends and top edge. ly Hallows. London: Bloomsbury, 2007 first edition, first impression, inscribed Octavo. Original pictorial boards. With the dust jacket. SAMUELSON, Paul Anthony. Foundations by the author on the day of publication, Tiny creasing at extremities of book and dust jacket, a of Economic Analysis. Cambridge, MA: Harvard 2 July 1998, on the dedication page, “To Amy, who near-fine copy. University Press, 1947 must be one of the first people ever to finish this first edition, first impression, inscribed Octavo. Original red cloth, spine lettered in gilt. With book & Happy Eleventh Birthday for tomorrow!!! JK by the author on the title page, “To Rachel the dust jacket. Spine very slightly slanted, white residue Rowling”, at the Waterstones signing in Glasgow. J. K. Rowling”, with the authentication hologram. marks to bottom edge of front board, top edge of text block spotted, else a near-fine copy in the tanned dust Errington A2(a). Deathly Hallows is the seventh and final novel of the jacket, spine browned and a few areas of loss and chip- Harry Potter series. £5,000 [127378] ping to extremities and joints, not price-clipped but Errington A14(a). lower corner of front panel cropped. 152 £2,750 [126072] first edition, first impression, of this “mile- stone in the conversion of modern economists to ROWLING, J. K. Harry Potter and the Goblet 154 the view that all economic behaviour can be studied of Fire. London: Bloomsbury, 2000 as the solution to a maximization problem explicit- SALINGER, J. D. The Catcher in the Rye. Bos- Octavo. Original pictorial boards, titles to spine and ly or implicitly employing the formulation of differ- front board in blue and black. With the dust jacket. ton: Little, Brown and Company, 1951 ential and integral calculus” (Blaug, Great Economists Negligible bumps to spine ends; a near-fine copy in the Octavo. Original black cloth, spine lettered in gilt. With Since Keynes, p. 214). Here Samuelson demonstrates bright jacket with tiny abrasion to front panel and minor the dust jacket. Housed in a red quarter morocco solan- that the common mathematical structure underly- creasing to top edge. der box by the Chelsea Bindery. Very faint splash and ing multiple branches of economics is based on a finger marks to cloth; a fresh near-fine copy in the -un commonly nice jacket, spine panel a little toned but still set of basic principles: the optimising behaviour of agents and the stability of equilibrium as to eco-

60 Christmas 2018: Peter Harrington 156

feature of US festive season television—the position occupied by Raymond Briggs’s The Snowman 154 for British audiences. Superbly voiced by Boris Karloff and with ear-catching music by Albert nomic systems. Samuelson was awarded the Nobel 157 Hague and Eugene Poddany, it was Chuck Jones’s Prize in Economics in 1970 for this work. (SEUSS, Dr.) JONES, Chuck. An original inspired direction that turned Seuss’s updating of Fundaburk 2039. production cel from the MGM animation Dr the Scrooge story into a small screen classic. £5,750 [127008] Seuss’s How the Grinch Stole Christmas. MGM, £7,000 [112740] 1966 156 Original hand painted production cel: the image of the SEUSS, Dr. How the Grinch Stole Christmas. Grinch and Max measuring 160 × 200 mm (overall size including background 230 × 300 mm). Mounted, glazed New York: Random House, 1957 and framed in black wood (overall size 430 × 500 mm). Tall quarto. Original laminated pictorial boards, illus- Authentication seal on the front and accompanied by trated endpapers. With the pictorial dust jacket. Illus- the certificate of authentication on the reverse of the trated throughout by the author. A touch of rubbing to frame, both signed by Jones’s daughter Linda and dated edges, in the dust jacket with a touch of rubbing to cor- “5.15.00”. In excellent condition. ners, shallow chips and rubbing to spine ends, light wear Original hand painted production cel setup signed to extremities. A very good copy. by Chuck Jones and featuring the Grinch and his first edition, first printing, first issue pet dog Max, set on a printed background for pres- dust jacket, inscribed by the author on entation purposes. The scene features around the the verso of the front endpaper, “For Taddy, best 8:20 mark in the film. Cels signed by Chuck Jones wishes, Dr. Seuss.” are by no means common. Younger and Hirsch 33. Originally broadcast by CBS on 18 December 1966, £7,500 [105976] How the Grinch Stole Christmas became a perennial 157

All items are fully described and photographed at peterharrington.co.uk 61 159

160 (THE SPORTING MAGAZINE.) The Sport- ing Magazine. Or monthly calendar of the 158 159 transactions of the turf, the chace, and every other diversion interesting to the man of 158 159 pleasure and enterprize. [Together with:] SMITH, Adam. The Theory of Moral Senti- SMITH, Adam. An Inquiry into the Nature Pictures in Old Sporting Magazines, Years ments. The Second Edition. London: Printed for and Causes of the Wealth of Nations. The 1792 to 1870. London: Printed for the proprietors A. Millar, in the Strand; and A. Kincaid and J. Bell in Ed- Sixth Edition. London: Printed for A. Strahan; and sold by J. Wheble, & Walter Gilbey by Vinton & inburgh, 1761 and T. Cadell, 1791 Co., Limited, 1793–1870 & 1892 Octavo (205 × 125 mm). Contemporary sprinkled calf, 3 volumes, octavo (207 × 128 mm). Contemporary speck- 157 volumes, octavo (vols. 1–75 200 × 122 mm; vols. 76–157 spine decorated gilt in compartments, red morocco led calf, red morocco labels, spines ruled in gilt with × mm). Finely bound by Riviere & Son in near-contem- spine label, red sprinkled edges. Spine ends a little monograms tooled in gilt to third compartments. Armo- porary red half morocco, red cloth sides, titles and or- chipped and corners worn, light surface abrasions to rial bookplates of Henry Birkbeck to front pastedowns. naments to spine in gilt in compartments, raised bands covers. Parisian ownership stamp to front pastedown, Extremities rubbed and spines somewhat crackled, tooled in gilt, marbled endpapers, all edges gilt. [Together two instances of contemporary manuscript underlining joints rubbed and corners a little bruised, boards lightly with:] Octavo (217 × 135 mm). Recent red half morocco by and marginalia in ink; a very good copy. marked, endpapers browned from turn-ins, contents oc- Bennett, red cloth sides, titles and ornaments to spine in gilt in compartments, raised bands tooled in gilt, marbled Second edition, one of 750 copies, printed in Sep- casionally foxed and lightly browned with a few creases to corners, overall a very good set. endpapers, all edges gilt. Engraved frontispieces and title tember 1760 “Besides some stylish improvements, pages with tissue guards, 1,770 engraved plates, 8 of which a footnote at I.iii.1.9 replies to criticisms from Sixth edition, one of 2,000 copies printed, first pub- are folding, and 25 folding maps. Occasional rubbing to Hume, and sixteen paragraphs are added to the lished in 1776. The Birkbeck family were situated in very tips, infrequent ink marks to endpapers, a couple account of the impartial spectator at III.2” (Tribe). Norfolk during the 18th and 19th centuries, and it is of short closed tears to fore edges of plates, professional Tribe 2; Vanderblue, p. 38. likely that the JB monograms on the spines refer to repair to short tears to indexes of vols. 118 and 156, pp. a member of the same family; the names Henry and 13–33 bound out of sequence in vol. 151; in general con- £8,500 [126917] John were used regularly in each generation. tents clean and fresh. A remarkably well-preserved set in a bright and handsome binding. Goldsmiths’ 14612; Kress B.2209; Tribe 41. See Printing and the Mind of Man 221. first editions of the first periodical devoted to general sportsmanship, The Sporting £2,500 [120379] Magazine, issued from 1793 until 1870. This com-

62 Christmas 2018: Peter Harrington 160

charm, establishing him as one of the arbiters of the odical was richly illustrated, and includes engrav- hunting world” (ODNB). ings from the work of artists such as George Stubbs. Each plate is accompanied by an article expanding 160 Although based in London the periodical had a wide-network of contributors around the country, on the subject matter, which often features exotic and regularly published reader’s correspondence hunts, prize horses, or famous hunting dogs. Com- plete collection provides an invaluable resource, re- on local matters. By relying on both reader’s contri- plete sets of this work are uncommon, with just 17 flecting the changes in society and attitudes across butions and salaried writers this magazine demon- traced at auction in the last century. the turn of the century, and placing them in relation strates how “the 18th-century culture of the gentle- Yuri Cowan, “Industrialising Print, Sport, and to the pastimes and sports of British society. Each man correspondent was beginning to merge with Authorship: Nimrod, Surtees, and the ‘New Sporting volume details changes to sporting laws, for exam- the culture of the paid celebrity author that would Magazine’”, Critical Survey, Vol. 24, No. 1, Sporting ple the introduction of the 1835 Protection of Ani- Victorians (2012). become such a force in the mass literary environ- mals Act, provides anecdotes and results from ma- ment of the 19th century” (Cowan, p. 1). The peri- £50,000 [128768] jor sporting events, and includes a poetry section and racing calendar. “The image of sportive Eng- lishness in the first Sporting Magazine is striking for its atmosphere of gallantry, provincial chauvinism, and the perpetuation of the old illusion that all Eng- lishmen are equal in the field” (Cowan, p. 2). From 1819 onwards the tone of the periodical shifted, fo- cussing more on fox-hunting and game-shooting, and dropping features such as “Affairs of Honour” which reported on duels amongst the gentleman classes. In 1822 The Sporting Magazine hired Charles James Apperly, under the pseudonym Nimrod, as their official sporting correspondent. This was the “zenith of Apperley’s career, with the fame of his articles, backed by his personal skill, authority, and 160

All items are fully described and photographed at peterharrington.co.uk 63 161

161 STEINBECK, John. To A God Unknown. New York: Robert O. Ballou, 1933 Octavo. Original green cloth, titles to spine gilt, pictorial endpapers, black top-stain. With the dust jacket. Spine partially faded corresponding to the light areas of the jacket spine as usual, fading to cloth along edges, an excellent copy in the jacket that is slightly rubbed and nicked along the edges and joints, with very small tape reinforcement ends of spine panel verso, and a little tanned to the spine and rear panels. 163

first edition, first printing, in the first is- els of the 20th century. The fine jacket design is sue green cloth binding, one of only 598 copies by Elmer Hader, known primarily as a children’s bound and sold. book illustrator (joint winner with his wife, Berta £4,750 [129442] Hoerner Hader, of the Caldecott Medal in 1948 for The Big Snow): apparently Steinbeck was so taken with their book Billy Butter (1936) that he requested 162 that Elmer Hader design the cover for The Grapes of STEINBECK, John. The Grapes of Wrath. Wrath. Hader went on to work on two other Stein- New York: The Viking Press, 1939 beck books, East of Eden (1952) and The Winter of Our Octavo. Original buff cloth, titles to spine and pictorial Discontent (1961). design to boards in dark brown, endpapers decorated Goldstone & Payne A12. with the sheet music for Battle Hymn of the Republic, top edge yellow. With the dust jacket. Jacket spine only £3,750 [121682] slightly toned, a few nicks and chips, dark mottling to top edge of book block. A very good copy with the jacket 163 in superior condition. STOUT, Rex. The Rubber Band. New York, To- first edition, first printing, of Steinbeck’s ronto: Farrar & Rinehart, Incorporated, 1936 162 masterpiece and one of the great American nov-

64 Christmas 2018: Peter Harrington cigarettes”, vengefully published by the doctor after Zeno discontinues his visits. It received little notice when it was published, at the author’s expense, in Italy. However, through the support of James Joyce, who had been living in Trieste and teaching English to Schmitz, Svevo was championed in Paris and his novel translated first into French (Gallimard, 1927, trans. Paul-Henri Michel) and then English (Put- nam, 1930, trans. Beryl de Zoete). The recipient of this presentation copy was a key figure of the Parisian literary scene, writer and translator Valéry Larbaud (1881–1957), who at this time was supervising Auguste Morel’s French translation of Joyce’s Ulysses. When Svevo wrote to Joyce in to ask him to help publicise Zeno, Joyce suggested 164 165 that he send copies to Valéry Larbaud and Benja- min Crémieux. The two men of letters were duly impressed, and published a partial translation of it Octavo. Original blue cloth, titles to spine and front a couple of short closed tears, pale red splash to verso of board in black, fore edge uncut. With the dust jacket. jacket, otherwise front panel bright. in Le Navire d’argent on 1 February 1926. Slight fading to spine ends and top edge, a near-fine first edition, first printing, of the fifth Along with Joyce, Larbaud and Crémieux cham- copy in the bright, unrestored jacket with a few small Nero Wolfe book. The final 12 leaves consist of pioned Svevo in Paris. After the 1927 French pub- tears with loss to spine and several trivial nicks to ex- lication, Svevo was hailed as the Proust of Italy, tremities and edges. recipes enjoyed by Wolfe, Stout’s fictional detective and gourmand, printed on blue paper. and was received into the Parisian literary scene. first edition, first printing, the scarce third “Svevo, lacking the confidence in his genius that novel in the author’s Nero Wolfe series, and no- £2,875 [126041] carried Joyce through so much frustration, was tably uncommon with the jacket unrestored. The amazed, calling himself, in the face of his belated story was originally serialised in six issues of the 165 fame, a ‘bambino di 64 anni’ [letter to Larbaud]. Saturday Evening Post between February and April [SCHMITZ, Ettore.] SVEVO, Italo. La co- He charmed his hosts at a 1928 Paris literary din- 1936, and published in book form on 9 April 1936. scienza di Zeno. Bologna: Licinio Cappelli, Edi- ner in his honor by filtering his ingenuous joy A second printing was issued in the following through a screen of cigarette smoke. He was even tore, Rocca S. Casciano, Trieste, 1 May 1923 month and is almost identical to the first, except more amazed to discover, as the young poet Euge- for the publisher’s monogram logo being dropped Octavo. Original printed wrappers. Housed in a purple nio Montale championed his cause in Italy, that he from the copyright page. Its presence here thus morocco entry marbled slipcase and purple morocco was being hailed as the revolutionary father of a backed chemise by Mercher. Wrappers lightly dust soiled indicates that this is a copy from the first printing. and very slightly creased at the extremities, some faint new generation of Italian writers” (Lebowitz). £8,750 [126847] marginal toning within, a few minor marginal repairs to Svevo died following a car accident in September first blank, but a very good copy indeed. 1928, and inscribed copies of Zeno are rare—we 164 first edition, first printing, canonical can trace only one other (Minerva Auctions, inscribed to his cousins) in auction records. Pending STOUT, Rex. Too Many Cooks. New York: Far- presentation copy of this key modernist novel, inscribed by the author to its first translator, “To the appearance of a copy inscribed to Joyce him- rar & Rinehart, Incorporated, 1938 Monsieur Valery Larbaud, Ommagio dell’ Autore, self, this copy must carry one of the best possible Octavo. Original red cloth, spine and front cover lettered Ettore Schmitz, Villa Veneziani, Trieste 10”, on the associations. in black, top edge blue. With the dust jacket. Pencilled first blank. Naomi Lebowitz, The Philosophy of Literary Amateurism ownership inscription to front free endpaper, booksell- (University of Missouri Press, 1994), p. 98. er’s ticket to rear pastedown. Small marks to foot of cov- La coscienza di Zeno takes the form of a rambling ers, cloth otherwise bright, slight foxing to endpapers memoir set down, at the suggestion of his psy- £10,000 [127303] and edges, marginal tears to pp. 263–4; 265–6, not affect- chiatrist, by a troubled tobacco fiend named Zeno, ing text. A very good copy in the jacket, spine and head whose life is an interminable succession of “last of front panel slightly faded, spine ends a little chipped,

All items are fully described and photographed at peterharrington.co.uk 65 167 (TERRESTIAL GLOBE.) Malby’s Terrestrial Globe. London: Edward Stanford, 1869 Hand-coloured globe measuring 11 inches, mounted on wooden horizon on three legs united by brass meridian ring. Mount measuring 18 × 17 inches. A few tiny scratches and patches of abrasion, a couple of minor splits, else in very nice condition. A fine example of a Victorian globe, “compiled from the latest & most authentic sources, including all the recent geographical discoveries”. 169 The Malby family were the most notable English globe-makers of the second half of the 19th century. Their globes ranged in size from pocket globes first and signed limited edition, one of to the 36-inch globe they contributed to the Great 1,500 copies, numbered and signed by Testino. Exhibition. They were the first to depict the lines £1,500 [127754] 166 of magnetic variation, soon copied by many other globe makers. 169 166 £5,000 [126853] (THATCHER, Margaret.) Collection of refer- [TENNYSON, Alfred.] Poems, by two broth- ence works from her personal library. 168 ers. London: for W. Simpkin and R. Marshall, and 5 works in 6 volumes, quarto, slightly varying sizes. Fine- J. and J. Jackson, 1827 TESTINO, Mario. Kate Moss. Cologne: Taschen, ly bound in blue half morocco, spines lettered in gilt, 2010 spine bands tooled with variant gilt serrated and beaded Octavo (159 × 93 mm). Contemporary russia, green mo- rolls, blue cloth sides ruled in gilt, marbled endpapers, rocco label, spine gilt to compartments, covers panelled Folio. Original silver boards, lettering taken from a pho- top edges gilt. Spines unevenly sunned to grey, light in gilt and blind with gilt foliate border, marbled end- to of Kate Moss, in the unopened shrink-wrap. Housed cockling to a few initial and terminal leaves, sides and papers. Housed in a custom brown cloth and calf slip- in the publisher’s acrylic box and with the packaging as top edges lightly rubbed, trivial marks to other edges, case. Discreetly refurbished, with lifted head of spine issued. A fine copy in the original packing box. else a near-fine set. glued down, sticker residue to front cover and other scuff marks removed, colour enhanced. Title page a little margaret thatcher’s personal reference toned, but thereafter contents clean, with one gathering library, specially bound for her in a near-uni- standing slightly proud, and faint stamp residue to title form binding with her initials “M.T.” emblazoned page and p.17. A very good copy. in gilt on the spines. The set was among Thatch- first edition, small paper issue, of Tenny- er’s possessions in her Chester Square home, and son’s first book of poems, published anonymously. was subsequently acquired directly from her estate Despite the title, there were in fact three brothers following her death in 2013. The collection reflects involved, as the volume included poems by his Thatcher’s interests: in her personal life, in litera- brothers, Charles and Frederick. The Jacksons ture and music, and in her political life, in quota- paid the authors 20 pounds for the copyright, a tions and the English language, so necessary for surprisingly large sum for unknown authors, obvi- her speeches and writing. The books are bound in ously convinced of its merit. The work was issued the same style, but slight variation in the morocco simultaneously in large paper for 7s and small pa- and the gilt tooling implies the books were bound per for 5s. A scarce work, especially in such an at- to order at the time of their issue, rather than the tractive contemporary binding. collection being bound at the same time. It is con- Ashley VII, 102; Sterling 912; Tinker 2058; Wise, Tennyson, sequently a reasonable supposition that the bind- 1; Thomson 1. ings date from her Prime Ministerial days, with the books in use at that time. £2,500 [127399] The six volumes comprise: Denis Arnold (ed.), 167 The New Oxford Companion to Music, two volumes,

66 Christmas 2018: Peter Harrington Oxford University Press, 1988, first edition, fourth impression; Margaret Drabble (ed.), The Oxford Companion to English Literature, Oxford University Press, 1987, fifth edition, fifth impression; Mar- Thomas 125790 garet Drabble (ed.), The Oxford Companion to English Literature, Oxford University Press, 1988, fifth edition, seventh impression (a later impression of the previous work); The Oxford Dictionary of Quota- tions, Oxford University Press, 1986, third edition, fifth impression; J. B. Sykes (ed.), The Concise Oxford Dictionary of Current English, Clarendon Press, 1988, seventh edition, eleventh impression. £18,000 [129003]

The first cocktail book 170 170 170 THOMAS, Jerry. The Bar-Tenders’ Guide. New York: Dick & Fitzgerald, Publishers, 1862 on the front board. The book was a great success, Occidental, then “the newest and the best hotel in Octavo. Original brown zig-zag grained cloth, spine let- with the price rising in the first year of publication San Francisco”. He described Thomas as “a gentle- tered “How to Mix Drinks” within scrolling paraph in gilt, publisher’s monogram in escutcheon to foot, title, from $1.50 to $2.00, and then to $2.50. There was man who is all ablaze with diamonds. There is a price, and vignette to front board gilt, publisher’s device also a change of title: the earliest copies, as seen very large pin, formed of a cluster of diamonds, in in blind to rear board, blindstamped panel to covers with here, have “The Bar-Tenders’ Guide” printed on the front of his magnificent shirt, he has diamond foliate cornerpieces, yellow advertisement endpapers. the title page, closely matching the title blocked studs at his wrists, and gorgeous diamond rings Housed in a custom black quarter morocco solander on the front board (“The Bar Tender’s Guide”) but on his fingers . . . Mr. Jerry Thomas we are told can box. Blank leaf, 244pp., [8pp. ads], blank leaf; 10 en- with “How to Mix Drinks” lettered on the spine. command his hundred dollars, or twenty pounds graved illustrations to the text, including the famous im- This more inclusive spine title was utilized on the weekly, for wages. It must be remembered how- age of Thomas mixing the “Blue Blazer”. Contemporary title page of the second issue, sub-titled “the Bon ever that he is in California, and that he is engaged book-ticket of Papeleria y Libreria on the Calle Obispo, “entre Aguiar y Habana” in Havana to front pastedown. Vivant’s Companion”, perhaps to appeal to the as a ‘star’” (Hingston, p. 245). Spine and board edges sunned, tips just bumped, two amateur of alcohol rather than solely the profes- The cocktail was “the first legitimate American cu- small worm-holes at rear hinge, one emerging just be- sional practitioner. linary art . . . the first uniquely American cultural yond joint, no loss of text on endpapers, hinges sound, Thomas was “one of the most distinguished, if not product to catch the world’s imagination” (Won- small piece torn from the corner of the first blank, very the chief, of American ‘bar-tenders’” (Hingston, drich, p. 11). pale mottled toning throughout, a scatter of light spots p. 245). His career was an embodiment of the of staining to two leaves with instructions for Thomas’s Hingston, The Genial Showman, 1881 (new edition); “Blue Blazer” (p. 76–7), perhaps a result of misguided ex- 19th-century American picaresque. Born in Sack- Wondrich, Imbibe! . . . a Salute in Stories and Drinks to perimentation, fortunately without attendant scorching, ets Harbor, New York c.1829, he had sailed the ‘Professor’ Jerry Thomas, Pioneer of the American Bar. previous page with a contemporary annotation in blue world; prospected for gold in California in 1849; £16,500 [125790] pencil, asking, of the recipe for Claret Cup, “ubi Bor- established the first minstrel troupe on the West age?”. An exceptional copy in original cloth. Coast; represented the American sporting fancy first edition of the first ever guide to at the notorious Heenan–Sayers fight in Farnbor- mixed drinks, in an unrecorded variant bind- ough; made and lost a couple of fortunes by his ing. Highly influential, the true first edition is a own admission; and “tended bar in just about notably elusive book. OCLC records just nine cop- every place where conviviality was at high ebb, ies, none in the Library of Congress. This copy, in from London, England, to Virginia City, Nevada” brown rather than the previously recorded green (Wondrich, p. 13). A year after the book’s publi- cloth, is in the first state, with the title page read- cation, Edward Hingston, an English theatrical ing “The Bar-Tenders’ Guide”, and priced at $1.50 promoter and agent, encountered Thomas at the

All items are fully described and photographed at peterharrington.co.uk 67 “I am rather a rustic, more of a hobbit than a man The recipient was Godfrey Nicholson (1901–1991), of Gondor” Conservative Member of Parliament for Farnham. He graduated from Christ Church, Oxford, in 1925, 172 the year that Tolkien returned to Oxford as Rawlin- TOLKIEN, J. R. R. Autograph letter signed to son and Bosworth Professor of Anglo-Saxon, with Godfrey Nicholson, MP. Headington, Oxford: 14 a fellowship at Pembroke College. Two years after January 1956 this letter, Nicholson was made a baronet; he re- One page, single sheet (171 × 132 mm), blind-stamped tired from politics in 1966. letterhead. Creased where folded for posting and addi- The occasion of the letter was the completion of tionally afterwards, the ink a little faded in the lower por- the Lord of the Rings trilogy, the last volume of which tion where the letter has come into contact with water; had been published in October 1955. As Tolkien’s still good. letter suggests, many reviewers were hostile, but Tolkien replies to a fan letter and an invitation to the work sold extraordinarily well and found an dine at the House of Commons: (“. . . I am afraid army of delighted readers. I am not weary of praise, especially not of the rare provenance: by descent. The letter remains un- kind, such as yours: expressions of delight. They published. are a comforting antidote to the pains of certain 171 kinds of rather patronizing reviews or the sneers £10,000 [128706] of those who dislike the ‘noble’ (especially in 171 women) and retch at it, like Gollum at the scent of 173 TIMLIN, William M. The Ship that Sailed to anything ‘Elvish’ . . .”). Tolkien goes on to suggest TWAIN, Mark. Adventures of Huckleberry meeting in London in the first week of February, Mars. London: George G. Harrap & Company Lim- Finn (Tom Sawyer’s Comrade). New York: and accepts the invitation to dine in the House of ited, [1923] Commons. “I am rather a rustic, more of a hob- Charles L. Webster and Company, 1885 Quarto. Original quarter japon, spine lettered and deco- bit than a man of Gondor, and I have never done Square octavo. Original blue pictorial cloth blocked rated in gilt, front cover lettered in black, grey paper- that.” He explains that his London visits are usu- in black and gilt, titles to spine and front cover in gold covered boards. Title page and letterpress printed in blue and black. Housed in a black moiré silk slipcase. Photo- ally cut short by a rush for the train at Paddington. and black, 48 mounted colour plates, 48 mounted pages gravure frontispiece of Karl Gerhardt’s portrait bust of of letterpress, all on grey paper. Spine lightly marked, Clemens, 173 text illustrations after E. W. Kemble. Spine head of spine slightly creased, small mark to top fore toned, slight wear to very tips, a couple of faint marks corner, a little wear to tips, faint browning to endpapers. to covers, tiny bump to foot of rear cover, edges a little A very good copy with bright and clean plates. browned, top edge dust toned; a superb copy. first edition, first impression, of Timlin’s first american edition, first printing, only published book, The Ship That Sailed to Mars, a first issue, in the uncommon blue cloth fantastical illustrated gift book that rivalled those binding. Copies were issued in various bind- of Rackham, Dulac, Goble and Nielsen. The book ings, including blue cloth, as here, for those who was published in Britain by George Harrap, who wanted it uniform with Tom Sawyer. Although all had earlier published Willy Pogany, and they fol- binding styles were first available to the public on lowed a similar format here, reproducing Timlin’s the same day in February 1885, significantly fewer original calligraphic text mounted, like the plates, were issued in the blue cloth variant. on grey matte paper. The traditional issue points on this book are now “The most original and beautiful children’s book known to be excessively complicated. The first of the 1920s was William M. Timlin’s masterpiece printing of 30,000 copies was done using elec- The Ship That Sailed to Mars . . . a magical combi- trotype plates, produced simultaneously on dif- nation of science fiction and fairyland” (Richard ferent presses, hence minor variations within the Dalby, The Golden Age of Children’s Book Illustration, first printing due to damaged plates. Only three 1991, pp. 102–3). substantive changes were introduced after the £2,500 [126045] first printing: at p. 13 the erroneous page refer- 172 ence “88” was changed to “87”; at p. 57 the mis-

68 Christmas 2018: Peter Harrington 174

tention of the public and attracted imitators. The titles here comprise: Wordsworth’s Grave and other Poems, by William Watson (1890); Mirèio, by Fré- déric Mistral, translated by Harriet Waters Pres- ton (1890); Lyrics Selected from the Works of A. Mary F. Robinson (Madame James Darmesteter) (1891); Love- Songs of Robert Burns, selected by Sir George Doug- las (1892); Irish Love Songs, selected by Katherine Tynan (1892); Mariana, by José Echegaray, trans- 173 lated from the Spanish by James Graham (1895); The Son of Don Juan, by José Echegaray, translated print “with the was” on line 23, was corrected to 174 from the Spanish by James Graham (1895). Several “with the saw”; and at p. 9 the misprint “Decid- (UNWIN, T. Fisher, pub.) Seven titles from of the titles constituted meaningful first appeared” was corrected to “Decides” (this last change ances: Wordsworth’s Grave (first), Mireio (first UK), overlooked by Johnson, Blanck et al.) These are the Cameo Series. London: T. Fisher Unwin, 1890–95 Mariana (first English), and The Son of Don Juan the only points to distinguish between the first (first English). Also included in the series, which two printings, and our copy has all three in first 7 volumes, octavo. Original stiff vellum, titles gilt to ran from 1890 to 1902, were titles by Henrik Ibsen, spines, Cameo Series device to front covers and publish- state. At some stage it was realised that the Uncle Amy Levy, Richard Garnett, W. B. Yeats, Edward Silas illustration on p. 283 had been mischievously er’s imprint to rear covers in brown, edges untrimmed. Mostly uncut. Illustrated frontispiece to each volume. Willmore, and Alfred de Kantzow. tampered with. In this copy, the illustration is in Some light mottling to covers but generally in very good Three pieces of ephemera are laid in: a William the corrected state, the leaf a cancel mounted on condition indeed, all sound and internally clean. Watson poem, “Liverpool”, clipped from a news- a stub. the publisher’s retained first copies of the paper dated 23 October 1908; a small 4-page book- BAL 3415; Grolier, 100 American, 87; Johnson, pp. 43–50; rare deluxe japon issue of seven titles in Unwin’s let, sewn at the fold, advertising Unwin’s Century Kevin MacDonnell, “Huck Finn among the Issue- Cameo Series, each copy number 1 of 30 copies print- Illustrated Monthly Magazine; and a typed 14-line Mongers,” Firsts, vol. 8, no. 9 (Sept. 1998), pp. 28–35. ed on japon vellum, three of which are also signed by poem “To Madame Duclaux (A. Mary F. Robin- £7,500 [127578] the publisher on the colophon, and all from the person)”, dated 9 January 1926 and with the autograph sonal library of Thomas Fisher Unwin (1848–1935). of Irwin F. Smith. Unwin’s Cameo series of poetry was a distinctively £2,750 [125995] packaged sequence of books that caught the at-

All items are fully described and photographed at peterharrington.co.uk 69 175

175 WALLACE, Alfred Russel. The Malay Archi- pelago. London: Macmillan and Co., 1869 2 volumes, octavo. Original green pebble-grain cloth, titles and illustrations to spines gilt, orangutan vignettes 176 to front covers, frames blocked in blind to covers, brown coated endpapers. Frontispieces with tissue guards, vignettes to title pages, 6 plates, 43 illustrations to the “Without doubt the finest copy of the best edition (1828), two original drawings by Courbould, plates and text, and 9 maps, 2 of which are in colour and folding. of this famed old work ever sold”—the Hoe copy, proofs for the Bagster edition (1808), and the suite of 19 hand-coloured plates on large paper from an edi- Light markings to rear cover of vol. I, rear hinge of vol. I lavishly extra-illustrated partly split, some pages unopened, vol. II p. 1 with short tion of Alfred Ronalds’s The Fly-Fisher’s Entomology; alto- closed tear at head. A near-fine, bright copy. 176 gether 450 plates; title pages printed in red and black. Imposing bookplates of the Philadelphia book collec- second edition, first published earlier that WALTON, Izaak, & Charles Cotton. The tors John Whiting and Helen Otillie Friel, designed by year, of “one of the finest scientific travel books Complete Angler: or the contemplative Rockwell Kent (see Ben Mazer, Rockwell Kent’s Bookplate ever written” (DSB). Wallace’s account of his path- man’s recreation . . . With original memoirs for John Whiting Friel, 2002). The lightest of shelfwear, tips breaking eight-year collecting expedition was a and notes by Sir Harris Nicolas. London: Wil- a little bumped, scattered foxing and very occasionally dampstaining, some offsetting from plates, remains of huge success on first publication and has drawn liam Pickering, 1836 praise for its artistic format and literary style in catalogue description to front endpaper of vol. I. A truly exceptional set. addition to its scientific merits, and has been 2 volumes expanded and bound into 4, quarto (271 × 184 mm). Late 19th-century green morocco by Francis first nicholas edition, large paper, the shown to have influenced novelists such as Joseph Bedford, spines richly gilt tooled with a multitude of hoe copy, with the red morocco book label of the Conrad as well as the next generation of traveller- scrolling foliate roll tools and individual foliate motifs, explorers. sides with concentric gilt panels of drawer-handle tools distinguished bibliophile Robert Hoe (1832–1909), Howgego II W10 for first edition. enclosing a French fillet border and elaborate scrolling “heir [to] a fabulous fortune made in the manu- foliate corner-pieces with trifoliate leaves predominat- facturing of printing equipment. He was a pas- £3,000 [128819] ing, richly gilt turn-ins, marbled endpapers, gilt edges. sionate book collector, and one of the founders of With 61 engraved plates and woodcut vignettes by Sto- the Grolier Club and of the New York Metropolitan thard and Inskipp on India paper and an additional Museum of Art” (Opritsa D. Popa, Bibliophiles and suite of proofs; extra-illustrated with proof plates from Bibliothieves, 2003, p. 106). the Gosden and Major editions, Absolon’s illustrations for Major’s fourth edition (1844), portraits by Hollar This superb set was originally sold, and presum- and others, etching of a trout made in Newgate prison ably assembled by, the fashionable London book-

70 Christmas 2018: Peter Harrington 177

177 WARHOL, Andy. Portraits of the 70s. New York: Random House, 1979 Quarto. Original illustrated wrappers, spine lettered in 176 black, front wrapper lettered in pink and black. Housed in the original red and gold flat box. Light rubbing to spine ends and tips, glue residue at hinges, crease to up- sellers Robson & Kerslake; it appears in their High praise has long been lavished on this edition, per tip of rear wrapper, overall clean and bright. A very December 1899 catalogue, described as “without with Percy Muir describing it as “one of the best, good copy. doubt the finest copy of the best edition of this perhaps the very best . . . it was printed by Whit- first edition, first printing, inscribed by famed old Work ever sold”. tingham and in the special edition with the plates the artist to the photographer Nat Finkelstein Among the high points are two charming and as proofs on india paper it makes a very handsome on the half-title, “To Nat, love Andy Warhol”. Fin- delicate pen, ink and wash drawings by Henry book” (Victorian Illustrated Books, 1985, p. 21). The kelstein was the house photographer at The Fac- Corbould (vol. I, p. cxxxii), originally executed for publisher William Pickering was himself a keen tory from 1964–7, where he “created spontaneous Major’s edition of Walton’s Lives (1825), for which angler and collector of angling books and ODNB portraits not only of Factory regulars like [Edie] they served as the frontispiece, framing the fac- notes that for this edition he “commissioned the Sedgwick and Gerald Malanga but also of the art- simile signatures of Walton’s subjects; one is the artist Thomas Stothard to visit Dovedale [in the ists and celebrities who drifted in and out of the preliminary sketch and the other a more finished Peak District] to produce sketches”. Warhol orbit” (his obituary, New York Times, 13 Oc- drawing. A small circular etching of a trout (vol. III Horne, Compleat Angler, 43; Westwood, The Chronicle of the tober 2009). Whilst at the Factory, Finkelstein cap- after p. 104) inscribed “Etch’ d & Printed in New- ‘Compleat Angler’ of Izaak Walton and Charles Cotton: being tured some of the most iconic images of the time, a bibliographical record of its various phases and mutations gate Prison, W. Thomson, Sept. 1828” may well be with notable subjects including the Velvet Under- (London, 1864), pp. 51–55; Westwood & Satchell p. 228. unique; the Tate holds a watercolour by Thomson ground, Andy Warhol himself, Marcel Duchamp, (dated 1826) and we have in the past handled a £12,500 [129131] Edie Sedgwick, and Salvador Dali. Newgate manuscript book containing etchings by Portraits of the 70s was produced to accompany a him. There are some 198 extra portraits ranging solo exhibition of the same name of Warhol’s work in date from the 17th to the 19th centuries, many at the Whitney Museum of American Art from 20 “having been extracted from rare works” (Robson November 1979 to 27 January 1980. & Kerslake). £3,750 [126220] 176

All items are fully described and photographed at peterharrington.co.uk 71 178 179

Bound by the “leading English bookbinder (1829–1900), of Wootton, Derbyshire, a noted them as “tilted, stiff tripods, without either flex- of his time” bibliophile, the sale of whose “choice and valu- ibility or subtlety, and with an altogether mislead- able library”, auctioned by Christie’s in 1901, was ing monotony of effect” (Book II, Chapter 2, 1898). 178 reported in the New York Times, which noted the Subsequently the first UK edition in book form, (WELLINGTON, Arthur, Duke of.) GUR- sale total as $55,000 (approximately $1.5 million which included this passage, was unillustrated. WOOD, John (ed.) The Dispatches [with:] in modern terms). The General Orders . . . in Portugal. Spain, and Sandler 3444. Fance, from 1809 to 1814; in the Low Countries £6,500 [127262] and France, in 1815; and in France, Army of Oc- cupation, from 1816 to 1818. London: John Mur- 179 ray (General Orders: W. Clowes and Sons), 1837–8 WELLS, H. G. La Guerre des Mondes. 13 volumes, octavo (220 × 133 mm). Mid-19th-century calf by Francis Bedford, richly gilt spines with scrolling Bruxelles: L. Vandamme & Co., 1906 foliate motifs, red and dark green morocco twin labels, Large quarto. Original patterned brown wrappers, ti- two-line gilt border on sides with small corner rosettes, tles lettered to spine and front cover in brown, top edge richly gilt turn-ins, marbled edges and endpapers. Some trimmed, others untrimmed. Text in French. Title page staining to front cover of vol. II, slight bump to spine of printed in gilt and red. Illustrated title page. With 106 il- vol. IV, joints of vol. XII partially split but quite sound, lustrations in the text and 32 plates printed on thick pa- a few general light abrasions, scattred foxing. A very at- per. Neat repair to spine, wrappers a little creased, small tractive set. mark to rear cover, foxing throughout, some plates with a marginal stain to fore edge, images unaffected. An new edition, complete with the index and the unusually well-preserved copy. volume of General Orders. This is a particularly handsome set, bound by Francis Bedford, “considered first edition illustrated by alvim-corra, the leading English bookbinder of his time, sur- one of 500 copies, this copy out-of-series and un- passed only by the best French binders” (ODNB); signed. The original serial publication of Wells’s although unsigned, this set was put up for auction novel in Pearson’s magazine (1897) was illustrated with a near-matching set of Napier’s History of the by Warwick Goble. However, Wells was unim- War in the Peninsula (1832–40), which was signed by pressed by Goble’s depiction of the invaders, dem- Bedford and utilised the same tools. onstrating his disapproval by expanding the text to include a paragraph directly commenting on provenance: attractive engraved armorial Goble’s illustrations, having the narrator describe roundel bookplates of Sir Henry Hope Edwardes 179

72 Christmas 2018: Peter Harrington 181

181 [WILDE, Oscar.] The Ballad of Reading Gaol. By C.3.3. London: Leonard Smithers, 1898 Octavo. Original white cloth-backed yellow cloth, spine lettered in gilt, fore and bottom edges untrimmed. Spine mildly toned, a few spots of foxing to cloth, a little foxing and browning to endpapers, contents clean. A very good copy. first and limited edition, one of 800 unnumbered copies printed on handmade paper, from a 180 total edition of 830. Wilde published this work un- Henrique Alvim-Corrêa (1876–1910), a Brazilian 180 der the pseudonym “C.3.3.” after his cell in Read- artist living in Belgium, read The War of the Worlds in WELLS, H. G. The Works. New York: Charles ing Gaol (cell 3 on the third landing of Gallery C). 1903 and was so moved by the novel that he began The first edition sold out rapidly, and a second edi- to illustrate the work uncommissioned. In 1905 he Scribner’s Sons, 1924–7 tion was printed within weeks. 28 volumes, octavo (226 × 150 mm). Original green travelled to London in order to present his work Mason 371. to Wells, who in turn was deeply impressed by his crushed half morocco by Stikeman & Co. for Scribner’ s, two raised bands to spines, lettered and tooled in gilt with £1,850 [127083] striking illustrations, inviting him to illustrate the floral motifs, single gilt rule to sides, green cloth sides, present edition. Wells later stated that “Alvim- marbled endpapers, some pages unopened, top edge gilt, Corrêa did more for my work with his brush than others untrimmed. Photogravure frontispieces with tissue I with my pen”. This edition uses the translation guards in all volumes. Pages nice and clean, spines slightly of Henry-Durand Davray, Wells’s long term friend faded, some trivial wear to a couple of headcaps and some and the “architect of Wells’s early reception” (Par- expert minor repair to four of them, an excellent set. rinder, p. 30). Davray’s was the first translation of the atlantic edition, number 605 of 1,670 the work into French (published serially in the Mer- sets signed by the author. “The text throughout is cure de France from October 1899 until March 1900). read and revised by the author, who has written a This highly influential work is scarce, with just special preface to each volume as well as a general three copies traced at auction. introduction to the set” (Wells, p. 61). Parrinder, The Reception of H. G. Wells in Europe (2005). Wells 89. £2,250 [127466] £12,500 [128513]

All items are fully described and photographed at peterharrington.co.uk 73 182

182 WINTERBLOSSOM, Henry T. [pseud.] The Game of Draw-Poker, Mathematically Illus- trated. New York: Wm. H. Murphy, 1875 183 Duodecimo. Original blue cloth, front cover lettered in gilt within black border. Spine lightly sunned and a little design, without known priority. OCLC lists ten garden. This is an important work that was re- worn at ends, faint rubbing to covers, front endpapers copies in institutions. printed several times in the 19th century. loosening with short closed tears, light staining to clippings. A very good copy. Jessel 1706. Henry 1521–2. first edition of this early guide to poker, cov- £4,500 [127827] £3,250 [127050] ering not only the technicalities of the game, but also the psychology: poker is “not only a selfish 183 Her first published commentary on her own novel, game, but one that every subterfuge that can be WOODVILLE, William. Medical Botany. Lon- revealing discarded plot points and justifying her brought to bear is introduced” (p. 10). A contem- don: James Phillips, 1790–94 artistic method porary owner has pasted in to the rear endpapers a clipping of the New York Sun’s review of this book, 4 volumes, quarto (245 × 188 mm). Original 18th-century 184 diced calf sides, later reback to style, small raised bands, dated 10 February 1875, and to the front endpa- WOOLF, Virginia. Corrected typescript for gilt lettering and decoration, boards triple ruled in gilt, pers the New York Tribune’s review of Schenk’s Rules decoration in blind, new marbled endpapers. Illustrated the Modern Library introduction to Mrs Dal- for Playing Poker, dated 8 February 1875. The close with 274 hand-coloured plates by James Sowerby. Origi- loway. London: June 1928 dates of review make it difficult to ascertain which nal calf sides with light markings, a little wear to extrem- 4 sheets (256 × 204 mm), typewritten in purple ink to rec- work has precedence as the first American book ities, minor bumping to tips, internally very good with tos only, headed with Woolf ’s typewritten address: “Mrs. on poker, but this work is generally cited as such. some light foxing. A very good copy. Woolf, 52 Tavistock Square, London WC1”. Manuscript The author has never been identified, but the New first edition, including the supplement. Wil- corrections in ink and pencil by several hands including York Times Review of 12 February 1875 (not included) liam Woodville, from a wealthy Quaker family, Virginia Woolf ’s. Final leaf verso inscribed “Virg. Woolf stated that he is understood to be a member of the studied medicine at the University of Edinburgh. Intro. to Mrs. Dalloway (Paid July 18 1928)” in pencil. Horizontal folding crease across the middle, some light Lotos Club, a literary club based in New York of He was became physician at the London Smallpox soiling, very good condition. which Mark Twain was also a member. A green and Inoculation Hospital at St Pancras in 1791 and cloth binding variant is also known, with the same acquired two acres of land nearby as a botanical virginia woolf’s original typescript, with her autograph corrections in eight

74 Christmas 2018: Peter Harrington 185

types of craft specified. This group would seem to have been sent to No. 9 Group RAF, formerly South-Western Group RNAS, with the ink stamp of “Armament Officer No. 9 Group, Plymouth” to the front panel of the wrappers to British Seaplanes, “No. 9 “inked above; German Aeroplanes docketed “Bridport” in ink on front wrapper and with the 184 pencil note “sent Toller” (Toller, six miles from Bridport, was a specially built station for Sea Scout places, for her first introduction to Mrs Dalloway, 3 volumes, tall octavo (272 × 185 mm). Original printed Zero non-rigid airships). published in the Modern Library edition in 1928. light card wrappers. All printed on art paper throughout £1,750 [127557] Neither the first edition published by the Hogarth and illustrated with three-way views from photographs, Press in 1925, nor the American edition published and in silhouette, accompanied by a précis of the relevant specifications. A little rubbed on the wrappers, the by Harcourt, Brace & Co later in the same year, first named front wrapper marginally a little browned, had any Preface or Introduction. This introduction last leaf of German Aeroplanes a cancel mounted upside constitutes Woolf ’s first published commentary down, but overall very good. on her own novel. The typescript was composed at first, and perhaps only, editions, extreme- her Bloomsbury address in Tavistock Square and ly uncommon. Copac locates copies of the first sent to the Modern Library offices in New York. named at the Imperial War Museum and National £27,500 [122395] Aerospace Library, which also has a bound vol- 185 ume containing the other two, together with 185 Types of British Aeroplanes DAI 101, FS 21, not present here. Of German Aeroplanes, there are copies at the (WORLD WAR ONE; AVIATION.) Types of British Library and at IWM, and of the last BL British Seaplanes, Flying Boats and Ship’s only. The German seaplane volume was printed Aeroplanes. D.A.I. 6 (A.I. 4.) F.S. Publication by the Ordnance Survey Office, Southampton, 60. [Together with:] Types of German Aero- apparently in a run of 7,500, which would suggest planes. D.A.I. 103 F.S. Publication, 47. [And a very heavy rate of attrition over the intervening with:] Types of German Seaplanes and Flying hundred years. Boats. D.A.I 102, F.S. Publication No. 63. Lon- Classified as confidential, for official use only, don: The Air Council, 1918 and strictly “not to be carried in aircraft”, these guides offer a comprehensive visual guide to the 185

All items are fully described and photographed at peterharrington.co.uk 75 186 187

186 yacht built by George S. Lawley & Sons in 1906, Spine cracked but holding, spine ends and tips slightly worn. A very good copy. (YACHTING.) Personal photograph album re- captained at the time by Whitney B. Lowe. cording a cruise off the Maine coast in theElk - Of particular interest are the many identified im- first edition, first impression, presentation copy, inscribed by the author to his horn, Capt. Whitney B. Lowe. Isleboro, ME: 1926 ages of some superb sail and motor yachts of the era, including the Queen Mab, Vagrant, Vanitie, Ma- old associate max beerbohm, while on service Landscape octavo (140 × 185 mm). Contemporary com- hapa II, Thelma, Mariette, Mary Rose, Advance, Reso- with the Royal Naval Volunteer Reserve in the First mercial post-binder album (by Miles Albums) of black World War, “Max from Filson. H.M.S. Lion, North limp cloth, black silk cord tie, lettered in gilt on front lute, and the Eda Mina IV, many of these designed Sea, 5 Jan 1915”, together with an original pen-and- cover “Photographs”. 124 original photographs mounted and built by the celebrated naval architect Natha- on black heavy stock paper, sizes from 90 × 145 to 70 × nael Greene Herreshoff (1848–1938). The typed ink and watercolour caricature of the author by 45 mm (91 are the larger size), many with pencil or pen label inside the front cover lists the fellow pas- Beerbohm drawn on the half-title. Alexander Bell identification in lower blank margin, a few with blue sengers and crew members accompanying W. M. Filson Young (1876–1938) was a journalist who sur- colour-tinting added to water in images. Minor bumping Bertolet, and includes his wife Helen, sons Freder- vived the sinking of the Titanic, and published the to corners, light edge-wear, some minor chipping to a ick and Jean, alongside members of the Dives and first book about the disaster just 37 days after the couple leaves, glue residue from two photographs that Ferneau families, and other friends. sinking. A bromide print by him of Max Beerbohm have been removed, but overall very good. See Bennett Fisher, “The Major Yachts”, Sailing Craft, 1928. is held by the National Portrait Gallery, London. Highly appealing photograph album document- £1,450 [126909] Laid-in are an autograph card from Eva G. Reich- ing the Bertolet family’s 1926 summer cruise off mann to Anthony Hobson, enclosing the book as a the Maine coast in the Elkhorn, an 81 foot motor gift: “Given to me by Mrs Reichmann (sister of the Presentation to Max Beerbohm, with a caricature second Lady Beerbohm and Administratrix of the of the author by Beerbohm estates of Sir Max and Lady Beerbohm), 21 Dec. 187 1960”, and an autograph note by Hobson noting the provenance. With Hobson’s bookplate also to YOUNG, Filson. A Christmas Card. London: the front pastedown; Hobson (1921–2014) was the Martin Secker, 1914 director of Sotheby’s and a noted bibliophile. Small octavo. Original green paper-backed decorated 186 boards, title to spine in gilt, top edge gilt, others uncut. £2,500 [105008]

76 Christmas 2018: Peter Harrington GIFT SELECTION

188 189 190 (ARABIAN NIGHTS.) Les Mille et Une Nuits. AUSTEN, Jane. A Memoir, by her Nephew J. E. AUSTEN, Jane. Emma. London: George Allen, 1898 Paris: Éditions Athêna, 1947 Austen Leigh. To which is added Lady Susan and Octavo. Original green cloth, spine and front cover let- Quarto (250 × 205 mm). 20th-century tan morocco for fragments of two other unfinished tales by Miss tered and blocked in gilt with elaborate floral design, Asprey of London, raised bands to spine, compartments Austen. London: Richard Bentley and Son, 1871 green coated endpapers, all edges gilt. Black line draw- lettered and tooled in gilt, covers panelled in gilt, elabo- Octavo. Original green cloth, spine lettered in gilt, cov- ing frontispiece, chapter headpieces, and 26 plates by rate gilt roll to turn-ins, marbled endpapers, edges gilt. ers stamped in blind, brown endpapers. Light rubbing to Chris Hammond. Bookplate to first blank. Newspaper With the original spine bound in at rear. Illustrated half- spines ends, hinges splitting, some faint foxing. A very clipping dated 1920 loosely inserted. Spine very gently title in colour, historiated initials, illustrations in the good copy. rolled, minor rubbing to spine ends and tips, a couple text, decorative border to head and foot of each page, of tiny bubbles to cloth, hinges just starting but holding, all printed in purple. A little light offsetting to half-title, first appearance in print of Lady Susan and faint foxing to endmatter; a very good copy. The Watsons, originally written circa 1794 and contents clean. A fine copy. first hammond edition. Christine “Chris” 1803 respectively, published from the family’s An attractively bound copy of Les Mille et Une Nuits, Hammond (1860–1900) was a prominent female manuscripts. Austen-Lee’s memoir of Austen was based upon Antoine Galland’s French translation illustrator best known for her book illustrations of first published in 1869 without the stories, which of 1704–17. Galland’s translation was the first Eu- Jane Austen, Thackeray, Mrs Gaskell, and George were not published until the present, second ropean version of this work. Eliot. Of Austen’s works Hammond illustrated just edition. The memoir, based on the recollections Emma and Sense and Sensibility (see following item). £600 [126773] of Austen’s family members, is the single most By “representing the main characters in ways that important source for her life. Scarce, especially in stress their individuality . . . Hammond’s terse line the original cloth. often creates a spontaneous, and sometime even a £750 [126780] febrile effect” (Cooke). Simon Cooke, Christiana Mary Demain ‘Chris’ Hammond (2016); Simon Houfe, The Dictionary of 19th Century British Book Illustrators and Caricaturists (1996). £650 [129213]

All items are fully described and photographed at peterharrington.co.uk 77 191 AUSTEN, Jane. Sense and Sensibility. London: George Allen, 1899 Octavo. Original green cloth, spine and front cover lettered and blocked in gilt with elaborate floral design, top edge gilt. Black line drawing frontispiece, chapter headpieces, and 10 plates. Newspaper clipping (reporting the opening of a fund to preserve Austen’s grave, dated 1911) and bookplate to front free endpaper. Spine gently rolled and toned, spreading just a little onto covers, minor wear to spine ends, light foxing to edges and endpapers; a very good, fresh, copy. first hammond edition. For the illustrator, see previous item. £600 [129210]

192 (BACKGAMMON.) JACOBY, Oswald, & John R. Crawford. The Backgammon Book. London: Macmillann, 1970 Quarto (241 × 174 mm). Contemporary brown half morocco by Asprey, spine lettered in gilt with gilt backgammon motifs, tan cloth sides ruled in gilt, marbled endpapers, gilt edges. Illustrated throughout with black and the Bank of England. Bagehot’s recommendation first edition, first impression, trade issue. white photographs and colour diagrams. A fine copy. that the Bank alter gold reserves based on Presentation copy, inscribed by the author on first edition, first impression. A handsomely economic cycles was highly influential, and the the front free endpaper: “Mrs Algernon Fry How bound copy of this guide to backgammon, covering book was considered authoritative into the 20th nice of you to be interested in my Book. I am so its history, rules and tactics. century. “The wonderful clearness of Bagehot’s grateful—with best wishes from Cecil Beaton £650 [129140] power of statement, his exact knowledge of the November 1930”. The Book of Beauty was Beaton’s subject treated on, together with his firm grasp first book featuring his sketches and portraits of of economic theory, have caused this volume to many well-known women. 193 exert an influence which few books on a subject £1,250 [126860] BAGEHOT, Walter. Lombard Street: A Description naturally so dry have possessed” (Palgrave I, p. 81). of the Money Market. New York: Scribner, Armstrong See Blaug, Great Economists before Keynes, pp. 5–7; Masui, p. 113. & Co., 1873 195 1,250 Octavo. Original brown cloth, spine and boards lettered £ [127113] BLYTON, Enid. Five Go Down to the Sea. London: and ruled in gilt and black, yellow endpapers. Armorial Hodder & Stoughton Limited, 1953 bookplate of John T. Davis to front pastedown. Extremi- 194 Octavo. Original red cloth, spine and front cover lettered ties worn, spine ends chipped and half-title loose at gut- BEATON, Cecil. The Book of Beauty. London: in black, pictorial endpapers. With the dust jacket. Black ter, Japanese tissue paper repairs to tears on pp. 345–8 and white and two-tone illustrations by Eileen Soper (no loss to text), else a clean copy, the cloth and lettering Duckworth, 1930 throughout. Gift inscription to verso of front free endpa- notably bright. Quarto. Original pink cloth-backed boards, spine let- per. Spine ends a little faded, spot of wear to rear board tered in gilt, gilt spot decoration to covers. Colour fron- first u.s. edition, published the same year for edge, otherwise a very good copy in the chipped jack- tispiece by Gertrude Lawrence, illustrated title page, 27 et, spine panel toned, tape repairs to verso. as the first UK edition and bound to the same monochrome photographic plates, and black and white design except for the publisher’s name in gilt at illustrations in the text, by Beaton. Spine a little sunned, first edition, first impression, signed by the foot of the spine. Scarce in commerce and covers a little soiled and faintly stained, contents clean. the author on the title page, of the 12th Famous described by J. M. Keynes as “an undying classic”, A very good copy. Five book. Lombard Street analyses the operation of the British £700 [124683] financial system, focusing on the economic role of

78 Christmas 2018: Peter Harrington 198 CERVANTES, Miguel de. The Life and Exploits of the ingenious gentleman Don Quixote de la Mancha. London: J. and R. Tonson, 1766 4 volumes, duodecimo (173 × 103 mm). Contemporary calf, spines ruled gilt in compartments, red morocco labels. With 31 engraved plates after John Vanderbank. Later ownership inscription to front pastedowns. Joints lightly rubbed, small chips to head of two volumes, small worm track to the lower compartment of another volume, text unaffected; an attractive copy. Fourth Jarvis edition, first published in 1747 Charles Jarvis (or Jervas) was the first translator to point out the inaccuracies of previous English versions of the novel, and his translation proved to be the most popular of the 18th century. Vander- bank’s spirited illustrations first appeared in 1738 in a “lavish four-volume quarto edition” put out by Tonson, which was “the first deluxe edition of the novel, and the first edition in Spanish published in England” (University of Rochester NY, River Cam- pus Libraries); a small format version was issued in 1749. £750 [125842]

199 CHAGALL, Marc. The Jerusalem Windows. New York: George Brazillier Inc. in association with Horizon Magazine, 1962 Tall quarto. Original red cloth, titles to spine and front board in gilt, pictorial endpapers. With the dust jacket. 196 Octavo. Original buckram, gilt image of a Wilson’s pet- With 2 original lithographs and colour illustrations rel centrally stamped on front board, spine lettered gilt CARROLL, Lewis. The Complete Works. London: throughout by Chagall. A couple of faint marks to cov- on a blue background, with the dust jacket. With 8 full ers. An excellent copy in the bright jacket with a couple The Nonesuch Press, 1939 page illustrations by Howard Frech and 27 illustrations of nicks to head of rear panel. Octavo (187 × 115 mm). Finely bound by Bayntun Rivière included in the glossary at the end. Corners very lightly in crimson half calf, blue morocco label, elaborate deco- bumped, edges a little dust-soiled, dust jacket a little first edition in english, with two original ration to spine in compartments separated by raised soiled and chipped at extremities, rear panel creased at lithographs prepared by Chagall for this edition, bands, marbled boards and endpapers, top edge gilt. head and soiled at the foot, short split to rear hinge; a and numerous beautiful chromolithographic Black and white illustrations by John Tenniel. Pages nice very good copy, complete with the scarce dust jacket. reproductions of the artist’s work. It was issued the and clean, spine a little faded, overall an excellent copy. first edition of the author’s first book, same year as the first edition in French, entitled first collected edition, first impression. which, together with The Sea Around Us (1951) and The Vitraux Pour Jerusalem, and features various stages A handsomely bound copy of Carroll’s works. Edge of the Sea (1955), formed a trilogy of works on of Chagall’s 12 stained glass window designs for £550 [129190] the sea. All three were best-sellers and established the synagogue of the Hadassah-Hebrew University Carson’s reputation as a prominent naturalist prior Medical Centre in Jerusalem. 197 to the publication of Silent Spring. £1,250 [127551] CARSON, Rachel L. Under the Sea-Wind. New £1,250 [126528] York: Simon and Schuster, 1941

All items are fully described and photographed at peterharrington.co.uk 79 202 CLARKE, Arthur C. 2010: Odyssey Two. New York: Ballantine Books, 1982 Octavo. Original dark blue cloth-backed blue boards, spine lettered in silver, blue endpapers, fore edge untrimmed. With the pictorial dust jacket illustrated by Michael Whelan. A near-fine copy in the jacket with tiny chip to foot of spine and negligible creasing to top edge. first edition, first printing, inscribed by the author on the half-title, “To Sharan Newman, from Arthur C Clarke”. Sharan New- man, the historical fiction writer, won the Macav- ity Award for Best First Mystery in 1994. This is the sequel to 2001: A Space Odyssey. £375 [127536]

203 (COLE, Herbert.) COLERIDGE, Samuel Taylor. The Rime of the Ancient Mariner. London: Gay & Bird, 1900 Quarto. Original half vellum, spine lettered in gilt, red cloth sides, printed endpapers, top edge gilt, others untrimmed. Gift inscription dated 1912 to recto of limita- 200 spirit, grasp and insight the book seems to me tion leaf. Frontispiece and 5 sepia plates by Cole, with CHURCHILL, Winston S. Lord Randolph truly admirable”. captioned tissue guards. Spine rubbed, tiny soiling to Churchill. London: Macmillan and Co. Limited, 1906 Cohen A17.1. covers, else a very good copy. 2 volumes, octavo (214 × 135 mm). Near-contemporary £650 [128788] first edition, deluxe issue, number 1 of red half morocco by Bayntun-Riviere, spines lettered 200 copies. Herbert Cole (1867–1930) provided in gilt in compartments, red cloth sides, top edges gilt, artwork for numerous books in the Edwardian 201 marbled endpapers. Photogravure portrait frontispieces, era, with his illustrations showing the influence 13 plates and 3 facsimiles, 1 folding, 1 double-page. Very (CHURCHILL, Winston S.) Eightieth Birthday of Walter Crane, Edward Burne-Jones and the pre- slight rubbing to extremities, a couple of faint marks to Tribute to Sir Winston Churchill. Beaulieu, Raphaelites. cloth, offsetting to endpapers from turn-ins, occasional Hampshire: The Heritage Collection, 1955 foxing to contents, a very good, bright, set. £950 [126960] Quarto (268 × 207 mm). Contemporary burgundy mo- first edition, first impression. Churchill’s rocco by Robert Green (initialled by him on the title biography of his father was published on 2 January page), spine lettered and blocked in gilt, ornate gilt bor- 204 1906 to “almost universal acclaim in the Press” der to covers, marbled endpapers, gilt edges. Portrait (COOK, James.) YOUNG, George. The Life and (Churchill, Winston S. Churchill II), with the Sunday frontispiece and illustrations throughout. Spine a little Voyages of Captain James Cook. Paris: Baudry, Times remarking on Churchill’s “maturity of sunned, rear cover rubbed, else a near-fine copy. European Library, 1836 judgement, levelheadedness and discretion” and limited edition, number 1 of 3,000 copies, in a Octavo (173 × 103 mm). Contemporary green quarter the Spectator praising his style: “He has chosen the handsome binding, with a card from the publisher, shagreen, matching boards, title gilt direct to the spine, grand manner . . . but the general effect is of dignity Lord Edward Montagu, loosely inserted, presenting low bands with gilt dotted roll, compartments with dou- and ease.” Churchill also received plaudits from a the book: “Dear Nod this book was limited to three ble ruled panel enclosing a floral panel, blind panels to number of well-known political biographers. J. thousand copies this is signed by the world famous the boards, attractive gilt supralibros of the Lycée de Ver- A. Spender, biographer of Campbell-Bannerman bookbinder Robert Green (see cover page number sailles—the name of the school within a laurel wreath, and Asquith, called it a “brilliant book”, and W. F. one—R/G1). For Nod with thanks and best wishes surmounted by another, to the front board, edges lightly sprinkled red, marbled endpapers. Slightly rubbed and Monypenny, author of the Life of Disraeli, remarked always Eddie”. soiled, a little bubbled on the front board, spotting and that “alike in style and architecture and for its £500 [128417] browning throughout, as often, remains very good.

80 Christmas 2018: Peter Harrington This Paris edition was published in the same year as the London, and is extremely uncommon, OCLC recording just two copies: BnF and Danish National Library. “An excellent life of Cook superi- or in both accuracy and in personal details to that of Kippis. Contains some valuable bibliographic material” (Holmes). Young, a pastor to a Presbyterian community at Whitby from 1806 to 1848, first looked into Cook’s life when he was working on his A Picture of Whitby and its Environs (1824). He is probably best known as the author of Scriptural Geology (1838) in which he at- tacked the theories of Lyell and the pre-Adamites, remaining convinced that his geological enquiries “did ‘not contradict but confirm the sacred scrip- ture’” (ODNB). Hill 1925; Holmes 87; Mitchell Library 122—all referring to the London edition. £450 [126470]

205 DAHL, Roald. The BFG. Illustrations by Quentin Blake. London: Jonathan Cape, 1982 207 ins gilt, marbled endpapers. Engraved frontispiece with Octavo. Original light grey cloth, spine lettered in gilt. tissue guard, vignette title-page and 38 plates all by Phiz DEFOE, Daniel. The Life and Adventures of With the dust jacket. Black and white illustrations in the (second and third entries on p. xiv, list of plates, trans- text by Blake. Tiny pen marks to pp. 10–11, else a near-fine Robinson Crusoe. London: Routledge, Warne, and posed and “p. 387” incorrectly substituted for “p. 377”, as copy in the dust jacket, with tiny creasing to extremities. Routledge, 1864 noted by Smith). Title page from first monthly number first edition, first impression. Dahl’s fan- Quarto (220 × 162 mm). Early-20th-century red half mo- of Martin Chuzzlewhit bound in after first blank with old tastical tale was expanded from a short story in his rocco by Henry Young & Sons of Liverpool, spine lettered repair to lower inner corner and fore edge. Text leaves 1975 book Danny, the Champion of the World. A film and blocked in gilt, red cloth sides, marbled endpapers, lightly toned throughout, the faintest of spotting to margins of a few plates without affecting images. An excel- adaptation, directed by Steven Spielberg, was re- top edge gilt. Portrait frontispiece of Defoe, and 100 illustrations by J. D. Watson, engraved by the Dalziel lent copy. leased in 2016. brothers. Bookplate of Major Thomas Clayton Toler. first edition, with an autograph note inscribed £550 [126059] Some light foxing, else a very good copy. “With Mr Dickens’ compliments” in a contempo- A handsomely bound and attractively illustrated rary hand mounted to first blank onf light blue wove 206 mid-Victorian copy of Defoe’s great work, first paper. An uncommonly fresh copy: Eckel notes that DAHL, Roald. Matilda. Illustrations by Quentin published in 1719. “the bound volume usually presents foxed plates”. Blake. London: Jonathan Cape, 1988 £325 [128428] Martin Chuzzlewit originally appeared in 20 num- Octavo. Original red cloth, spine lettered in gilt. With bers, issued in 19 monthly parts (the last part being a double number), from January 1843 to July 1844, the dust jacket. Numerous illustrations in text by Blake. 208 Spine gently rolled, edges slightly foxed, internally and published in book form on 16 July 1844. The clean, a very good copy in the bright jacket with a small DICKENS, Charles. The Life and Adventures of earliest copies noted have a 13-line errata; this was puncture to foot of spine. Martin Chuzzlewit. London: Chapman and Hall, 1844 soon expanded to 14 lines, as seen here. first edition, first impression. Matilda won Octavo (219 × 138 mm). Recent brown crushed mo- Smith I, 7; Eckel pp. 71-3 . the Children’s Book Award in the year of its publi- rocco by Baytun (Riviere), raised bands tooled gilt with £1,500 [107314] cation. It formed the basis for both the 1996 film diamond roll, compartment ruled gilt, title to spine gilt, directed by Danny DeVito and the stage musical. compartments with central floral devices gilt, double frame to covers gilt, top edge gilt, palmette roll to turn- £500 [127534]

All items are fully described and photographed at peterharrington.co.uk 81 209 DICKENS, Charles. Dombey and Son. London: Bradbury and Evans, 1848 Octavo (218 × 138 mm). Later red morocco by L. Broca, titles and elaborate decoration gilt to spine separated by raised bands, triple rule gilt to boards, board edges gilt, gilt turn-ins, dark green endpapers, top edge gilt. Etched vignette, frontispiece and 38 plates by H. K. Browne (“Phiz”). Ownership inscription dating to 1912 to front free endpaper. Spine faded. An excellent copy. first edition, with all the points of first issue, as per Smith. The error at the bottom of p. 324—“the Capatin” rather than “the Captain”—indicates that this book is a first printing. Smith I, 70–3. £750 [121392]

210 DICKENS, Charles. Bleak House. London: Bradbury and Evans, 1853 Octavo (211 × 136 mm). Late-19th century red half morocco, titles gilt to spine in compartments, marbled paper sides, brown coated endpapers, edges speckled red. Frontispiece, engraved title page, and 38 plates. Con- piece and 3 steel-engraved plates after Leech, wood-en- English translation by William Weaver was pub- temporary ownership inscription to front free endpaper. gravings within the text by W. J. Linton after Leech; title lished simultaneously in the US and the UK. Light fading to spine, wear to extremities, slight rubbing page printed in blue & red. Bookplate of E. H. Oldfield. 750 to sides, foxing to plates; a very good copy. Half-title present. Spine sunned to brown, some foxing, £ [127437] running brown mark pp. 1–15, p. 8 discoloured. A very first edition, bound from parts, with the good copy. 213 first-issue textual points as listed by Smith. H. K. An attractively bound copy of Dickens’s novel, the Browne had experimented with the “dark plate” FLEMING, Ian. On Her Majesty’s Secret Service. most famous of all his Christmas tales. It was first technique in Dombey and Son (1848) but in Bleak London: Jonathan Cape, 1963 published in 1843. House their sombreness added a new tone to the Octavo. Original dark brown boards, spine lettered in illustration of Dickens’s books. “These brooding, Smith, II, 4. silver, ski track design to front board in white. With the atmospheric designs harmonized with the pictorial dust jacket. Faint foxing to top edge, a near-fine £975 [129026] copy in the unusually bright and crisp dust jacket. gloomy, foggy world of Bleak House and Little Dorrit” first edition, first impression, of the 11th (Robert Patten in The Oxford Companion to Charles 212 Dickens, 2011, p. 59). book in the James Bond series, featuring a reap- ECO, Umberto. The Name of the Rose. San Diego: Smith I.10. pearance of Blofeld and SPECTRE, linking it to the Harcourt Brace Jovanovich, 1983 plot of Thunderball (1961). It was adapted for film £950 [121511] Octavo. Original cream linen-backed light brown in 1969. boards, decoration to front cover and titles to spine in Gilbert A11a (1.1). 211 bronze, map endpapers. With the dust jacket. Spine gently rolled, light foxing to edges; a very good copy in the £1,000 [125915] DICKENS, Charles. A Christmas Carol. London: jacket with lightly faded spine, nicks to extremities and Bradbury & Evans, 1855 short closed tears to ends of join of front flap. Duodecimo (161 × 98 mm). Early 20th-century purple first u.s. edition, first printing, signed by morocco, spine gilt to compartments with green moroc- the author on the half-title. This is Eco’s first co label, double gilt fillet to covers, gilt turn-ins, marbled endpapers, gilt edges. Hand-coloured etched frontis- book, originally published in Italian in 1980. The

82 Christmas 2018: Peter Harrington the front flap. Octopussy and The Living Daylights was the final James Bond book by Fleming, published two years after the author’s death, and comprised two stories, both later adapted into Bond movies: Octopussy in 1983, starring Roger Moore, and The Living Daylights in 1987, starring Timothy Dalton. Gilbert A14a (1.3). £275 [129262]

217 (GORMLEY, Antony.) CAIGER-SMITH, Martin. Antony Gormley. New York: Rizzoli, 2017 Quarto. Original orange cloth, spine lettered in gilt, covers decorated in black, decorative endpapers. Housed in the photographic slipcase. With photographic illustrations throughout. A fine copy. first edition, first printing, signed by the artist on the half-title. £300 [127084]

218 GRANT, Ulysses S. Personal Memoirs. New York: Charles L. Webster & Co., 1885–6 2 volumes, octavo. Publisher’s deluxe brown half morocco, titles and decoration to spine in gilt in compartments, purple cloth sides, gilt medallic roundels to covers, edges and endpapers marbled. Engraved portrait frontispiece with tissue guard, etched plate and folding facsimile to each volume, 47 full-page plans in all, fold- 214 jacket, a few nicks, a hint of sunning to spine panel and ing map at the rear of vol. II. Spines faded to brown, a extremities, small stain at bottom rear tip. FLEMING, Ian. The Man with the Golden Gun. touch of shelfwear, slight discolouration to cloth, water London: Jonathan Cape, 1965 [but 1964] first edition, first impression, second stain bloom affecting medallion to rear cover of vol. I; a Octavo. Original green and white card wrappers, titles to state binding as usual, without the gun design very good set. spine and front cover black. Boards slightly bowed, mi- blocked in gilt on the front cover, which proved first edition. Written by Grant as he was nor creasing to spine, a near-fine copy. too expensive and was dropped after the first 940 dying of cancer, the work served as a deathbed rare uncorrected proof copy, one of 596 copies had been sent abroad. justification for the war against the Confederacy copies printed. Gilbert A13a (1.3). and for Grant’s own conduct. The autobiography Gilbert A13a. £350 [126331] was published by Mark Twain, who marketed the book by using military veterans in uniform to raise £1,250 [128718] 216 subscriptions. It sold over 300,000 sets and has remained in print since its first appearance. The 215 FLEMING, Ian. Octopussy and The Living set was issued in five different bindings at varying FLEMING, Ian. The Man with the Golden Gun. Daylights. London: Jonathan Cape, 1966 costs; this is the deluxe half morocco. London: Jonathan Cape, 1965 Octavo. Original brown cloth, spine and front cover lettered in silver, marble-patterned endpapers. With the £1,000 [128962] Octavo. Original black cloth, spine lettered in bronze, dust jacket. A fine copy in the dust jacket. green and white endpapers, Gilbert’s binding B (no priority). With the dust jacket. A very good copy in the dust first edition, first impression, second issue jacket with the publisher’s over-price sticker on

All items are fully described and photographed at peterharrington.co.uk 83 221 HEANEY, Seamus. Station Island. London: Faber and Faber, 1984 Octavo. Original black cloth, spine lettered in gilt. With the dust jacket. Spine a little bumped at head and very slightly rolled, else a near-fine copy in the dust jacket, with slight crease to spine panel. first edition, first impression, presentation copy inscribed by the author to Ronald Ayling, Professor of English at the University of Alberta, on the front free endpaper: “for Ron Ayling—at his station in Edmonton. With high regard for the work. Seamus Heaney May 1991”. Ayling’s ownership signature is on the pastedown. Brandes & Durkan A36a. £600 [125832]

222 HEANEY, Seamus. “At the Hillhead” [Millennium Christmas card.] Loughcrew: Peter Fallon/The Gallery Press, 2000 Single cream sheet, folded once, with illustration of 219 220 shepherd to front cover. Lacking the original envelope. Slight crease to outer corner of front cover, a fine copy. GRAVES, Robert, & Paul Hogarth. Deyá. A (HARRISON, Florence, illus.) ROSSETTI, Portfolio of Five Poems and Lithographs. London: Christina. Poems. Introduction by Alice Meynell. christmas card inscribed by the author to Motif Editions, 1972 London: Blackie & Son Limited, [1910] the manuscript collector and dealer Roy Davids, “Roy–Forge ahead–Seamus & Marie–with thanks Original portfolio with green boards and grey cloth spine Quarto. Original white cloth, spine and front cover let- for the Sothebys try earlier in the year. (I got her and grey cloth ties housing half-title, title, statement of tered in gilt and with pictorial decorations, dark green limitation, introduction by Edward Booth-Clibborn and endpapers, top edge gilt, others untrimmed. Colour a Rosart-Gregory drawing for Christmas–still at 5 original lithographs on Arches watermarked paper. frontispiece and 35 colour plates tipped in with cap- framer’s–cheaper, molto!) S. PPS. But maybe even Each sheet size: 54 × 75 cm. Minor spotting and light ton- tioned tissue guards, 34 uncoloured plates, decorative better for the purpose–”. The card features the ing to half-title. Otherwise in excellent condition. headpieces. Contemporary gift inscription to front free first verse from his then-unpublished poem, “Mid- first and signed limited edition, first endpaper verso. Slight rubbing to spine ends and tips, night Anvil”, (published in full in District and Circle, cloth very faintly soiled, top edge a little soiled, light fox- impression, one of 75 copies only signed on the 2006), in which, to mark the end of the old millen- ing to fore edge, bottom edge a little rubbed, tiny abra- nium, blacksmith Barney Devlin struck his anvil 12 limitation page in ink by Graves. Each lithograph sion to rear free endpaper; a very good, bright, copy. is signed, numbered and titled in pencil by times while someone held up a mobile phone so first florence harrison edition, first Hogarth. Graves and Hogarth were neighbours in that his nephew in Canada could hear it. impression, variant issue with the date to the the village of Deià, Mallorca (Majorca). Hogarth Brandes & Durkan A65. title page and vignette to the title verso. Florence said he tried not to illustrate Graves’s love poems, Harrison (1877–1955) was an Australian-born artist £875 [116875] but to instead capture the euphoric feeling of known for her rich, art nouveau style. “Florence being in love; his watercolours are of the wild and Harrison brought to this volume some of her most 223 unspoiled northern coast of the island. recognisable and oft-reproduced illustrations, HOCKNEY, David; Stephen Spender (ed.) £1,250 [129351] ethereal and evocative by turn” (Howe). Hockney’s Alphabet. London: Faber and Faber for the Sandy Hargrove, The Magical World of Florence Harrison Aids Crisis Trust, 1991 (2012); John Howe, The Defining of Dreams (2011). Folio. Original yellow cloth, titles to spine gilt on blue £850 [129313] ground, yellow endpapers. Housed in the publisher’s grey cloth slipcase. With 27 colour illustrations. A fine copy.

84 Christmas 2018: Peter Harrington first and signed limited edition, specially bound in yellow buckram and signed by hockney and spender. This work was a collab- orative effort created to raise money for the AIDS Crisis Trust. Spender invited several British and American writers to contribute with texts that could accompany Hockney’s specially drawn alphabet. £700 [126599]

224 HUGHES, Ted, & Christopher le Brun. Shakespeare’s Ovid. London: Enitharmon Press, 1995 Tall octavo. Original tan cloth, cream paper labels lettered in black and gilt to spine and front cover, top edge cut, others untrimmed. Housed in the original tan cloth slipcase. With 2 illustrated plates by le Brun. Original etching housed in a paper folder, as issued. A fine copy. deluxe signed limited edition, number 13 of 50 copies signed by both the author and illustrator, accompanied by an original etching numbered and signed by the illustrator, as issued. Three leaves laid in advertise the publication of this title, one of which is signed by le Brun. This copy is from the library of Frieda Hughes, daughter of Ted Hughes and Sylvia Plath, though unmarked as such. Sagar & Tabor A110. £650 [126071]

225 Quarto. Original yellow cloth, spine and front cover let- wall”. This was Kent’s second book. Marguerite HUGHES, Ted. Tales From Ovid. London: Faber and tered in black, front cover decoratively stamped in black, Aspinwall’s books include The Sea Girl: A Tale of Faber, 1998 map endpapers. Illustrated throughout by Rockwell Nantucket in the Clipper Ship Days (1928) and The Wind Kent. Light wear to extremities, cloth slightly soiled, Octavo. Original grey cloth-backed green boards, or- from Spain (1931). foot of joints splitting, front free endpaper lacking, hing- ange label to spine printed in black, orange endpapers. es cracked, initial and final leaves loosening at head. A £1,250 [126931] Housed in the original slipcase. A fine copy. good copy. first edition, signed limited issue, number first edition, first printing, presenta- 227 64 of 300 copies signed by the author. This work tion copy, inscribed by the author on the first LEE, Harper. To Kill a Mockingbird. London: was the winner of the 1997 Whitbread Book of the blank to the author and illustrator Marguerite Year award. Heinemann, 1960 Aspinwall: “To Miss Aspinwall the indefatigable, Octavo. Original red cloth, spine lettered in silver. With Not in Sagar & Tabor. tender, patient foster-mother of this book, this the dust jacket. With the bookplate of the poet Felix £750 [126198] copy is gratefully inscribed by the author—Rock- Dennis (1947–2014) on the pastedown, and ownership well Kent. 1924” The book was subsequently re- signature to front free endpaper. A very good copy in the 226 presented by Aspinwall and is inscribed by her lightly toned dust jacket, a few fox marks on rear panel underneath Kent’s description: “1948—To Mr. and interior. KENT, Rockwell. Voyaging Southward from the Roper—Who loves good books, and collects first first uk edition, first impression. It was Strait of Magellan. New York & London: G. P. Putnam’s editions—I pass on this book which I value for its first published in the US earlier the same year. Sons, 1924 pleasant work with its author—Marguerite Aspin- £950 [128781]

All items are fully described and photographed at peterharrington.co.uk 85 228 LEWIS, C. S. The Magician’s Nephew. London: The Bodley Head, 1955 Octavo. Original green cloth, titles to spine in silver. With the pictorial dust jacket. Jacket design and illustrations by Pauline Baynes. Bookseller’s ticket to foot of front pastedown. Light foxing to top edge and endpapers. A near-fine copy in the price-clipped, unusually bright, jacket with very lightly faded spine, negligible nicks to spine ends, a touch of foxing to flaps and rear panel, likewise to verso, and short light scratch to front panel, tiny closed tear to head. first edition, first impression, of the sixth published of the Narnia novels. The Magician’s Nephew is the first in the narrative series, which relates the creation of Narnia and the events leading up to The Lion the Witch and the Wardrobe. £1,250 [128502]

229 LIVINGSTONE, David & Charles. Narrative of an Expedition to the Zambesi and its Tributaries; And of the Discovery of the Lakes Shirwa and Nyassa. London: John Murray, 1865 UMCA, as well as several sailors. It had lasted six 231 Octavo (222 × 138 mm). Modern red half morocco, and a half years, though scarcely eighteen months MADONNA. Sex. New York: Warner Books, 1992 matching boards, title direct to the spine, raised bands were spent on travel above the Shire and Zambezi Quarto. Original metal boards, title stamped to front framed by single gilt rules, pomegranate devices to the cataracts and on the Rovuma, due to sickness board, decoration die-stamped to rear board, containing compartments, pictorial gilt panel—“Gang of Captives and logistical problems. The geographical and the CD, unopened. With the original foil wrapper. Illus- met at Mbame’s”—from the original cloth bound in at scientific results seemed hardly commensurate trated with photographs throughout. Faint scratches and the rear. Engraved folding frontispiece, 12 engraved with the effort expended, and plans to check the bumps to covers. A very good, clean copy in the opened plates, title page vignette, illustrations to the text, large original packaging. folding route map to rear. Spine somewhat sunned, end- slave trade had come to nothing” (ODNB). papers foxed, as also the folding map which has a short Howgego IV L34, Mendelssohn I 915, SABIB III p. 137 first edition, first printing, of Madonna’s closed tear, neatly repaired verso, overall very good. (wrongly listing the plates as included in the pagination). controversial book of erotic photographs. first edition of Livingstone’s self-exculpatory £500 [127575] £475 [127553] account of the Zambesi expedition, of which the principal aim was to explore the river’s mouths 230 232 and tributaries in order to discover a navigable LOWRY, L. S. The Paintings. Oils and Watercol- MAUGHAM, W. Somerset. The Moon and waterway into the interior. “In the course of the ours. With an introduction and notes by Mervyn Sixpence. London: William Heinemann, 1919 exploration of the Shiré River, Lake Shirwa was Levy. London: Jupiter Books, 1975 discovered, on April 18, 1859, and on September Octavo (183 × 121 mm). Near-contemporary light brown 16 [Livingstone] arrived at Lake Nyassa about Quarto. Original blue leather, titles to spine gilt. Illus- half morocco for Hatchards, brown cloth sides, titles in trated with 31 colour and 99 monochrome plates. Rub- gilt to green morocco labels to spine, marbled endpa- two months before Dr. Roscher” (Mendelssohn). bing to extremities, small amount of glue residue to pers, top edge gilt. With 4 pp. of publisher’s adverts at Despite these successes, the entire undertaking front pastedown. A very good copy, internally clean. end. Bookplate of book collector and author Jack Hodges “had cost much more, and achieved much less, first edition, signed limited issue. (1924–2014) to front pastedown. Negligible rubbing to than expected. At least £30,000 had been spent on extremities, faint offsetting from turn-ins to endpapers, Number 36 of 100 copies signed by the artist and it (as much as on the Niger expedition of 1857–60). contents toned as usual; else a fine copy. specially bound. It had involved the deaths of Thornton and Mary Livingstone, and also missionaries of the LMS and £850 [128764]

86 Christmas 2018: Peter Harrington of one who will without doubt be numbered among the great commanders. Its greatest merit springs from the author’s understanding of the human factor in war. That it is permeated with his particular and well-remembered idiosyncrasies, the freshness and vigour of his approach to any subject will only enhance its undoubted value as a deeply interesting, often inspiring and intensely instructive book” (TLS). £1,350 [128409]

235 MONTGOMERY OF ALAMEIN, Bernard Law, first Viscount. El Alamein to the River Sangro. Normandy to the Baltic. London: The Arcadia Press, 1971 Tall octavo. Publisher’s deluxe black morocco, titles to spine gilt, raised bands, badges of the Eighth Army and 21st Army Group, and facsimile signature in gilt to front board, Cockerell marbled endpapers, turn-ins and all edges gilt. In the publisher’s black paper-covered slipcase. Colour frontispiece, 63 maps in black and red, 13 pages of plates from photographs, 3 diagrams. Very good first edition, first issue, in a handsome first edition, first impression, of this indeed, an exceptionally nice copy. binding. The Moon and Sixpence was partially selection of verse and stories, in the uncommon deluxe signed limited edition, number inspired by the life of Paul Gauguin, Maugham dust jacket. 262 of 265 specially bound copies, signed by noting it is “not, of course, a life of Paul Gauguin £950 [128686] Montgomery on the title page, and published on in the form of fiction. It is founded on what I had the 30th anniversary of the battle of El Alamein. heard about him, but I used only the main facts 234 Monty’s own accounts of his commands during of his story and for the rest trusted to such gifts MONTGOMERY OF ALAMEIN, Bernard Law, the Second World War—first published separately of invention as I was fortunate enough to possess” by the BAOR in 1946—from the key campaign in (Maugham, p. vii). first Viscount. A History of Warfare. London: The Arcadia Press, 1969 the Western Desert that secured his reputation, Stott A22.a; Maugham, The Selected Novels of W. Somerset of which Churchill remarked: “before Alamein we Large square octavo (241 × 172 mm). Specially bound Maugham, vol. II, 1953. never had a victory, after Alamein we never had a for the publisher by Zaehnsdorf in black crushed mo- £650 [128989] rocco, gilt lettered spine, gilt motif of a cannon on front defeat”, to his acceptance of the surrender of the cover, in red and tawny-orange morocco onlay, all edges German generals at Luneberg Heath. In his review 233 gilt, richly gilt turn-ins, marbled endpapers. Housed in of the first volume, Field Marshal Earl Wavell the fleece-lined, natural linen solander box. Illustrated described this as “an austere document. There are MILNE, A. A. The Christopher Robin Story Book. throughout; title page printed in black & khaki-green. no polemics, no light relief, no attempt at literary London: Methuen & Co., 1929 Very good indeed, an exceptionally nice copy. flourishes; but all is clearly, exactly and simply set Octavo. Original blue cloth, spine and front cover let- deluxe signed limited edition, number out, a model of lucid and restrained statement”. tered in gilt, gilt vignette to front cover, top edge blue, others untrimmed, blue pictorial endpapers. With the 79 of 265 copies signed by Montgomery on the £1,350 [128408] dust jacket. Illustrated by Ernest H. Shepard. The slight- limitation leaf. This edition was bound from the est touch of shelfwear, else a fine copy, in the unusu- sheets of the first US edition, first printing. “Lord ally bright jacket with short closed tear to foot of lightly Montgomery’s stimulating book must surely take browned spine, two shorter closed tears to head, minor its place as a classic commentary on the history of nicks to tips. warfare . . . It is the fruit of a lifetime spent in the study and practice of war and it bears the authority

All items are fully described and photographed at peterharrington.co.uk 87 44 black and white illustrations by Paget, colour map. Covers lightly bowed, some foxing, else a very good copy. first paget edition of Stevenson’s classic, in an attractive binding. Walter Paget (1865–1935) contributed illustrations to numerous books in the late-19th and early-20th centuries. His brothers Sidney and Henry Paget were also notable illustrators of the time. £375 [126920]

239 PHILBY, Harry St John Bridger. A Pilgrim in Arabia. London: The Golden Cockerel Press, 1943 Quarto. Original tan morocco-backed cream cloth sides by Sangorski and Sutcliffe, spine lettered in gilt with gilt cockerel at foot, top edge gilt, others untrimmed. Por- trait frontispiece. The faintest of sunning to spine and soiling to covers, else a near-fine copy. first edition, limited issue, number 160 of 350 copies, of the classic account of the Hajj in 1931, and of visits to Medina, Riyadh and Persia, by the noted British Arabist. “Few would quarrel with the inscription on his tombstone: ‘Greatest 236 first edition of Morris’s Icelandic epic, his of Arabian explorers’” (ODNB). A trade edition was MOORE, Thomas Sturge. Two Poems. About longest and most ambitious poem. Although dat- published in 1946. Hope. Mountain Shadows. London: Printed for ed 1877 this work was issued in November 1876. Franklin p. 334. private circulation by Folkard, 1893 “This four-book narrative in resounding rhym- ing couplets is constructed with the confidence £675 [126944] Octavo, 16 pp. Unbound, as issued. Wood engraving by the author. Single running foxing spot, else a near-fine copy. of one of the great Victorian feats of engineering. Sigurd was Morris’s own favourite of all his works” 240 first edition of the author’s first book, (ODNB). Morris’s work was later re-published PINTER, Harold. Tea Party and Other Plays. printed in a small edition for family and friends, by the Kelmscott Press with two large woodcuts London: Methuen and co., 1967 and consequently very rare, with only four copies by Edward Burne-Jones. Morris had planned for known institutionally in the UK with a further Octavo. Original black cloth, spine lettered in gilt. With Burne-Jones to produce a large, fully-illustrated, the dust jacket. Near-contemporary ownership signa- three in the United States. folio edition, however Burne-Jones dallied, and ture to front free endpaper. A very good copy in the dust £1,350 [126966] the book was only issued in 1898, two years after jacket, lightly rubbed with sticker residue to front panel. Morris’s death. first edition, first printing, signed by 237 Foreman 43. the author on the title page. Pinter adapted Tea MORRIS, William. The Story of Sigurd the £750 [129025] Party from his 1963 short story of the same title. It Volsung. And the Fall of the Niblungs. London: Ellis was broadcast on the BBC in 1965, and first performed on stage in 1968. and White, 1877 [but 1876] 238 Octavo (198 × 138 mm). Near-contemporary brown mo- (PAGET, Walter.) STEVENSON, Robert Louis. £1,250 [127822] rocco by Roger de Coverly, spine elaborately tooled in gilt in compartments, triple rule gilt frames to covers, gilt Treasure Island. London: Cassell and Company, rolled turn-ins, all edges gilt, marbled endpapers. With a Limited, 1899 later bookplate to front pastedown. Minor wear to spine Octavo (185 × 124 mm). Near-contemporary half vellum, ends and tips, faint offsetting to endpapers from turn- brown morocco twin labels lettered in gilt, green cloth ins, a near-fine copy. sides, marbled endpapers, top edge gilt. Frontispiece and

88 Christmas 2018: Peter Harrington 241 POE, Edgar Allan. Selected Tales of Mystery. Illustrated in colour. London: Sidgwick & Jackson Ltd, 1909 Large octavo, (243 × 166 mm). Finely bound by Zaehnsdorf in near-contemporary red half morocco, red cloth sides, spine tooled in gilt in compartments, red marbled endpapers, top edge gilt. Colour frontispiece and 15 other plates tipped in, with captioned tissue guards, all by Byam Shaw. Negligible rubbing to lower edge; a fine copy. first byam shaw edition, with 16 of Poe’s most noted tales, including “The Black Cat”, “A Descent into the Maelström”, and “The Fall of the House of Usher”. The tales collected here were first published in various newspapers and journals between 1833 and 1846, and are issued here with lavish illustrations that demonstrate the “heightened colour and brilliant detail” that “remained hallmarks of Shaw’s style throughout his career” (ODNB). £675 [128521]

242 (POLAR.) KANE, Elisha Kent. Arctic Explora- to the Bible for wide dissemination on America’s come the great polar success story of the 20th cen- tions: The Second Grinnell Expedition in search of bedside reading tables” (Books on Ice). tury” (Books on Ice). Shackleton embarked in 1914 Sir John Franklin, 1853, ‘54, ’55. Philadelphia: Childs Books on Ice 3.9; Howgego, III, K3; Sabin 37001; NMM, on the Endurance to make the first traverse of the & Peterson, 1856 I, 924. Antarctic continent; a journey of some 1800 miles from sea to sea. But 1915 turned into an unusually 2 volumes, octavo (220 × 140 mm). Near-contemporary £450 [128896] half calf, red and black morocco labels, marbled sides, icy year in Antarctica; after drifting trapped in the ice for nine months, the Endurance was crushed in endpapers, and edges. With engraved vignette titles, en- 243 graved portrait frontispieces of Kane and Grinnell from the ice on October 27. “Shackleton now showed Brady daguerreotypes, 18 engraved plates, 2 maps, one (POLAR.) SHACKLETON, Ernest H. South. The his supreme qualities of leadership. With five of them folding, folding isothermal chart, and numerous Story of Shackleton’s Last Expedition 1914–1917. companions he made a voyage of 800 miles in a wood engravings in the text. A few marks internally, a Illustrated. London: William Heinemann, 1919 22-foot boat through some of the stormiest seas in very good copy in a fine binding. Octavo. Original dark blue cloth, spines and front cover the world, crossed the unknown lofty interior of first edition. “In a brief life of thirty-six years, lettered in silver, front cover with large silver block of South Georgia, and reached a Norwegian whaling mostly in ill health, Elisha Kent participated in two Endurance stuck in ice, publisher’s device in blind to rear station on the north coast. After three attempts. Arctic expeditions and by the time of his death in board, top edge blue. Colour frontispiece and 87 half- Shackleton succeeded (30 August 1916) in rescu- 1857 was regarded as a true American hero and one tone plates, folding map at the rear. A little wear to spine ends and tips, minor abrasions to cover edges, faint ing the rest of the Endurance party and bringing of the nation’s most popular authors . . . Little went foxing to endmatter, short closed tear to head of folding them to South America” (DNB). In recent years, right in the second expedition [but] there were map stub; a very good, bright copy. several influential attempts have been made to many notable achievements . . . The discoveries of distil from the narrative the underlying principles first edition, second impression, issued a Kennedy Channel, the Kane Basin, a record north of Shackleton’s command in order that they might month after the first and printed on superior paper of 80° 10’ N, and the sighting of the Humboldt be applied more widely. stock, making it less prone to the heavy brown- Glacier were important firsts for Kane . . . The ing which tends to mar the first impression. “The Books on Ice 7.8; Conrad, p. 224; Spence 1107; Taurus 105. book became enormously popular (135,000 copies failure of Shackleton’s Imperial Trans-Antarctic sold within three years), being marketed at trade £1,250 [128961] Expedition to even reach the Antarctic continent, shows and sold door to door, and often compared much less to cross it via the South Pole, has be-

All items are fully described and photographed at peterharrington.co.uk 89 244 (POLAR.) [SCOTT, Robert Falcon, et al.] South Polar Times 1902–1911. Centenary Edition. [To- gether with:] Volume IV. London: Orskey–Bonham– Niner; & Cambridge: Scott Polar Research Institute— Bonham, 2002 & 2010 4 volumes, quarto. Original blue cloth, title gilt to spines and front boards, front boards with mounted colour illustrations within gilt panel, blue silk page-markers. Nu- merous lightograhpic illustrations in colour and black and white. Fine. First facsimile edition, one of 350 copies of the first three volumes (originally published 1907–14), together with the previously unpublished fourth volume (a facsimile of the text held by the Scott Polar Institute), number 221 of 500 copies. The original publication, issued in a highly perishable binding, is notoriously fragile and out of the reach of many collectors, making this a very handsome and readable alternative. South Polar Times, a compilation of articles, studies, poems, and stories from the members of Scott’s expedition to Antarctica on the Discovery (1902–1903), and the later, fatal expedition of 1910–1912, was origi- ward) and “we” in Roman type (italics in the second up again” Potter wrote (Linder, p. 183). The pano- nally published in monthly parts. It was intended to impression onward) on page 15. The regular trade ramic design was dropped and the books brought relieve the boredom of the cold, dark winter nights binding of the first impression was either grey or into line with the rest of the series in 1916. and raise the spirits of the men on board. The exer- tan paper boards, with no priority between them. Linder, p. 426; Quinby 11. cise certainly seems to have achieved its aim, as Scott Linder, p. 424; Quinby 6. recounts: “I can see again a row of heads bent over £1,250 [126990] a fresh monthly number to scan the latest efforts of £1,250 [126989] our artists, and I can hear the hearty laughter at the 247 sallies of our humorists and the general chaff when 246 POTTER, Beatrix. The Roly-Poly Pudding. London some sly allusion found its way home.” POTTER, Beatrix. The Story of Miss Moppet. & New York: Frederick Warne and Co., 1908 £1,250 [127098] London & New York: Frederick Warne and Co., 1906 Octavo. Original red cloth, titles to spine in blue and to Oblong duodecimo. Panorama mounted on pale green front cover in blue and gilt, pictorial label to front cover, linen back, arranged in pairs with text on recto and illus- bevelled edges, pictorial endpapers. Colour printed title 245 tration on facing verso, and folded concertina-style into page and frontispiece, 17 colour plates. Gift inscription dated 1913 to front free endpaper. Spine a little bumped POTTER, Beatrix. The Tale of Benjamin Bunny. the original blue cloth wallet-style case, with closing tab heightened with silver. Front cover lettered in dark blue and at ends, occasional faint finger-soiling and foxing to London: Frederick Warne and Co., 1904 with a pictorial label. With 14 colour illustrations by the au- contents, else a very good, bright copy. Sextodecimo. Original grey paper-covered boards with thor. Occasional creasing, slot-flap missing, some rubbing first edition, second issue, without “all rights oval illustration inlaid, titles to spine and front cover in to extremities. A very good copy of this fragile work. reserved” on title page. In 1926, Frederick Warne dark green, pictorial label to front cover, illustrated end- first edition, first issue, with “London & papers. Frontispiece and 26 colour illustrations by the decided to re-issue it in the small format consistent author. Inscription dated “Xmas 1904” to front free end- New York” printed on the back. It is one of two with other books in the same series, and the title paper. Spine a little sunned, trivial markings to boards, books issued in this panoramic format (the other was changed to The Tale of Samuel Whiskers. else a near-fine copy. being The Story of a Fierce Bad Rabbit). Issued for the Linder, p. 427; Quinby 15. 1906 Christmas market, the books were too easily first edition, first impression, with “muf- £1,250 [126991] fatees” (“muffetees” in the second impression on- damaged, so “the shops sensibly refused to stock them because they got unrolled and so bad to fold

90 Christmas 2018: Peter Harrington Society, and the discourses on art and art criticism that he delivered to the fellows and students are his clearest statement of his aesthetic views. ESTC T594. £650 [128766]

251 ROWLING, J. K. Harry Potter and the Prisoner of Azkaban. New York: Scholastic, 1999 Octavo. Original purple half cloth, spine lettered in green, green paper-backed sides, orange endpapers. With the dust jacket. A fine copy. first u.s. edition, first printing, signed by the author on the title page. Errington A7(b). £1,500 [127278]

252 RUSSELL, Bertrand. An Essay on the Foundations of Geometry. Cambridge: University Press, 1897 Octavo. Original blue cloth, gilt-lettered spine, boards ruled in blind, all edges untrimmed. Spine ends and cor- 248 first edition, first impression, one of 1,250 ners lightly rubbed, title page browned from loose inser- POTTER, Beatrix. Cecily Parsley’s Nursery copies printed. Dedicated to fellow novelist M. tion of a flyer advertising the French translation of the Rhymes; London: Frederick Warne and Co., [1922] P. Shiel, the book was Ransome’s first success. work, endpapers and leaf edges lightly spotted; a very The striking illustrations of Fred Thomas (1875– good copy. Sextodecimo. Original red paper-covered boards, titles to spine and front cover in white, pictorial label to front 1963) help make this, in the words of Ransome’s first edition of Russell’s first published book cover, pictorial endpapers. With 15 colour illustrations biographer Hugh Brogan, “easily the best-looking of philosophy. Based on Russell’s Trinity College by the author. Bookseller’s ticket to front endpaper. Ransome volume ever produced” (Life of Arthur fellowship dissertation, the book “provides a Spine a little faded, else a near-fine copy. Ransome, 1984, p. 55). partial defence of Kant’s theory that the truth of first edition, one of three indistinguishable Hammond A8. geometry is a necessary condition of all possible printings, of Potter’s book of rhymes, a sequel to £850 [126505] experience . . . it served to establish Russell’s Appley Dapply’s Nursery Rhymes. professional reputation and led to his being invited to deliver a paper at the prestigious International Linder p. 430. 250 Congress of Philosophy held in Paris in 1900, an £500 [126994] REYNOLDS, Joshua. The Works. London: Printed event that profoundly affected his career” (ODNB). for T. Cadell, Jun. and W. Davies, 1797 Blackwell & Ruja A3.1a, first binding variant. 249 2 volumes, quarto (268 × 204 mm). Contemporary tree RANSOME, Arthur. Bohemia in London. London: calf, red morocco labels, gilt foliate motifs to compart- £975 [126976] Chapman & Hall, Limited, 1907 ments. Portrait frontispiece. Half-titles present and in- Octavo. Original grey cloth, spine lettered in gilt, front serted errata slip. Vol. II with tiny chip to head of spine cover lettered in black with vignette stamped in brown and slight split at head of rear joint, some worming to and black, top edge gilt. With 16 black and white plates initial pages of vol. I, a few page corners lightly creased, printed on grey heavy stock paper, illustrations in the very light foxing to initial and terminal leaves but other- text, by Fred Taylor. Attractive bookplate of the book wise clean and bright. A lovely copy. illustrator Walter Dexter (1876–1958). Touch of brown first collected edition of Reynolds’s works. mottling to spine and extremities otherwise a particu- Reynolds was the first president of the Royal larly attractive copy, clean, tight and sharp-cornered.

All items are fully described and photographed at peterharrington.co.uk 91 Majesty accepted the book and it was very much admired”. The Orientalist Garcin de Tassy praised Eastwick as a “truly indefatigable savant” and “the enlightened care and attention of the publisher”. The Examiner enthused that “Professor Eastwick’s excellent translation of the Gulistan [is] a delightful substitute for the old Books of Beauty, the very thing for a boudoir and very fit for any study also” (The Athenaeum, 9 Setember 1854, 1100). £650 [127765]

255 SALINGER, J. D. The Catcher in the Rye. London: Hamish Hamilton, 1951 Octavo. Original blue boards, titles to spine in silver. With the dust jacket. Parisian bookseller’s ticket to front pastedown. Very light browning to covers, minor rubbing to spine ends, light foxing to edges and endpapers; a very good, fresh copy in the unusually neat jacket with faint soiling to rear panel and flaps, very minor nicks to top edge. first uk edition, first impression. It was originally published in the US earlier the same 253 254 year. RUSSELL, Bertrand. History of Western (SA’DI.) EASTWICK, Edward B. The Gulistan. £1,300 [127518] Philosophy and its connection with political and Or Rose garden, of Sheikh Muslihu’ d-Din Sâdi of social circumstances from the earliest times to the Shiraz. Hertford: Stephen Austin, 1852 256 present day. London: George Allen and Unwin Ltd, 1946 Octavo. Publisher’s full red morocco, decorative com- SASSOON, Siegfried. The Old Huntsman And Octavo. Original grey cloth, spine lettered in yellow on partments and title in gilt to spine, decorative panels to a brown background. With the dust jacket. A near-fine front and back covers in gilt, gilt decoration to turn ins, Other Poems. London: William Heinemann, 1917 copy in the dust jacket, with light nicking and creasing gilt edges, yellow endpapers. Chromolithograph frontis- Octavo. Recent black morocco, titles and decoration to to extremities. piece by M & N Hanhart and 3 similar full-page ornate spine gilt, raised bands, single rule to boards gilt, mar- decorative pages with text. Ornate red borders around bled endpapers, gilt edges. A fine copy. first uk edition, first impression. Russell’s text and several decorative devices throughout. Spine first edition, first impression. This is Sas- compendious account of the history of philosophy, slighty rubbed, especially at the top, a little bumping to from the Orphism of ancient Greece to the logical tips, text block lightly browned. A very good copy. soon’s first collection of war poetry. positivism of the author’s present day, was a triumph Keynes A15c. first edition thus, an attractive version of of his populist craft and is perhaps his most famous “probably the single most influential work of prose £500 [125619] book. Written during the Second World War, in the Persian tradition” (Encyclopaedia Iranica). Russell’s project was in part conceived to explain “The school-boy lisps out his first lessons in it; the 257 to his audience the exact nature of the “civilisation” man of learning quotes it; and a vast number of its for which they were fighting. Appropriately, the SASSOON, Siegfried. A Suppressed Poem. [Milk- expressions have become proverbial”. Eastwick, dust jackets were printed on the backs of surplus waukee, WI:] The Unknown Press, 1919 [in fact 1929] an orientalist and diplomat who worked in Persia Second World War maps, this one showing a part Bifolium, printed on each pack in black. Vignette por- and India, had produced a critical edition of the of Poland. Simon & Schuster published the first US trait of the poet to front page. Spine repaired, stain from text in 1850 and this is his translation of that edition in the preceding year. the bottom edge, offset tanning to both internal pages, text. The publisher, Stephen Austin, bookseller poor condition, but a rare survival. Blackwell & Ruja A79.2a. to the East India College, presented a copy of first separate edition, number 38 of 50 num- this deluxe edition to Queen Victoria and “Her £550 [126224] bered copies with a portrait, aside from 450 or-

92 Christmas 2018: Peter Harrington dinary copies, of the suppressed Sassoon poem which was included in the first issue of Robert Graves’s Goodbye to all That (1929) without Sassoon’s permission, and quickly cancelled. Only about 250 copies of the books with Sassoon’s poem were released. In order to meet the demand for it the poem was pirated by the Milwaukee-based firm Casanova Booksellers, under the imprint of The Unknown Press, and this constitutes the first separate edition of Sassoon’s poem. With a letter laid in, dated 1969, to bookseller George Minkoff from the director of Casanova Booksellers, explaining the history of the production and offering to sell him his remaining stock of 29 numbered special copies. £1,300 [127284]

258 SEUSS, Dr. Hop on Pop. New York: Beginner Books, Random House, Inc., 1963 Octavo. Original glossy pictorial boards. With the dust jacket. Illustrations throughout by the author. Con- temporary gift inscription from father to son to head of front free endpaper. Small ink mark to head of front pastedown. Minor wear to spine ends and tips, a touch 260 incorporating a lozenge centrepiece within gilt foliate of rubbing to bottom edge, slight binder’s glue residue border, tan endpapers, gilt edges. Ownership signature [SEUSS, Dr.] LESIEG, Theo. Come Over to My to turn-ins; a very good, fresh, copy, in the faintly soiled to binder’s blank, Shelley’s vital dates written on half- jacket with slight rubbing to edges and rear cover. House. Illustrated by Richard Erdoes. New York: title. Spine lightly sunned, else a near-fine copy. Random House. 1966 first edition, first printing, of the 29th A handsomely bound copy of Shelley’s poetry, and book in the Beginner Books series. This work Large octavo. Original illustrated boards, spine and a fine example of Zaehnsdorf ’s craft. The text used contains several short poems and was designed to front cover lettered in red and black, illustrated endpapers. With the dust jacket. Illustrated throughout by Er- is part of the Golden Treasury Series of the poets, introduce basic phonics concepts to children. does. Minor rubbing to extremities, a near-fine copy, in first published in 1880. Younger & Hirsch 30. the very faintly soiled jacket with a couple of tiny nicks £575 [126753] £500 [128625] to top edge. first edition, first printing, of the 44th 259 book in the Beginner Books series. Theo LeSieg was an occasional pen name of Theodor Geisel, SEUSS, Dr. ABC. New York: Random House, Inc., 1963 who most often wrote using his now famous Octavo. Original laminated boards, titles to front board pseudonym, Dr Seuss. and spine in red, green, blue and black, pictorial endpapers. With the dust jacket. Illustrations throughout by £375 [128621] the author. Very slight rubbing, a tiny touch of wear to tips, faint foxing to endpapers, very occasionally to con- 261 tents; a very good, bright, copy in the faintly soiled jacket with minor rubbing to extremities. SHELLEY, Percy Bysshe. Poems. Selected and arranged by Stopford A. Brooke. London: Macmillan first edition, first printing, of the 30th and Co., Limited, 1922 book in the Beginner Books series. Small octavo (151 × 95 mm). Contemporary green mo- Younger and Hirsch 19. rocco by Zaehnsdorf, spine lettered in gilt with gilt or- £475 [128628] naments to compartments, ornate gilt design to covers

All items are fully described and photographed at peterharrington.co.uk 93 262 TENNYSON, Alfred, Lord. Poetical Works. London: Macmillan and Co., 1902 Octavo (177 × 125 mm). Bound by Bickers & Son in contemporary red morocco, titles and date to spine gilt, panels decorated with floral gilt, gilt crest of Boston Latin School to front cover, covers with triple-fillet gold border and with elaborate floral gilt panel, dotted guilt edges, inner dentelles gilt with floral tool, marbled endpapers. Engraved frontispiece with tissue guard. Slight scuffing to spine ends tips, minor foxing to endpapers and frontispiece, still a fine copy. An unusually lavish prize binding for Tennyson’s works, bound for Boston Latin School, the oldest school in America, by Bickers & Son, one of the leading binding firms in London at the time. £250 [127582]

263 THATCHER, Margaret. The Downing Street Years. New York: Harper Collins, 1993 Octavo. Original grey quarter cloth, blue cloth boards, spine lettered in gilt on blue panel, blue endpapers, top edge blue, blue silk page marker. With the original blue 265 American Dream. Illustrated by Ralph Steadman. slipcase. Light wear at base of slipcase, else a fine copy. THOMPSON, E. P. The Making of the English New York: Random House, 1971 first u.s. signed limited edition, number 25 Working Class. London: Victor Gollancz Ltd, 1963 Octavo. Original black cloth-backed grey boards, spine lettered in silver, Ralph Steadman design decoration to of 350 copies signed by the author on the title page. Octavo. Original blue boards, spine lettered in gilt. front board in blind. With the pictorial dust jacket. Il- 750 With the dust jacket. Spine a little rolled and ends gen- £ [128804] lustrated title page and 19 line drawings by Ralph Stead- tly bruised, else a notably bright, clean copy in the dust man. Slight fading to top and bottom edges of covers, jacket, spine a little faded with a couple of creases, ex- 264 else a fine copy in the crisp jacket with negligible creas- tremities rubbed with some short closed tears and the ing to top edge of rear panel. THOMAS, Dylan. Under Milk Wood. London: J. M. rear panel spotted. Dent & Sons Ltd, 1954 first edition, first impression. Thompson first edition in book form, first printing. Octavo. Original brown cloth, spine lettered in gilt. With “felt that he had much to learn from the life Fear and Loathing in Las Vegas was first published in the dust jacket. Housed in a tan cloth slipcase. Spine experiences of his working-class students. The November 1971 as a two part series in Rolling Stone ends and tips a little rubbed, top board edge bumped, whole tone of his most celebrated work, The Making magazine. It was adapted into a film of the same slight foxing to edges and prelims. A very good copy in of the English Working Class (1963), which made name by Terry Gilliam in 1998, featuring Johnny the slightly foxed jacket, spine panel a little toned, a few Depp and Benicio del Toro in the lead roles. small chips and short tears, tape repair to verso. his reputation, testifies to this. It was fittingly dedicated to one of these students, and for all its £875 [128687] first edition, first impression, associa- international success it is impossible not to sense tion copy, inscribed by the poet and editor that the audience he felt himself to be addressing 267 Anthony Thwaite to his wife on the front free was a wider one than that of the academy” (ODNB). endpaper, “For Ann from Anthony March 1954”. TOLKIEN, J. R. R. The Lord of the Rings. The Rare with a meaningful literary association: Ann £725 [128429] Fellowship of the Ring; The Two Towers; The Thwaite, best known as the author of five major lit- Return of the King. London: George Allen & Unwin erary biographies, won the Whitbread Biography 266 Ltd, 1966 of the Year 1990 for her work on A. A. Milne. THOMPSON, Hunter S. Fear and Loathing in 3 volumes, octavo. Original red cloth, spines lettered in gilt, top edges red, cream endpapers. With the dust 600 Las Vegas. A Savage Journey to the Heart of the £ [126190] jackets. Folding map in red and black at rear of each vol-

94 Christmas 2018: Peter Harrington thoroughbreds. Shortly after the publication of this work, which was intended to “point out errors that have been committed in the breeding of our horse”, he travelled in Arabia to obtain purebred horses to improve the quality of British cavalry remounts. Podeschi 216. £750 [126899]

270 WASHINGTON, Irving. Life of George Washington. New York: G. P. Putnam & Co., 1855–59 5 volumes, octavo (228 × 143 mm). Contemporary tan half calf, light brown and green morocco labels, elaborate tooling to spines gilt in compartments, raised bands, marbled boards and endpapers, top edges gilt. Engraved frontispieces and further illustrations throughout. Own- ership signature to binder’s front blanks, touch of rubbing to spines, an excellent set. first edition. A handsomely bound set of Irving’s biography of George Washington. £1,250 [127333]

271 ume. Spines a touch rolled, extremities a little rubbed, which she most wished to be judged”, first pub- contents evenly toned as often, faint scent of tobacco; a lished in 1904. In 1894 Garnett visited Tolstoy. WEBSTER, Noah. A Dictionary of the English near-fine set in the jackets, spines a trifle sunned, else Impressed by her work, her “praised her current Language. London, Glasgow and Edinburgh: William very bright and crisp. translation [his The Kingdom of God is Within You] Mackenzie, [1868?] second edition, first impression. This was and encouraged her to attempt others” (ODNB). 2 volumes, quarto (264 × 184 mm). Contemporary black the final and definitive text of Lord of the Rings, re- £500 [129680] quarter morocco, spines lettered in gilt, blue cloth sides, vised and corrected by Tolkien from the first edi- marbled endpapers. Portrait frontispiece, engraved title tion, published 1954–55. page. Contemporary ownership signature to recto of 269 frontispiece of vol. I and front free endpaper of vol. II. Hammond & Anderson A3e. UPTON, Roger D. Newmarket & Arabia. An Hinges repaired, slight splitting to joints of vol. II, light £975 [126720] Examination of the Descent of Racers and marking and rubbing to sides, some light foxing. A very good copy. Coursers. London: Henry S. King & Co., 1873 268 Octavo. Original brown cloth, title in gilt to spine and A handsome Victorian edition of Webster’s great dictionary, here using the text revised and TOLSTOY, Leo. War and Peace. Translated from front cover, panelling in black to covers, large gilt block of a horse’s head to the front cover, green endpapers. enlarged by Professor C. A. Goodrich and Thomas the Russian by Constance Garnett. London: Heine- Hand-coloured wood-engraved frontispiece with tissue Heber, with etymological essays by John Stoddart mann, 1972 guard, 4 folding pedigrees at the rear. Library label of the and Henry Noel Humphreys. Webster’s dictionary Octavo (204 × 130 mm). Contemporary red calf for As- Horsham Club (dated 1920) on front pastedown. Light was first published in New York in 1828. prey & Co. Ltd, titles to green and black morocco labels wear to extremities, some marking to cloth, front hinge to spine, military motifs in gilt within floral frames to split, front free endpaper and frontispiece loosening, a £375 [128780] compartments, double rule frame in gilt to covers, turn- few blemishes and a few pages opened a little roughly, ins and board edges elaborately rolled in gilt, marbled closed tears to folding plates. A good copy. endpapers, all edges gilt. Touch of rubbing to tips, faint first edition. Roger Dawson Upton (d. 1881) scratch to rear cover; else a fine copy. served as a captain with the 9th Lancers and was A handsomely bound single volume edition of one of the early experts on the bloodlines of British Constance Garnett’s translation, the work “by

All items are fully described and photographed at peterharrington.co.uk 95 of seeing peace restored to the rich districts which they [had] protected” (p. 297). Sorsky 1126. £750 [127130]

275 WINDSOR, Edward, Duke of. A King’s Story. The Memoirs of the Duke of Windsor. New York: G. P. Putnam’s Sons, 1951 Octavo (237 × 157 mm). Publisher’s deluxe red morocco, spine lettered in gilt, Edward’s arms and facsimile signatures stamped in gilt to front cover within gilt double fillet, gilt turn-ins, red silk endpapers, top edge gilt, others untrimmed. Housed in the original red cloth slipcase. Spine a little sunned, a few faint patches of finger-soiling, else a near-fine copy. signed limited u.s. edition, number 113 of 385 copies signed by Prince Edward, duke of Windsor, formerly King Edward VIII. A signed limited edition of 250 copies was also issued in Britain, as well as the trade editions in the same year. The work, dedicated to Wallis Simpson, is a highly personal account of Edward’s life and the abdication crisis. 272 274 Other than Queen Victoria’s journals, A King’s Story WILDE, Oscar. The Picture of Dorian Gray. Paris: WILLIAMS, Rev. E. A. The Cruise of the Pearl was the first book by a British monarch since 1688. Ye Olde Paris Booke-Shoppe, 1926 Round the World. With an Account of the It proved very popular, and was the basis of a docu- Octavo (169 × 106 mm). Finely bound by Sangorski and Operations of the Naval Brigade in India. London: mentary narrated by Orson Welles in 1965 Sutcliffe in tan half calf, red morocco labels, patterned Richard Bentley, 1859 £1,250 [128637] boards and endpapers, top edge gilt. Spine and corners a Octavo. Original deep purple cloth, gilt lettering and dec- little rubbed, internally nice and clean. An excellent copy. oration to spine, elaborate panelling in blind to boards. 276 A handsomely bound copy of Dorian Gray, first Frontispiece. Binding furbished, extremities of spines WOLFE, Tom. The Electric Kool-Aid Acid Test. published in book form in 1891. and corners consolidated, grain of spine smoothed, lettering retouched. A very good copy. New York: Farrar Strauss and Giroux, 1968 £450 [127787] first edition. Williams was the chaplain on board Octavo. Original white cloth, spine lettered in orange, HMS Pearl, whose crew were called upon to help pink and blue, orange endpapers, top edge blue. With 273 put down the Indian Mutiny. After sailing to South the dust jacket. A very good copy in the dust jacket, with WILDE, Oscar. De Profundis. London: Methuen & a hint of creasing and tiny chips at extremities, and a few America, Honolulu and the Sandwich Islands, the faint marks. Co., Ltd., 1927 ship’s company heard news of the uprising while first edition, first printing, signed by Octavo (168 × 106 mm). Finely bound by Sangorski and docked in Hong Kong. Along with HMS Shannon, Sutcliffe in tan half calf, red morocco labels, patterned the ship was sent to Calcutta. Williams gives his the author on the front free endpaper. boards and endpapers, top edge gilt. Internally nice and first-hand description of what he believes to be £800 [127164] clean, spine and corners a little rubbed, an excellent copy. “the only example in English history of officers A handsomely bound copy of De Profundis, first and seamen of the Royal Navy leaving their ships, published in 1905. and taking their guns seven or eight miles into the £250 [127789] interior of a great continent” (p. v). They served with such distinction in Goruckpure that the governor-general, Lord Canning, refused to let them return to their ship “without the satisfaction

96 Christmas 2018: Peter Harrington 277 WOOLF, Virginia. The Voyage Out. London: Duck- worth & Co., 1915 Octavo. Original green cloth, spine lettered in gilt, front cover lettered in black, publisher’s device in blind to rear cover. Ownership inscription to front pastedown. Front hinge cracked but holding, visible at half-title, cloth rubbed but still bright, a little wear to tips, faint marginal foxing. A very good copy. First edition, first impression, of the author’s first book. The Voyage Out introduces the character of Clarissa Dalloway, most famous as the central character of Mrs Dalloway (1925). Kirkpatrick A1a. £1,500 [126009]

278 WOOLF, Virginia. The Letters; The Diaries. London: The Hogarth Press, 1975–84 11 works, octavo. Original purple and blue boards, spines lettered in gilt, map endpapers to vols. II–V of The Diaries. With the dust jackets. A near-fine set, in jackets with very minor creasing to heads of spines. 279 280 first editions, first impressions, of the WREN, Percival Christopher. Beau Geste. With YEATS, W. B. The Secret Rose. With Illustrations complete set of Woolf ’s collected letters and illustrations by Helen McKie. London: John Murray, by J. B. Yeats. London: Lawrence & Bullen, Limited, diaries. The letters provide an impressively 1927 1897 comprehensive gathering of her correspondence from childhood until her death in 1941, and the Large octavo. Original red and blue cloth, paper label Octavo. Original blue cloth, title and pictorial decoration diaries, which Woolf kept from 1915, give an to spine, brown endpapers, top edge gilt, others uncut. to spine and boards gilt. Frontispiece and 6 plates by Jack With the dust jacket. Photogravure portrait frontispiece B. Yeats. Durham bookseller’s ticket to front pastedown, extraordinary picture of literary London in the of the author, 4 colour plates tipped in to pale grey heavy contemporary ink ownership inscription to front free early 20th century. stock paper (with captioned tissue guards), 16 mono- endpaper. Slight rubbing to ends and corners only, cloth Kirkpatrick A44a, A47a, A51a, A53a, A54a, A56a. chrome plates tipped in to laid paper (with captioned a little darkened but the gilt very bright, internally sound tissue guards), 9 headpieces, by Helen McKie. A bit of and clean, an excellent copy. £1,500 [127722] foxing to edges and initial and final leaves, else a near- first edition, first impression, first issue fine copy in the dust jacket, tiny chips to extremities, binding with “Lawrence & Bullen” at the foot discreetly taped on interior. of spine and first state ribbed blue cloth. Scarce first illustrated and first signed limited indeed in such nice condition. deluxe edition, number 729 of 1,000 copies signed by the author. Originally published in 1924, £1,250 [127251] this edition followed the huge success of the 1926 film version. Highly scarce in the dust jacket. £500 [127427]

All items are fully described and photographed at peterharrington.co.uk 97 Peter Harrington london mayfair chelsea Peter Harrington where rare books live Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff www.peterharrington.co.uk London sw3 6hs 98 Christmas 2018: Peter Harrington