Christmas 2016 Peter Harrington London We Are Exhibiting at These Fairs: Christmas 2016 0Pening Hours

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christmas 2016 Peter Harrington london We are exhibiting at these fairs: Christmas 2016 0pening hours:

4–5 November 2016 Dover Street chelsea Chelsea Antiquarian Book Fair (ABA) Mon 28 Nov – Fri 23 Dec Old Chelsea Town Hall Mon–Fri: 10am–7pm Kings Road, Chelsea, London Sat: 10am–6pm Sun: closed www.chelseabookfair.com Sat 24 Dec: 10am–2pm 18–20 November Sun 25 Dec – Mon 2 Jan 2017: closed hong kong China in Print Fulham Road Hong Kong Maritime Museum Central Ferry Pier No.8, Man Kwong St Mon 28 Nov – Fri 23 Dec Mon–Thur: 10am–7pm www.chinainprint.com Fri & Sat: 10am–6pm Sun: closed

Sat 24 Dec: 10am–2pm Sun 25 Dec – Tue 27 Dec: closed Wed 28 Dec – Fri 30 Dec: 10am–6pm Sat 31 Dec: 10am–2pm Sun 1 Jan – Mon 2 Jan 2017: closed

Tues 3 Jan 2017: Normal business hours resume

Front cover and inner illustrations from Charles Folkard’s Collection of original ink drawings from Alice in Wonderland..., item 62. Design: Nigel Bents; Photography Ruth Segarra Peter Harrington 128 london

christmas 2016

main catalogue 1–199, gift selection 200–295 All items from this catalogue are on exhibition at Dover Street chelsea mayfair Peter Harrington Peter Harrington 100 Fulham Road 43 Dover Street London sw3 6hs London w1s 4ff

uk 020 7591 0220 uk 020 3763 3220 eu 00 44 7591 0220 eu 00 44 20 3763 3220 usa 011 44 7591 0220 usa 011 44 20 3763 3220 www.peterharrington.co.uk

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Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Registered in England and Wales No: 3609982 All items are fully described and photographed at peterharrington.co.uk

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1 Engravings, With Descriptions. London: for John family and friends. King’s biography, I Am King: A Pho- Murray, by W. Bulmer and Co., 1814 tographic Biography of Muhammad Ali was published by ADAMS, Richard. Watership Down. Illustrated Penguin in 1975. Octavo (229 × 159 mm). Contemporary dark red straight- by John Lawrence. Harmondsworth: Penguin Books £1,750 [110791] grain morocco, spine richly gilt in compartments, gilt-let- & Kestrel Books, 1976 tered direct, raised bands to spine, sides with wide borders Octavo (230 × 152 mm). Original dark green crushed moroc- in gilt and in blind, gilt turn-ins, yellow endpapers, gilt edg- 4 co by Sangorski & Sutcliffe, titles to spine gilt, raised bands es. With 64 hand-coloured engraved plates. Lightly rubbed, to spine, fleurons and rabbit motifs to spine gilt, rabbit vi- an excellent copy in a handsome contemporary binding. AMIS, Kingsley. Bright November. Poems. gnette to front board in gilt, edges and turn-ins gilt, green first edition thus. The plates are smaller ver- London: The Fortune Press, [1947] and yellow endbands, marbled endpapers. In the marbled sions of those in Miller’s Costume of the Russian Empire, Octavo. Original black morocco-grain cloth, titles to spine slipcase as issued. Original watercolour by the artist to the 1803, which are in turn derived from Georgi’s 1776–80 first blank, colour frontispiece, numerous illustrations to gilt, edges untrimmed. With the dust jacket. Spine ends the text in colour and black and white, folding colour map work. lightly rubbed, cockling to pastedowns and endpapers as of- tipped-in at rear. A superb copy. Tooley 377. ten. A very good copy in the tanned and chipped dust jacket separated along the front joint. first illustrated and signed limited edi- £1,500 [109877] tion, this copy with a fine original watercolour by John Lawrence to the first blank initialled 3 by him in the bottom right-hand corner, with his full signature on the frontispiece; number 51 of 250 spe- (ALI, Muhammad.) KING, David. Everlast. cially bound and signed copies. This extremely popu- London: Fior Photos, 1999 lar animal story was initially turned down by all major Silver gelatin photograph hand-printed by Mike Spry at publishing houses. When finally issued by Rex Coll- Downtown Darkroom. Sheet size approx 50.5 × 60.7 cm. ings in 1972, sales exceeded 100,000 in the first year Excellent condition. Presented in a hand-finished black and Adams was awarded both the Carnegie Medal wooden frame by John Jones. and the Guardian Award for children’s fiction. Edition of 25. Signed and numbered on the verso by £3,500 [110527] King and dated 1974–1999. David King’s photographs of Ali were taken in 1974 at his training camp in Deer 2 Lake, Pennsylvania, when he was preparing for his world heavyweight title fight against George Fore- [ALEXANDER, William.] Picturesque man held later that year in Kinshasa, Zaire, known Representations of the Dress and Manners of as the “Rumble in the Jungle”. King documented eve- the Russians. Illustrated in Sixty-Four Coloured rything in the lead-up to the fight, from the intense sparring sessions to the quiet times he spent with his 4

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sley, December 1978”. David Williams was Amis’s contemporary at St John’s College, Oxford, and a member of his close-knit circle of college friends who informally called themselves “The Seven”; Philip Lar- kin was also a member, and in his biography of Lar- kin, Andrew Motion wrote that the group, however unserious, “anticipated the principles which were more coherently described by The Movement in the 1950s” (Motion, Philip Larkin: A Writer’s Life, p. 69). Williams eventually graduated with a Third after his studies were interrupted by a period of service in the Royal Navy. He then became a successful advertising executive, but after suffering a stroke in 1976, turned to writing crime fiction and produced more than twenty “whodunnit” novels, most of which featured Oxford graduate and merchant banker Mark Treas- ure. He died in 2003. £950 [112769]

5 ANGER, Kenneth. Hollywood Babylone. Paris: Jean-Jacques Pauvert, 1959 Small quarto. Original plain buff wrappers. With the photographic dust jacket. Illustrated throughout. An excellent copy in a lightly edge-rubbed jacket with faint fading to spine panel. 3 first edition. Scarce in the jacket with such a bright spine panel. The text is in French; it was pub- first edition, presentation copy of the au- Kingsley Amis, December 1947” on the front free lished in English six years later, banned shortly after thor’s first published book, in the first issue endpaper, and again at a later date below, “Sounds a its release, and not republished until 1975. binding. A significant assocation, inscribed by the bit formal, would you say? Jolly good luck and raucous author to “David Williams, sincere good wishes from cheers (in slightly less tidy handwriting) from King- £875 [111708]

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6 12 volumes, quarto (298 × 230 mm). Contemporary blue- first edition of Austen’s third novel. Mansfield Park green half morocco, spines gilt in compartments with titles was begun about the same time Sense and Sensibility was ANGER, Kenneth. Hollywood Babylon. San direct, raised bands with dotted line gilt, top edges gilt, accepted for publication and was published in May Francisco: Straight Arrow Books, 1975 other edges untrimmed, marbled boards and endpapers. Il- 1814 in an edition of 1,250 copies. John Murray later lustrated throughout in full colour by Léon Carré and with Quarto. Original gold metallic boards, titles to front board printed illuminations in colour and gold by Racim Moham- “expressed astonishment that so small an edition of and spine in black, illustrated endpapers. With the dust med, including headpieces in Arabic. Spines evenly faded to such a work should have been sent into the world”. jacket. Illustrated throughout with photographs. A fine copy green, else a fine set. Gilson A6; Keynes 6; Sadleir A62c. in the jacket with lightly rubbed and nicked extremities. deluxe limited edition, number 2,408, one of £16,500 [112500] second edition in edition, with three typed let- the 2,200 sets printed on Vélin Chiffon, from the en- ters laid in signed by the actress Frances Farmer to a tire edition of 2,500. fan, politely declining his attentions and requests for £2,250 [111453] interviews. The book includes a chapter on Farmer, “Daughter of Fury: Frances, Saint.” An American actress, she is today better known for sensationalized 8 accounts of her life (including baseless allegations [AUSTEN, Jane.] Mansfield Park: A novel. In of a lobotomy), her alcoholism, and her involuntary three volumes. London: for T. Egerton, 1814 commitment to a psychiatric hospital. The book details the scandals of many Hollywood stars from the 3 volumes, duodecimo (180 × 98 mm). Later 19th-century 1900s to the 1950s, and was banned ten days after its tan full calf by Rivière and Son (their ink-stamp to front release in the US. Upon its second release in 1975, The free endpapers), raised bands to spines forming compartments, twin red and tan morocco labels lettered in gilt to New York Times said of it, “If a book such as this can second and third, remaining compartments decoratively be said to have charm, it lies in the fact that here is a tooled in gilt, date to feet gilt, French fillet borders gilt to book without one single redeeming merit.” covers with roundel cornerpieces, all edges gilt, inner den- £1,250 [107405] telles gilt, blue-green coated endpapers. Housed in a dark brown leather entry slipcase made by the Chelsea Bindery. Complete with half-titles and terminal advertisement leaf. 7 Extremities slightly rubbed, a few mild scuffs and markings (ARABIAN NIGHTS.) MARDRUS, J. C. Le Livre to covers of vol. 1, a few leaves roughly trimmed along bottom edge, mostly in vol. 1 and the text never affected; vol. des Mille Nuits et une Nuit. Traduction littérale 1 also with skilful paper repair to bottom edge sig. B12, G6 et complète du texte arabe. Illustrations de browned towards fore edge, pale damp-stain to lower outer corner sigs. N[6]–9, short nicks to sig. F11 top and N12 bot- Léon Carré. Décoration et ornements de Racim tom edge, and to top edge vol. 3 sig. M[6], these flaws mi- Mohammed. Paris: L’Édition d’Art H. Piazza, 1926–32 nor: an excellent copy, internally crisp and fresh. 8

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9 Somewhat worn at extremities, front joint of vol. 1 starting, sunned, some minor scratches to boards, tips and spine some slight offsetting and browning, still a very good copy. ends rubbed; an excellent copy, internally clean. [AUSTEN, Jane.] Emma: A Novel. In three first edition of the last completed of Jane Austen’s first one-volume edition. volumes. London: for John Murray, 1816 novels, fully displaying her mastery of free indirect Gilson E160. 3 volumes, duodecimo (177 × 102 mm). Early 19th-century speech, an innovation in the English novel. She had £1,250 [106589] half calf, marbled boards, red sprinkled edges. Half-titles fallen out with Egerton over publication of Mansfield discarded by the binder, as usual. Early ownership inscrip- Park and transferred to Murray, who published the tion shaved by the binder’s knife at the head of vol. 3 title. second edition of that book and the first edition of 11 Emma on the same terms: each was published at the AVEDON, Richard. An Autobiography. New author’s expense, with profits to the author after pay- York: Random House, 1993 ment of a 10 per cent commission to the publisher. In keeping with Murray’s stated views on edition sizes, Quarto. Original brown cloth, titles to spine and front cover 2,000 copies were printed. Emma is the only one of in red, black and white photograph to rear cover. With the Jane Austen’s novels to bear a dedication, unwill- clear plastic dust jacket. Illustrated with 284 photographs. ingly made, to the Prince Regent, the arrangement A fine copy in a lightly rubbed jacket with a light crease to front panel. of which generated a richly comic correspondence between the author and the Prince Regent’s librarian. first edition, inscribed by the photogra- Gilson A8; Keynes 8; Sadleir 62d; Garside & Schöwerling pher to robert mitchum, with a Shakespeare 1816:16. quotation on the front free endpaper: “To Robert Mitchum. Thanks, Avedon 1993. [Overleaf:] ‘Jesus, £14,500 [108340] the days that we have seen. Come, come . . . ’ Justice Shallow, Henry IV, Part II”. Curiously, Mitchum is not 10 among Avedon’s subjects in the book, although he AUSTEN, Jane. The Complete Novels. With took a notable portrait of him soon after, captioned “Montecito, California, January 8, 1994”. an introduction by J. C. Squire. London: William £1,500 [106186] Heinemann Ltd, 1928 Octavo (204 × 135 mm). Near-contemporary blue polished calf by Riviere & Son, twin morocco labels to spine lettered gilt, compartments decorated gilt, gilt rules to boards and inner dentelles gilt, all edges gilt, marbled endpapers. Spine

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12 first edition, sole impression. This seminal col- er child flying off with Wendy and the other Darling lection of portraits by Bailey is one of the great iconic children to battle Captain Hook and his pirates, but BAILEY, David. Box of Pin-Ups. London: representations of the Swinging Sixties in London. Barrie added a final chapter to the book in which Pe- Weidenfeld and Nicolson, [1965] The subjects typify the newly formed social elite rang- ter returns for Wendy years later, when she is grown Original card clamshell box (380 × 330mm), containing 36 ing from the Beatles and the Rolling Stones through with a child of her own. The stage play itself was not loose plates; each a full page half tone reproduction of a minor royalty and groovy aristos to film stars, cou- published until 1928. photographic portrait with biographical details of the sit- turiers and gangsters. The mode of publication also The illustrator, Francis Donkin Bedford (1864–1954), ters on the verso. With the piece of plain brown paper and hints at a new democratization. The printing is of was originally a practising architect in London but the piece of corrugated cardboard inserted as packaging. high quality but photomechanical, which meant that changed career paths in the 1880s and “gained a wide Housed in a black flat-back cloth box by the Chelsea Bind- the cost could be kept down to just three guineas. popularity in the realm of children’s books and as a ery. Scuff marks and rubbing to the lid, corners and edges archivally repaired, each plate in superb condition. £6,500 [111773] landscape illustrator” (The Dictionary of 19th Century British Book Illustrators). He worked prolifically until 13 the early 1930s, illustrating English fairy tales and nursery rhymes as well as several Dickens titles, in- BARRIE, J. M. Peter and Wendy. London: Hodder cluding A Cricket on the Hearth (1927) and A Christmas & Stoughton, [1911] Carol (1931). His illustrations for Peter and Wendy are generally considered to be his greatest achievement. Octavo. Original green cloth, titles and pictorial decoration to front board and spine gilt. With the dust jacket. Frontis- £8,750 [110698] piece, illustrated title page, and 11 plates by F. D. Bedford. Bookplate to front pastedown. An exceptionally bright copy 14 in the jacket with browned spine, split to foot of folds of flaps, head of rear flap, and head of spine panel at front fold, BAUM, L. Frank. The Life and Adventures of a little loss to head of spine. Santa Claus. Chicago: M. A. Donohue & Co., 1902 first edition, first issue binding with the decorations and titles gilt, in the scarce jacket. Peter and Octavo. Finely bound by the Chelsea Bindery in red morocco, titles and decoration to spine gilt, raised bands, Wendy is an expanded adaptation into novel form of title and pictorial multicolour onlay of Santa Claus going the story first made popular in the 1904 stage play Pe- down the chimney to the front board, twin rule to turn-ins ter Pan, or The Boy Who Wouldn’t Grow Up. It tells the fa- gilt, decorative endpapers with the originals bound in, gilt miliar story of the stage version, with Peter as an old- 12 edges. With colour frontispiece, colour title page and many

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14 15 16 illustrations on colour plates and in the text by Mary Cowles philological notes by John M. Kemble. London: Teuton (1864) and Hereward the Wake (1866), his novel Clark. A fine copy. William Pickering, 1837 of resistance to the Norman conquest, has an Anglo- first edition. Saxon hero (Kingsley’s son Maurice contributed an Small octavo (168 × 100 mm). Late 19th century reddish- introduction to the edition of 1898). £3,950 [107961] brown half morocco by Blackwell, decorative gilt spine, marbled sides, top edges gilt, marbled endpapers. Scattered Kemble’s version of the Anglo-Saxon original (The 15 minor foxing. An excellent copy. Anglo-Saxon Poems of Beowulf) came out in a “premature edition” (ODNB) in 1833 – premature because “in charles kingsley’s copy of the first com- BEATON, Cecil. India. Bombay: Thacker & Co. Ltd, the preface [he] discussed the poem entirely as his- plete edition in modern english, in the trans- tory. On 17 July, 1834, however, Kemble wrote to his 1945 lation of the philologist and historian John Mitchell hero Jacob Grimm [this edition’s dedicatee] in great Kemble (1807–1857), “the poem’s first great English Quarto. Original orange cloth, title to front cover gilt. With excitement recording his discovery of two manu- the dust jacket. Black and white illustrations by Cecil Beaton editor” (Thomas E. Shippey in A Beowulf Handbook, scripts giving a version of the story of ‘Scyld Sceafing’ throughout. Faint bookseller’s stamps to half-title. Boards a 1998, p. 154). Inscribed at the head of the title page: . . . From these Kemble drew far-reaching conclu- little bowed; an excellent copy in the jacket with some minor “Charles Kingsley 1847, Eversley Rectory”; also in- sions about the poem’s deepest structure . . . and in chips and nicks to extremities, spine toned, faint spotting scribed by Kingsley’s son Maurice on the facing a postscript to the preface of his 1837 translation of to rear panel. blank: “Maurice Kingsley 1884”. first edition. The book features Beaton’s photo- the poem explicitly retracted his conclusions of 1833”. Kingsley had a keen interest in Anglo-Saxon litera- graphic record of daily life in India following his first This translation was issued as a pendant volume to ture and in 1848 he “obtained a part-time appoint- visit the preceding year, and writes in the preface of the Anglo-Saxon original, which is virtually unpro- ment as professor of English at the newly formed his hope to convey “a little of the beauty and strength curable, being produced in an edition of only 100 cop- Queen’s College for Women in London, where he of India”. ies for private distribution. The public second edition gave lectures on Anglo-Saxon literature and history, of 1835 and this translation into modern English are £975 [111600] among other topics” (ODNB). He mentions Beowulf reasonably well represented institutionally but are directly in his preface to The Heroes, or Greek Fairy Tales both decidedly uncommon in commerce. (1856): “Now, while they were young and simple [the Charles Kingsley’s copy of what he called For another book from Kingsley’s library, see item !!! below. Greeks] loved fairy tales, as you do now. All nations “the grand old song of Beowulf” do so when they are young: our old forefathers did, £3,000 [111675] 16 and called their stories ‘Sagas.’ I will read you some of them some day – some of the Eddas, and the Voluspà, BEOWULF. A Translation of the Anglo-Saxon and Beowulf, and the noble old Romances”; refers to of Beowulf with a copious glossary, preface and “the grand old song of Beowulf ” in The Roman and the

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17 18 ties which had grown into the laws of England over the centuries. But he achieves the astonishing feat of (BIBLE; English.) The Holy Bible containing the BLACKSTONE, Sir William. Commentaries on communicating this delight, and this is due to a style Old Testament and the New: newly translated the Laws of England. [Together with:] Tracts which is itself always lucid and graceful” (PMM). out of the original tongues . . . [bound with:] The chiefly relating to the Antiquities and Laws of Rothschild 407. book of common prayer, and administration of England. The Third Edition. Oxford: Clarendon £2,500 [107179] the sacraments, and other rites and ceremonies Press, 1766–9 & 1771 19 of the Church, according to the use of the 2 works bound as 5 volumes, quarto (273 × 203 mm). Con- Church of England; together with the Psalter, or temporary mottled calf recently rebacked in brown mo- BOND, Michael. A Bear Called Paddington. rocco, decorative gilt spines, red and dark green morocco Psalms of David . . . London: by Charles Bill and the twin labels. With 2 engraved tables (1 folding) in volume With drawings by Peggy Fortnum. London: executrix of Thomas Newcomb deceas’d, 1692 II. Armorial bookplate in each volume of George Manners: Collins, 1958 possibly the diplomatist (1778–1853) and editor of the Tory 2 works together in 1 volume, duodecimo (152 × 85 mm). journal The Satirist who practised law in London between Octavo. Finely bound by the Chelsea Bindery in grey mo- Contemporary red morocco, spine gilt in compartments, 1815 and 1819. A little wear to corners of bindings, some pa- rocco, titles to spine gilt, pictorial onlay of Paddington Bear covers with gilt frames, silver cornerpieces, central oval per toning and scattered foxing. to front, twin rule to turn-ins gilt, red endpapers, gilt edges. flat bosses, and clasps, engraved on the inside of the clasps With black and white illustrations. A fine copy. first editions of volumes III and IV, second edi- “The gift of I.W. 1693”, marbled endpapers, gilt edges. Ruled first edition of the first Paddington book. in red throughout. With 18th-century manuscript notes of tion of volume I, third edition of volume II; with the the Bonnett family at front and rear. Rubbed, spine ends third edition of the Tracts. “Blackstone’s great work £2,950 [113508] worn, a very good copy. on the laws of England is the extreme example of A charming William and Mary pocket-book Bible, justification of an existing state of affairs by virtue 20 of its history . . . Until the Commentaries, the ordinary complete with the Book of Common Prayer and Psal- BROWN, Peter. Nouvelles Illustrations de ter, in an attractive red morocco gift binding with sil- Englishman had viewed the law as a vast, unintelli- ver furniture. gible and unfriendly machine . . . Blackstone’s great Zoologie . . . New Illustrations of Zoology, achievement was to popularize the law and the tradi- Wing B2359. Containing Fifty Coloured Plates Of New, tions which had influenced its formation . . . He takes Curious, And Non-Descript Birds, With A Few £2,500 [109822] a delight in describing and defending as the essence of the constitution the often anomalous complexi-

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Quadrupeds, Reptiles And Insects. Together 21 contemporary handmade paper dust jacket which has kept the boards bright. Light rubbing to extremities, Le Roi Babar with a with a short and scientific description of the BRUNHOFF, Jean de. Histoire de Babar; Le little light soiling and scratches to boards. A superb, bright set. same. London: B. White, 1776 Voyage de Babar; Le Roi Babar; Les Vacances de first editions of the first four Babar titles, with Quarto (285 × 230 mm). Recently rebound to style in speck- Zephir. Paris: Conde Nast/Hachette, 1931–6 text in French. led half calf, red morocco label, raised bands, marbled £3,750 [111982] boards and edges. With 50 hand-coloured engraved plates. Folio. Original pictorial boards, illustrated endpapers. Illus- Parallel text in English and French. Occasional minor foxing trated throughout by Jean de Brunhoff. Histoire de Babar with a but overall contents very clean. An excellent copy. first edition. Peter Brown (fl. 1758–1799), thought to be Danish, was court painter to the Prince of Wales. It is not certain if he studied as a pupil of Georg Ehret (1708–1770), the famous botanical artist from Germany, but he was most certainly influenced by his work. The work is principally based on specimens in the natural history collections of Marmaduke Tunstall and Thomas Pennant, but also includes plates after drawings by the Ceylonese artist P. C. de Bevere in Java and Ceylon. For- ty-two of the plates depict birds, five mammals, two insects and one an amphibian. Much of the text was supplied by Pennant, who had previously employed Brown for two of the plates in his British Zoology, whilst the work was published by Gilbert White’s brother, Benjamin. Brown was also known as a flower painter, exhibiting at the Royal Academy from 1770 to 1791. Nissen IVB, 151; Wood p. 264; Zimmer pp. 101–2. £5,000 [111330] 20

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22 causes, symptomes, prognosticks, and severall BURGESS, Anthony. A Clockwork Orange. cures of it. In three maine partitions, with their London: Heinemann, 1962 severall Sections, Members, and Subsections. Octavo. Original black boards, titles to spine gilt. With the Philosophically, medicinally, historically dust jacket. Spine gently rolled, a couple of marks to boards, opened and cut up, by Democritus Junior. With some light foxing to endleaves and edges of text block; a a Satyricall Preface, conducing to the following very good copy in the jacket with some nicks and chips to extremities. Discourse. The second Edition, corrected and exercised a considerable influence on the thought of first edition, first issue binding in the first issue augmented by the Author. Oxford: by John Lichfield the time. Dr Johnson deeply admired it, and Charles dust jacket with the 16s. price and wider flaps. Three and James Short, for Henry Cripps, 1624 Lamb’s often and strongly expressed devotion served issues exist: two in black boards (the first with a jack- Folio (275 × 170 mm). Contemporary calf skilfully rebacked to rescue the Anatomy from a brief period of oblivion” et with wide flaps and priced 16s., the second with (PMM 120). Burton’s work is a landmark text rising the flaps trimmed and re-priced 18s.), and the third with the original spine laid down (corners refurbished), spine with five raised bands, simple blind ruling, sides with out of “the new curiosity in the Renaissance about the issued in 1971 in purple boards with a decimal price simple three-line blind rules, red speckled egdes, endleaves workings of the human mind” (ODNB), and as such sticker. renewed to style. Housed in a linen-lined green cloth solan- constitutes an important work of proto-psychology. Boytinck 75. der box. Neat booklabel (printed in gold on a blue ground, Furthermore, Burton’s Anatomy may be considered £2,750 [109625] possibly German) of “RLU”. Skilful repair at head of leaf Kk, more particularly as a situated encyclopaedia of the three or four instances of underling or marginal notes in a 17th-century mind, since, through his encyclopaedic 19th century hand. A very good copy, crisp and clean. reading for sources and examples (which he conduct- “It is the only book that ever took me out of second edition, the first in folio format, ed throughout his continual revisions of the work, bed two hours sooner than I wished to rise” succeeding the first, small quarto, edition of 1621. swelling the text from 353,369 words in the first edi- – Samuel Johnson Burton’s Anatomy of Melancholy was “one of the most tion to 516,384 in the sixth edition), Burton “was able popular books of the 17th century. All the learning to rival the great encyclopaedist scholars of Europe, 23 of the age as well as its humour – and its pedantry – and there were not many Englishmen of his time who are there. It has something in common with Brant’s [BURTON, Robert.] The Anatomy of could do that” (ODNB). Pforzheimer notes that “As Ship of Fools, Erasmus’s Praise of Folly, and More’s Uto- the author continued to make augmentations and a Melancholy: what it is. With all the kindes, pia, with Rabelais and Montaigne and like all these it

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25 2 volumes, octavo. Original natural linen-backed pale blue boards, printed paper labels to spines, blue endpapers. Col- (CHAGALL, Marc.) CAIN, Julien. The our frontispieces with tissue-guards, 4 other coloured plates Lithographs of Chagall. Introduction by Marc in all, 43 black and white plates, 5 maps, 4 of them folding. Some wear to tips, boards a little discoloured, front hinge of Chagall. Notes and catalogue by Fernand vol. I cracked but holding. A very good set. Mourlot, Charles Sorlier. Monte Carlo; Boston; first edition, in Cherry-Garrard’s preferred “Po- 24 New York: André Sauret; Boston Book and Art Shop lar” binding of cloth-backed boards. “Cherry-Garrard Inc.; Crown Publisher’s Inc., 1960–86 seems an unlikely hero of Antarctic exploration, but he few corrections to each edition published in his life- has achieved that status largely through this book . . . a time . . . all early editions are of interest textually”. 6 volumes, large quarto. Original tan cloth, titles to front young but wealthy patrician, near-sighted and frail, he Pforzheimer 119 (first edition); Printing and the Mind of Man covers and spines in black. With the pictorial dust jack- paid his way onto the crew as an assistant zoologist, but 120; STC 4160. ets. Profusely illustrated throughout and with 28 original performed splendidly in many harrowing situations” lithographs by Chagall (21 in colour). Extremities slightly (Books on Ice). The “worst journey” referred to in the title £3,500 [111783] bumped and rubbed. An excellent set in bright jackets with slightly rubbed and nicked extremities; jackets of Volumes is not “Scott’s ill-fated rendezvous with death,” but the 24 III and V with short closed tears to spine ends. earlier Ross Island Winter Journey, from Cape Evans to the penguin colony at Cape Crozier, with Edward Wilson first editions. The complete catalogue raisonné BURTON, Virginia Lee. Mike Mulligan and and Henry “Birdie” Bowers. Both of his companions on of Chagall’s lithographic work, a monumental feat this trip were to die on the Southern Journey with Scott, his Steam Shovel. Boston: The Riverside Press, of publishing which took more than two decades to Cherry-Garrard being with the last group sent back be- complete. Cambridge, for Houghton Mifflin Company, 1939 fore the final assault on the South Pole, he was also sent Oblong quarto. Original oatmeal cloth, front cover with de- £5,500 [108258] to rendezvous with the returning party of Scott and his sign and titles blocked in black and red, pictorial endpapers. four companions, and was the discoverer of the tent and With the dust jacket. Colour illustrations in text through- 26 their frozen bodies. The set is “widely regarded as the out. An exceptionally bright and pristine copy in the price- masterpiece of polar exploration.” clipped jacket with just a little creasing to rear flap edge and CHERRY-GARRARD, Apsley. The Worst head of spine. Books on Ice 61.12; Howgego, IV, S14; Renard, 305; Rosove Journey in The World: Antarctic 1910–1913. 71.A2; Spence 277. first edition. London: Constable and Company Limited, 1922 £3,750 [111855] £7,500 [111797]

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

27 single most important and authoritative grand narra- vol. 5, p. 420). Arriving on 11 December, he delivered tive of the conflicts of the 20th century. his first lecture at Worcester, Massachusetts, the fol- CHURCHILL, Winston S. The World Crisis. Woods A31(a). lowing day. On the 13th, back in New York, he was [Vol. I: 1911–1914; Vol. II: 1915; Vol. III–IV: 1916– £2,750 [111318] hit by a taxi while crossing Fifth Avenue, sustaining 1918; Vol. V: The Aftermath; Vol. VI: The Eastern a severe scalp wound and two cracked ribs, and later developing pleurisy. A week-long stay in hospital was Front.] London: Thornton Butterworth Ltd, 1923–31 28 followed by two weeks of recuperation at the Wal- 5 volumes in 6, octavo (223 × 150 mm). Finely bound by CHURCHILL, Winston S. The Unknown War: dorf-Astoria, after which he sailed for the Bahamas Maltby’s of Oxford in mid 20th-century red half morocco, with Clemmie, not returning until 25 January 1932. The Eastern Front. New York: Charles Scribner’s twin blue-green morocco labels, raised bands with dotted He gave the last lecture of the tour was at Boston’s rule gilt, compartments panelled in gilt, red cloth sides, Sons, 1931 Symphony Hall on 10 March. “Had he been killed he top edges gilt, marbled endpapers. Illustrated throughout would perhaps be remembered today as the most il- with maps and charts (many folding). Volume I with dif- Octavo. Original maroon cloth, spine and front board let- ferent endpapers to other volumes. The occasional spot to tered in gilt, fore edge untrimmed. Half-tone photographic lustrious and interesting failure in 20th-century Brit- contents. A handsomely bound set in excellent condition. frontispiece, 7 similar plates, 10 maps of which one folding ish politics. Instead he recovered and returned home and in colour, frequent maps and plans to the text. Spine to resume his India campaign” (ODNB). Writing to first editions. Working with astonishing speed slightly frayed at extremities with short (14 mm) closed his publisher on his return to Britain he commented: and energy, Churchill produced this mammoth histo- tear to head, tips faintly rubbed and bumped, contents “I am much better, but I feel I need to rest and not ry of the First World War in the aftermath of electoral toned, shallow fore-edge chip to preface leaf where clum- to drive myself so hard. You have no idea what I have defeat. The work deals with his reorganization of the sily opened, the text unaffected, strip of tanning to rear free been through” (Gilbert, op. cit., p. 427) Royal Navy in the years leading up to the War, defends endpaper and pastedown. A very good copy. Cohen A69.1(V).a; Langworth, ICS A31aa; Woods A31(aa). his Gallipoli policy, and criticises Haig’s strategy. “Al- first edition, presentation copy of the final though parts of The World Crisis were highly autobio- volume of The World Crisis, with “To Elbert A. Wickes, £3,250 [113885] graphical, drawing on documents from Churchill’s Inscribed by Winston Churchill, March 1932” to the private papers, the book as a whole was a stupendous front free endpaper. Wickes was the president of Al- 29 narrative of the war in Europe featuring masterly set- ber & Wickes, the Boston-based literary and theatri- piece accounts of major battles. Dictated to secretar- cal agency which arranged Churchill’s money-mak- CHURCHILL, Winston S. The Second World ies as he strode up and down the room, it exhibited ing American lecture tour undertaken in the winter War. London: Cassell & Co. Ltd, 1948–54 his passionate interest in war and his romantic con- of 1931–2. In an effort to recoup his losses from the 6 volumes, octavo. Original black cloth, titles gilt to spines, ception of the ‘true glory’ of the troops who perished Stock Market crash, Churchill agreed to a series of red top-stain, grey endpapers decorated with a design that on the Somme” (ODNB). In aim and method, it fore- forty lectures to be given across America “for a guar- alternates a lion rampant with the initials WSC. In the ty- shadows his Second World War: together they form the anteed minimum fee of £10,000” (Gilbert, Churchill, pographical dust jackets with background design as per the endpapers. Maps and diagrams, some folding. Each vol-

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29 30 31 ume with the bookplate of the Association of Men of Kent Chanel, Churchill “was made an immensely welcome 30 and Kentish Men. Topstains faded as usual, jackets a little guest . . . the central purpose of the Reveses’ lives rubbed, and a touch sunned at the spines, which are slightly became the entertainment of Churchill”, who much CHURCHILL, Winston S. [Post-War Speeches:] crumpled at ends, but the cloth unspotted, and the text- enjoyed “the poetic justice” of sharing in the “elegant The Sinews of Peace; Europe Unite; In The blocks clean, a very good set indeed. luxury” which came from Reves’s “highly profitable Balance; Stemming The Tide; The Unwritten first editions, first impressions, except vol. II, marketing of Churchill’s post-war writings”. which is the fourth edition of 1954; signed in full by Alliance. Edited by Randolph S. Churchill. An extremely appealing association copy, inscribed the author on the half-title of vol. I and initialled in London: Cassell and Company Ltd, 1948–61 for a proud Man of Kent by an adoptive, but equally the same place in the others, for the Association of proud Kentish Man. Churchill had been smitten by 5 volumes, octavo. Original varicoloured cloth, spines let- Men of Kent and Kentish Men, at the request of Wyke- the view across the Weald of Kent from Chartwell tered in gilt or silver. With the dust jackets. An excellent set ham Cornwallis, 2nd baron Cornwallis (1892–1982). when he first visited in 1922, and the house and es- in bright jackets with the occasional minor nick or short Together with a one-page letter on the letterhead of tate became one of the loves of his life, famously he closed tear. La Pausa, Churchill’s literary agent Emery Reves’s declared that “A day away from Chartwell is a day first editions, first impressions. house. In the letter, dated 9 February 1956, Churchill wasted”. tells Lord Cornwallis, president of the association, Cohen A241, 246, 255, 264, 273; Woods A124, 128, 130, 137, 142. that he “would be happy to do as you ask”, signing the Lord Cornwallis was born in Linton, east of the Med- set as requested, that he is “returning to England for way. He is probably best remembered for his role in £1,500 [112409] some days on February 10, so perhaps you would let creating the County of Kent squadron of the RAF dur- me have the books sometime before I leave the coun- ing the Battle of Britain. Inspired by a meeting with 31 try again towards the end of this month”, and con- Squadron Leader Bob Stanford Tuck when he was CHURCHILL, Winston S. The Island Race. cluding that he is “indeed complimented by the wish shot down over his home near Maidstone, Cornwal- of Kent County Society” for him to sign the books. lis established the Kent County Spitfire Fund, which London: Cassell 1964 raised £100,000 for the purchase of planes in a little After he left office in 1955 Churchill spent long peri- Large quarto (292 × 234 mm). Finely bound for Asprey and over a year, which generosity he acknowledged with ods with Reves and his partner Wendy at their home Co. Ltd. in burgundy morocco, titles to spine gilt, raised an exhortation to “remember that when you look in the Alpes-Maritime. On this occasion he was there bands, spine and boards extra gilt, inner dentelles gilt, mar- upward to the skies, it may be your squadron that is for a month. “He returned for another 11 substantial bled endpapers, gilt edges. Illustrated in colour throughout defending the gateway of England and ask for God’s the text. An excellent copy. visits during the next three and half years, a total of 54 blessing and protection for those glorious men who weeks” (Jenkins, Churchill, p. 904), during which time first edition thus, an abridgement by Timothy are riding on the wings of the White Horse of Kent”. he worked on the completion of English-Speaking Peo- Baker of the four volumes of Churchill’s History of the ples. At La Pausa, originally built by Churchill’s friend Cohen A240.4; Woods A123(b). English-Speaking Peoples. Bendor, 2nd duke of Westminster, for his lover Coco £8,750 [113307] £1,500 [111644]

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

14 32 Peter Harrington 128

32 CHURCHILL, Winston S. The Major Works. Centenary First Edition. London: The Hamlyn Publishing Group, 1974 25 volumes, octavo. Original dark red imitation morocco, three black labels to spines lettered gilt, elaborate panelled decoration to boards and author’s monogram to front boards embossed in 22-carat gold blocking, dark red silk moiré endpapers, all edges gilt. With the publisher’s quarto- sized colour brochure. Tipped-in photographic frontispiece of Churchill to each volume. An excellent set. A selected edition of Churchill’s works, comprising My Early Life, Lord Randolph Churchill, The World Crisis, Mar- lborough, The War Speeches, The Second World War, and A History of the English-Speaking Peoples, issued at the same time as the complete collected Centenary Edition. £1,250 [111274]

33 [CLEMENS, Samuel Langhorne.] TWAIN, Mark. Adventures of Huckleberry Finn (Tom Sawyer’s Comrade) . . . With one hundred and seventy-four illustrations. New York: Charles L. Webster and Company, 1885 Octavo (214 × 164 mm). Publisher’s half morocco, marbled edges, gilt rules to covers, spine lettered gilt with gilt decorated compartments, marbled endpapers. Photogravure portrait frontispiece (second state, with the imprint of the Helio- type Printing Company and with “Karl Gerhardt, Sc.” added to the finished edge of the shoulder), illustrated throughout with 173 text illustrations after E. W. Kemble. Spine sunned, extremities and tips worn, covers a little scuffed, some foxing and marks to contents. An excellent copy. 33 first u.s. edition, publisher’s presentation copy, inscribed by the publishers to Daniel Whitford, play; in turn, Clemens sued Frohman for his royalties Copies in the original half morocco binding are the Clemens’s lawyer: “To Daniel Whitford, with regards (amounting to five or six thousand dollars) in 1894. least often met with. Less than two weeks before pub- of the publisher, Chas. L. Webster. New York, Febru- Much bibliographical confusion has been generated lication, the publisher Webster announced that he was ary 21st, 1885.” Daniel Whitford, attorney for New York by Huckleberry Finn. In fact, only three substantive binding 20,000 copies in cloth, another 2,500 in sheep, firm Alexander & Green, acted for Webster & Compa- changes were introduced after the first printing: at and 500 copies in half morocco. Webster’s own copy, ny and was also retained by Clemens several times. He p. 13 the erroneous page reference “88” was changed also half morocco, was dated by him as having been acted for Clemens in the highly publicised lawsuit over to “87”; at p. 57 the misprint “with the was” was cor- received from the binder on 26 November 1884. the dramatisation of the Prince and the Pauper by Abby rected to “with the saw”; and at p. 9 the misprint BAL 3415; Grolier, 100 American, 87; Johnson, pp. 43–50; Sage Richardson. In 1890, Clemens and the producer, “Decided” was corrected to “Decides”. This copy has Kevin MacDonnell, “Huck Finn among the Issue-Mongers,” Daniel Frohman, were sued by Edward H. House, who all these in first state. The frontispiece was printed Firsts; The Book Collector’s Magazine, Volume 8, Number 9 (September 1998), pp. 28–35. claimed that Richardson’s adaptation was plagia- separately, inserted at random, and has no relation to rised from House’s dramatisation of the novel, writ- the order of the printed sheets. At some stage it was £9,500 [110564] ten for Clemens years before. Frohman paid House realised that the Uncle Silas illustration on page 283 from Clemens’s royalties to prevent the closure of the had been mischievously tampered with. In this copy, the illustration is in the second state.

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

34 35 36

The illustrator’s copy BAL 3434; for Beard see LeMaster, ed., The Routledge Ency- and Emperor of China), and The Pains of Sleep (consid- clopaedia of Mark Twain, p. 64. ered a description of opium withdrawal symptoms). 34 £3,500 [112521] The publisher’s advertisements evince a good year [CLEMENS, Samuel Langhorne.] TWAIN, for literature, with Murray publishing Byron’s Siege of 35 Corinth, Walter Scott’s Field of Waterloo, Jane Austen’s Mark. The American Claimant. New York: Charles Emma, Leigh Hunt’s Rimini, as well as John Malcolm’s L. Webster & Co., 1892 COLERIDGE, Samuel Taylor. Christabel: Kubla classic History of Persia. This copy is from the library (though unmarked as such) of Scottish publisher Octavo (205 × 135 mm). Original green diagonally-ribbed Khan, A Vision; The Pains of Sleep. London: Alexander Macmillan (1818–1896), founder, with his cloth, spine and front cover lettered in gilt and illustrated in printed for John Murray, by William Bulmer and Co., black. Frontispiece and 25 line-drawings to the text by Dan older brother Daniel, of Macmillan & Co – J. B. Hawes Beard. 8 pages of publisher’s advertisements to rear. Joints 1816 were one of the Cambridge binderies used by Mac- and extremities rubbed with a few small sections of wear, Octavo (220 × 120 mm). Later 19th-century citron morocco millan. spine faded, front inner hinge slightly tender, contents by J. B. Hawes, Cambridge, spine in compartments with £3,500 [106620] toned. A very good copy. raised bands, gilt titles end fleurons, marbled endpapers, first edition, the illustrator’s personal copy, top edge gilt, others untrimmed. Half-title, and 4 pages expansively inscribed by him “Dan Beard [indicating of publisher’s advertisements at the rear. Some tanning to The earliest known text on cookery arrow] His mark” on the front pastedown. The Ameri- fore-edge and to endleaves but on the whole an internally clean copy, the binding slightly rubbed at the corners but 36 can Claimant was the second Twain novel illustrated by generally in excellent condition. Beard. Twain first noticed Beard’s drawings in Cosmo- (COOKERY.) ATHENAEUS of Naucratis. first edition, with the half-title and advertise- politan magazine and eagerly commissioned him to il- Deipnosophiston biblia pentekaideka [Greek ments, notably untrimmed in a signed later 19th- lustrate A Connecticut Yankee in King Arthur’s Court (1889): he letters]. Dipnosophistarum, hoc est argutè was so convinced of the artist’s talent that he gave him century binding. This publication prints for the first free rein to interpret the text as he pleased. Beard would time three of Coleridge’s very best poems, the gothic sciteque convivio differentum. Libri XV. Quibus go on to illustrate The £1,000,000 Bank-Note, Tom Sawyer Christabel (which was written 1797–1800 but excluded nunc quantum operae ac diligentiae adhibitum from the 1800 edition of Lyrical Ballads on Words- Abroad and Following the Equator, and revelled in being sit, satis fidei erit . . . Basel: Johannes Walder, 1535 known as “the Mark Twain of art”, though after the turn worth’s advice and left unpublished until here), the of the century devoted himself mainly to organising lysergic Kubla Khan (accompanied by Coleridge’s no- Folio (313 × 204 mm). Contemporary calf, neatly rebacked, youth development groups and was a founding member torious recount of its composition one night after an oval leaf-spray centrepiece in gilt to sides. Greek types, scho- lia in Latin and Greek. Early library inkstamp to title; gift of the Boy Scouts of America. The American Claimant is no- opium influenced dream having read a work describ- inscription to front pastedown dated 1963. Small amount tably uncommon in the original cloth. ing Xanadu, the summer palace of the Mongol ruler

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37 38 of worm at foot of front pastedown and just affecting title 37 out. Spine slightly faded, foxing to top edge; an excellent at lower inner corner with small paper restoration in same copy in the bright jacket. (COOKERY.) DAVID, Elizabeth. A Book place, a few slight water-stains, still a very good copy. first edition. Signed by the British historian Lucy second edition of the greek text, edited by of Mediterranean Food. Decorated by John Worsley on the half-title in pencil; she presented a Jakob Bedrott, preceded only by the Aldine edition Minton. London: John Lehmann Ltd, 1950 BBC 4 documentary on Hartley in 2012. Hartley’s book of 1514, of what is probably the earliest known text is widely regarded as the definitive history of English on cookery. A fictionalized symposium of thinkers Octavo. Original red and white textured cloth, title to spine food and cooking techniques, and remains unchal- gathering to discuss the ideal banquet, the Deipnoso- gilt on brown ground. With the dust jacket designed by John Minton. Frontispiece, vignette title, and illustrations by lenged in its ambition and scope, an exuberant mix phistae (“dinner-table philosophers”) is a remarkable John Minton. Ownership signature to front pastedown. An of oral history, anthropology, and traditional recipes. collection of material chiefly on matters connected excellent, bright copy in the dust jacket with some nicks to Copies in the illustrated dust jacket are uncommon. with dining, but also containing remarks on music, head of spine, small tape repair to verso, spine panel faintly £2,750 [107903] songs, dances, games, courtesans, and luxury. Nearly sunned. 800 writers and 2,500 separate works are referred first edition of David’s first book. It was an instant to by Athenaeus. Were it not for this compendium, bestseller, introducing Mediterranean cooking to much valuable information about the ancient world post-war Britain, weary of rationing. would be lost, and many ancient Greek authors such £1,500 [112025] as Archestratus almost entirely unknown. Book XIII is an important source for the study of sexuality in classical and Hellenistic Greece. 38 £2,750 [112519] (COOKERY.) HARTLEY, Dorothy. Food in England. London: Macdonald, 1954 Octavo. Original orange cloth, titles in gilt. With the illustrated dust jacket. Illustrated with line drawings through- 38

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

40 41 42

39 last twenty years . . . By a Boston housekeeper. 40 (COOKERY.) [LEE, N. K. M.] The Cook’s Own Alphabetically arranged. Boston: for Munroe and DAHL, Roald. Someone Like You. New York: Book: being a complete culinary encyclopaedia: Francis; Charles S. Francis, and David Felt, New York; Alfred A. Knopf, 1953 comprehending all valuable receipts for cooking Carey and Lea, and Grigg and Elliot, Philadelphia, 1832 Octavo. Original cream cloth, titles to spine and front board meat, fish, and fowl, and composing every kind Octavo in sixes (190 × 116 mm). Contemporary sprinkled in black on purple ground, top edge purple, fore edge un- sheep, smooth spine with twin gilt rules forming compart- trimmed. With the dust jacket. Spine gently rolled, boards of soup, gravy, pastry, preserves, essences, &c. ments, black skiver label lettered in gilt to second. Con- slightly splayed, joints tender, final few leaves with a faint that have been published or invented during the temporary recipe cuttings mounted to front free endpaper crease to the upper corner. A very good copy in an excellent and first blank, this last with the contemporary ownership jacket with faded spine panel and slightly rubbed extremities. inscription of C. A. [?], Augusta. Extremities and joints first edition, presentation copy, inscribed by rubbed, a few small scuffs to front cover, variable foxing, oc- Dahl on the front flyleaf: “For Kate from Roald Dahl. casional faint creasing to outer corners, ownership inscrip- Nov. 9, 1953.” tion and three adhesive patches effaced from front pastedown, title-page a little abraded with a few small holes par- £3,750 [112941] tially obscuring imprint, very small hole to sig. 13* costing half a letter either side, short closed tear along gutter of sig. 41 19.4 to no loss, final gathering starting, lacking the rear free endpaper. A good copy in a pleasing contemporary binding. DAHL, Roald. Fantastic Mr. Fox. New York: Alfred first edition, first issue, of “the first alphabeti- A. Knopf, 1970 cally arranged culinary encyclopaedia to appear in the United States” (Oxford Companion to Food, p. 17), and one Octavo. Finely bound by the Chelsea Bindery in tan morocco, titles to spine in black, two raised bands, multi-coloured of the most popular American cookbooks of the 19th pictorial onlay of Mr Fox standing in front of his tree taken century (Michigan State University introduction, on- from the dust jacket, twin rule to turn-ins, floral endpapers, line). The author’s sources are mainly British. The first gilt edges. A fine copy. issue lacks the the later 37-page pastry supplement, first edition. has no mention of Lyman Thurston & Co. on the copyright page, and has 1832 as the date of both printing £2,750 [110281] and copyright. Rare thus, and with no institutional copies of the first edition traced outside the US. Cagle and Stafford 447–8; Lowenstein 160–1. 39 £1,750 [110873] 18 Peter Harrington 128

42 DAHL, Roald. The Wonderful Story of Henry Sugar and Six More. London: Jonathan Cape, 1977 Octavo. Original blue boards, titles to spine gilt, beige endpapers. With the dust jacket. Housed in a custom-made white cloth slipcase. Two pages of photographic illustrations. Extremities slightly bumped and toned, light spotting to edges. An excellent copy in a bright jacket with mildly sunned and bumped extremities. 43 first edition, inscribed on the front free endpaper: “To Philip, love Roald Dahl.” From the library of Irish book collector Dr Philip Murray, author of The Brewtnall, Fs. Walker, A. Murch and Holman Carolsfeld’s Bible Pictures (published in Germany 1851 Adventures of a Book Collector (2011). He writes of meet- Hunt. London: George Routledge and Sons (printed at and in England by Williams and Norgate in 1855)”. The brothers had been approaching artists to con- ing Dahl at a signing: “It was quite apparent that he the Dalziels’ Camden Press), 1881 got great enjoyment out of meeting the hundreds of tribute since 1862, but their original elaborate con- children who queued up that day to have their books Folio. Publisher’s half vellum, red morocco label, lettered in gilt cept of an illustrated bible had been abandoned in signed” (p. 101). on the front cover, floriate patterned endpapers. Housed in a the 1860s due to “disappointments of help” which custom made blue cloth slipcase. Title page printed in red & they had “confidently relied upon”, with artists such £1,750 [112959] black, 62 wood-engraved plates by the Dalziel Brothers, printed as Millais, Hunt, Watts and Leighton committed to on India paper. Bookseller’s ticket of D. B. Friend (Brighton). another publisher. Instead, the engravings which Some signs of handling to binding, scattered marginal foxing 43 they had commissioned were made into the present (clear of images), occasional marginal cockling. A very good DALZIEL BROTHERS. Dalziels’ Bible Gallery. copy with excellent impressions of the plates. publication. Copies were frequently broken so that a favourite illustration from the Bible could be framed Illustrations from the Old Testament. From the first and limited edition, number 338 of 1,000 and mounted but this copy is complete. A high spot original drawings by Sir Frederick Leighton, E. copies. A sumptuous production, “the artistic level of of Pre-Raphaelite book illustration. which is surely higher than that in any other of the J. Poynter, H. H. Armstead, F. Maddox Brown, Ray, The Illustrator and the Book in England from 1790 to Dalziels’ collaborative volumes. The book is best seen S. Solomon, F. Sandys, E. G. Dalziel, W. Small, 1914, 158; Dalziel, George, & Edward. The Brothers Dalziel: in the India-paper proof copies” (Ray). Gregory R. Su- A Record of Fifty Years’ Work in Conjunction with Many of A. B. Houghton, G. F. Watts, E. Armytage, F. riano’s The Pre-Raphaelite Illustrators, draws attention to the Most Distinguished Artists of the Period 1840–1905, 1901. the fact that the Dalziels’ Bible Gallery “was a response R. Pickersgill, E. Burne Jones, T. Dalziel; E. J. £2,000 [111786] to the publication of the Nazarene artist Schnorr von

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

44 45

44 Management’ has now been placed on the market” correct spelling of ‘Linnean’ on the title page . . . (preface). The misprint ‘speceies’ is corrected and the whale- DALZIEL, Hugh. British Dogs. Describing the £1,250 [112313] bear story diluted, an alteration which Darwin later history, characteristics, breeding, management, regretted, although he never restored the full text. The story is not found again in any printing, except in and exhibition of the various breeds of dogs 45 the American editions of 1860, until the end of copy- established in Great Britain. London: L. Upcott DARWIN, Charles. On the Origin of Species by right”. Gill, 1888–97 Means of Natural Selection, or the preservation Freeman 376. 3 volumes, quarto. Original pictorial brown cloth, titles of favoured races in the struggle for life. Fifth £7,500 [111613] to spines and front covers gilt, images of dogs blocked to spines and front covers gilt, brown coated endpapers. With thousand. London: John Murray, 1860 123 plates, 15 of which are folding, by A. Baker, A. F. Lydon “From the author”, inscribed in Darwin’s Octavo in twelves. Original diagonal-wave-grain green and R. Moore. Bookplate of Walter H. Stone to front past- cloth, covers blocked in blind, spine lettered and decorated hand edowns. Minor rubbing to edges, occasional foxing to con- in gilt, brown coated endpapers, fore and bottom edges un- tents. An excellent set in bright cloth. trimmed. Folding diagram to face p. 117, 32 pages of pub- 46 first edition of volume III, on Practical Kennel Man- lisher’s advertisements to rear, dated January 1860. Book- DARWIN, Charles. The Variation of Animals agement, and second (revised and expanded) editions seller’s blindstamp to front free endpaper, binder’s ticket of volumes I and II. “When about to issue the second to rear pastedown. Some minor wear to spine edges, short and Plants under Domestication. In two volume of ‘British Dogs’, it was found impossible to split to rear joint but still sound, small tear to rear free end- volumes. With illustrations. London: John Murray, paper fore edge. An excellent copy. deal, in the space at command, with the practical side 1868 of the question as satisfactorily as the importance second edition of “the most important biological of the subject warranted. The publisher therefore, book ever written” (Freeman), one of 3,000 copies 2 volumes, demy octavo. Original green cloth, blind-pan- announced his intention of issuing at a later date a printed, the issue most commonly met with, bearing elled covers, spines gilt with imprint at foot in one line, dark volume exclusively devoted to Breeding, Rearing, 1860 on the title page (a very few copies bear 1859). green coated endpapers, Edmonds & Remnants label at end of vol. I. 43 woodcuts in the text. 32 pages of publisher’s ad- Exhibiting, Training, General Management &c. It is The second edition “can be recognised immediately vertisements dated April 1867 to rear of vol. I; 1 page dated in fulfilment of that promise that ‘Practical Kennel by the date, by the words ‘fifth thousand’, and the

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February 1868 to vol. II. Bookplates of James McBryde, St (Freeman). “Its two volumes were intended to pro- 47 Helens. Cloth lightly marked and cockled in places, superfi- vide overwhelming evidence for the ubiquity of vari- cial cracks to inner hinges, light spotting to edges and outer ation, although they would also incidentally answer DEAN, Henry. The Whole Art of Legerdemain: blanks, occasionally elsewhere, overall a very good copy. Lyell and Gray, who maintained that variations had or Hocus Pocus in Perfection . . . The Seventh first edition, first issue. With a slip of paper with not occurred purely by chance but were providentially Edition, with large Additions and Amendments. the inscription “From the Author” in Darwin’s hand directed. Darwin showed that breeders indeed select- London: for L. Hawes and Co. and S. Crowder, and R. pasted to the front free endpaper. Presentation in- ed from a vast array of minute random variations. He scriptions in Darwin’s hand are notoriously rare; gave numerous instances of the causes of variability, Ware and Co., 1772 the usual procedure was for the inscription to be in including the direct effect of the conditions of life, Duodecimo. Original canvas, unlettered. Woodcut fron- the hand of one of Murray’s clerks. The bookplate reversion, the effects of use and disuse, saltation, tispiece, woodcut illustrations of magic tricks in the text. is that of James McBryde, a Scottish chemist from prepotency, and correlated growth. The Variation also Small ink inscription on frontispiece blank recto. Canvas near Stranraer, who co-founded an alkali firm in St addressed a key criticism of the Origin of Species: that lightly rubbed, sig. E7 with slight paper loss at upper outer Helens, Lancashire. He owned a number of books by it lacked an adequate understanding of inheritance” corner, including page numeral and a letter either side, the Charles Darwin and associated evolutionary mate- (ODNB). The term “survival of the fittest” (borrowed sense easily guessed; this the only flaw in what is otherwise rial. His son, also James McBryde, went up to King’s at Wallace’s insistence from Herbert Spencer’s 1866 a superb copy in the original binding, rare thus. College Cambridge in 1893 to read Natural Sciences. Principles of Biology) first appeared in theVariation (v. 2, A remarkably fresh copy of by far the best-known He became friends with M. R. James and completed p. 89), preceding its first use in the fifth edition of the 18th-century book on conjuring, first published in four illustrations for James’s Ghost Stories of an Anti- Origin of Species (1869). The Variation was a full state- 1722. Rare: ESTC locates three copies only of this edi- quary, but died of complications following an appen- ment of the facts on which the theories of the Origin tion in Britain (BL, Glasgow University and Senate dix operation before he could complete them. were based, though leaving aside an account of hu- House libraries) and the Folger copy in America. With 5- and 7-line errata in vols. I and II respectively, man evolution for The Descent of Man (1871). £6,250 [107439] issued in two volumes demy octavo, the only Murray Freeman 877. Darwin to appear in this larger format. “This repre- £9,500 [109806] sents the only section of Darwin’s big book on the origin of species which was printed in his lifetime and corresponds to its first two intended chapters”

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

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48 now I do not know of any book which gives the for- dieval romances, George Macdonald’s spiritual fan- mulae and methods of preparation of the drinks that tasies, and to Wagner’s Ring of the Nibelung. Mac- DE FLEURY, R. 1700 Cocktails From the Man were so popular during the 18th and 19th centuries, donald and Morris are both acknowledged influences Behind the Bar. London: William Heinemann, 1934; and I have therefore traced a good number of these on Tolkien, and it has been argued that Tolkien’s dis- [together with] — 1800 and all that. Drinks and included them in this volume, as I feel sure there taste for Wagner and what his work represented led would be a demand for them if people only knew how him to write The Lord of the Rings as a cultural antidote – Ancient & Modern. London: The St Catherine’s to prepare them.” Press, 1937 For other works on cocktails, see items !!!-!!! below. 2 works, small octavo. Original green leather, titles to spines £2,750 [112962] gilt. With the illustrated dust jackets. A few advertisement illustrations within. Two newspaper cuttings with cocktail recipes laid in. First work with titles dulled at the spine, and 49 a few minor scuffs to the leather, internally entirely sound DE LA MOTTE-FOUQUÉ, Friedrich Heinrich and fresh, with the jacket sunned to spine and bears a few chips and tears to the ends and corners, a very good copy Karl. The Magic Ring; a romance, from the overall. The second work in exquisite condition, sound and German. Edinburgh: by Oliver & Boyd; and Geo. B. clean, with the jacket bearing only a few closed tears to the top edge and a few other minor marks, but overall in excel- Whittaker, 1825 lent condition. 3 volumes, duodecimo (176 × 104 mm). Nineteenth-century first editions of De Fleury’s two scarce but clas- half Japanese vellum, double morocco labels, gilt spines, red sic cocktail recipe books, presented together with the sides, endpapers and edges. With the half-titles. Bookplates very scarce dust jackets over the publisher’s full leath- of A. J. A. Symons. Rubbed, a little light foxing, chiefly to er bindings. At the time De Fleury’s 1700 Cocktails was outer leaves, a good set. the most comprehensive to be included in one book. first edition in english of Der Zauberring (1813), The author’s note in his follow-up volume 1800 and all translated by Scott’s friend Robert Pearse Gillies. The that reads “This volume, though complete in itself, is novel blends medieval quest, epic fantasy and Gothic intended as a companion to my previous book . . . the nightmare, inspired by Germanic folk tales and Ice- two together forming a complete library of all kinds landic sagas, Arthurian romance and Gothic horror. of drinks through the ages to the present day. Up to The book is a clear precursor to William Morris’s me- 49

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50 51 52 to Wagner. The book is scarce in commerce, no copy friend Denslow to draw not only his personal book- 52 having appeared at auction for 15 years. This copy plate but ones for his wife Julia Rose and his daugh- from the library of the book collector and writer A. J. ter. The little girl evidently was delighted with her DICKENS, Charles. Bleak House. London: A. Symons, author of The Quest for Corvo. design’s “big policeman”. It was perhaps the most Bradbury and Evans, 1853 £1,250 [43225] famous of all of Denslow’s bookplates, being repro- Octavo (212 × 125 mm). Contemporary green half calf, spine duced in The Inland Printer (June 1900, p. 389) and gilt tooled on the raised bands and at head and tail, twin Wilbur Macy Stone’s Some Children’s Book-Plates (1901). 50 red labels, marbled sides, red speckled edges. Etched fron- £9,500 [113394] tispiece, vignette title-page, and 38 plates (including the 10 (DENSLOW, W. W.) MOORE, Clement C. Night “dark” plates) by “Phiz” ( H. K. Browne). Bound without the half-title, sides lightly rubbed, customary foxing to plates before Christmas. New York: G. W. Dillingham Co. 51 (which have contemporary tissue guards intact). A very Publishers, 1902 DICK, Philip K. Do Androids Dream of Electric good copy in an appealing period binding. first edition, with the first-issue textual points Quarto. Finely bound by the Chelsea Bindery in bright Sheep? New York: Doubleday & Company, Inc., 1968 blue morocco, titles to spine gilt, single rule to boards gilt, as listed by Smith. H. K. Browne had experimented multi-coloured pictorial onlay of Father Christmas and his Octavo. Original grey cloth, titles to spine gilt. With the dust with the “dark plate” technique in Dombey and Son eight reindeer to the front board, twin rule to turn-ins gilt, jacket. Very mild toning from binder’s paste to hinges, but (1848) but in Bleak House their sombreness added a bright red endpapers with the originals bound in, gilt edges. an exceptional copy in the remarkably fresh dust jacket. new tone to the illustration of Dickens’s books. “As Housed in a blue flat-back cloth box. A fine copy. first edition, with the correct code to p. 210 and Dickens’s vision of society darkened, Browne ad- first edition, presentation copy, inscribed the unclipped jacket flaps. The basis for the 1982 film justed his techniques, pioneering in the use of ‘dark by the illustrator on the half-title verso: “To my Blade Runner, directed by Ridley Scott, this seminal plates’, where the plate was machine-ruled in parallel friend Edna Browning Wilkins with sincere regards science fiction novel is “a key novel in Dick’s canon” grooves which printed an almost uniform tone either W. W. Denslow 1902”, together with the illustrator’s (Anatomy of Wonder II. 326). Copies of the first printing before or after the figures and background were hand monogram and “Den” which he used to sign his in this condition are rare. drawn. These brooding, atmospheric designs harmo- work. Edna Browning Wilkins was the daughter of £7,500 [111995] nized with the gloomy, foggy world of Bleak House and avid book collector Charles M. Wilkins, president of Little Dorrit” (Robert Patten in The Oxford Companion to the National Electrical Trades Association in Chicago Charles Dickens, 2011, p. 59). and president of the Wenonah Library Association Smith I 10. in Wenonah, Illinois. Her father commissioned his £875 [111436]

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

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53 DICKENS, Charles. The Nonesuch Dickens. Published under the editorial direction of Arthur Waugh, Hugh Walpole, Walter Dexter and Thomas Hatton. London: The Nonesuch Press, 1937–9 24 volumes, large octavo. Original buckram in various colours, black morocco label to each spine, top edges rough gilt, others untrimmed. Together with 3 supplementary volumes, detailed below. Illustrated after the original plates. The 24th volume contains a mounted engraving and original steel plate from Nicholas Nickleby after H. K. Browne (“Phiz”), together with a laid-in certificate of authenticity from Chapman and Hall. Faint spotting to spine of The Old Curiosity Shop, mild toning to edges as usual, very occasional light offsetting from plates, but an exceptional set, internally crisp and fresh in the bright original cloth. first nonesuch edition, number 422 of 877 sets 54 55 only, with an invitation from the publisher laid in to the 24th volume identifying the subscriber as noted 54 were issued over a period of six months, between German-born American businessman Nathan Eck- 1930 and 1931. With the relevant issue points: the cen- (DISNEY, Walt.) BIBO, Bobette. Mickey Mouse stein (1873–1945). Eckstein emigrated to New York sored song lyrics, the Win Smith Mickey Mouse daily after finishing his gymnasium education in Munich, Book. New York: Bibo and Lang, [1931] strips on page 8 and back cover (these were blank on establishing himself in the grocery business be- Quarto. Original green pictorial wrappers, designed by Al- the first printing), the words “Printed In U.S.A.” on fore moving to Seattle and working for the eminent bert W. Barbelle, title to front cover black. Walt Disney Stu- the front cover and age of Bobbette Bibo specified Schwabacher family, as well as becoming a promi- dio cartoon illustrations throughout, printed in black and on the title page; it is determinable from the second nent figure in the city’s Jewish community. The pecu- green. Minor creasing to head of front cover, a little spot- printing, which has a Christmas greeting printed to liar limitation is due to the inclusion with each set of ting to rear cover and final page. An excellent copy, unusu- the inside front cover. one of the original plates used in Chapman and Hall’s ally bright. Lee and Ladej, Disney Stories: Getting to Digital. first printings of each title. Since they held in their first edition, third or fourth printing (the two are £2,750 [111958] archive 877 such plates, the majority steel but with a indistinguishable), of the first licensed Disney pub- number of wood blocks, the limitation was enforced. lication, with the cut-out board game and pawns for 55 This set has the steel plate entitled “Mysterious ap- the Mickey Mouse Game intact. This, the first of Walt pearance of the Gentleman in small clothes”, from and Roy’s book titles, features the story of how Mick- DISNEY, Walt. Mickey Mouse Movie Stories: Nicholas Nickleby. Also included is Nonesuch Dickensiana ey Mouse met Walt by Bobette Bibo, the 11 year-old Book 2. Philadelphia: David McKay Company, 1934 and two wrappered promotional volumes, Specimen daughter of one of the publishers, and “helped pave Pages and A Note on the Format. Nonesuch Dickensiana con- the way for Walt to take Mickey from adult entertain- Oblong octavo. Original green cloth, title to spine gilt, tains an essay by Waugh concerning Dickens and his ment to children’s and family entertainment”(Lee & image pasted down to front board. With the dust jacket. illustrators, a bibliographical list complied by Hatton Madej, p. 81). The lyrics of the song “Mickey Mouse Walt Disney Studio black and white cartoon illustrations throughout. A couple of minor bumps to tips; an exception- (You Cute Little Feller)”, in the first printing were of the illustrations to the works by Dickens, a retro- ally bright copy in the jacket with some creases, chips and spect of previous editions of Dickens’s works, and, deemed too violent: “When little Minnie’s pursued by short closed tears to extremities, some tape repairs to verso, finally, a prospectus for the Nonesuch Dickens. a big bad villain, we feel so bad, then we’re glad when front panel split from spine and repaired with tape. you up and kill him”, and were removed. The altered £9,750 [111582] first edition. The book contains several short lyrics reflect how “Walt continued to refine Mickey’s story adaptations of Mickey Mouse cartoons of the persona as his character gained popularity . . . Mick- time, and follows the first volume published in 1931. ey’s character became more moderate. Drinking and Uncommon in the dust jacket. smoking stopped and violence was toned down” (ibid., p. 82). £3,000 [111428] First distributed as a promotional item for the Mickey Mouse Club members, four printings of this edition

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

56 57

56 An original production cel for Disney’s 1973 film The author’s first major collection of poetry Robin Hood, featuring Maid Marian and Lady Kluck, (DISNEY, Walt.) TAYLOR, Deems. Fantasia. on the original Master background. With the Disney inscribed to his cousin With a foreword by Leopold Stokowski. New production certificate to back of frame, stating this 59 York: Simon and Schuster, 1940 cel was used in the production of the film. [DODGSON, Charles Lutwidge.] CARROLL, £3,500 [106132] Folio. Original grey cloth, titles to spine and front board in Lewis. Phantasmagoria. London: Macmillan and blue, illustrated endpapers. With the dust jacket. Colour illustrations throughout. Front hinge cracked, contents light- 58 Co, 1869 ly toned. A very good copy in the dust jacket with shallow Octavo. Original blue cloth, titles to spine gilt, celestial mo- chipping to spine ends, shallow chip to foot of front panel, DISNEY, Walt. “The Poison Apple”: Original tifs to covers gilt, double rules to covers gilt, all edges gilt, some short closed tears to extremities. cel artwork for the Snow White and the Seven brown coated endpapers. Housed in a dark blue quarter mo- first edition, inscribed by walt disney on the Dwarfs limited edition collector plate set (No. 5). half-title, “To David Von Kessell, sincerely Walt Dis- ney.” David was the son of Disney Imagineer Glendra Burbank, CA: Walt Disney Studios, [c.1992] Von Kessel. Original hand painted cel and background on artist board. Cir- £6,000 [111964] cular image measuring 370 × 370 mm framed to 680 × 570 mm. This hand-inked and hand-painted cel and back- 57 ground illustration, depicting Snow White taking the poison apple from the witch, was created by Disney DISNEY, Walt. Production cel for Robin Hood. artists for the design of a limited edition collector’s Featuring Maid Marian and Lady Kluck. Burbank, porcelain plate. The plates were offered through the Bradford Exchange, and produced between 1991 and CA: Walt Disney Studios, 1973 1993 by Edwin M. Knowles Fine China Company. Original hand-painted production cel, on the original mas- “The Poison Apple” plate, issued in 1992, was the ter hand-painted production background with original line fifth of the 12 decorative plates issued. This image overlay cel. Disney cel and original sequence number to was designed by Dave Pacheco and Judith Barnes, the lower left corner, Disney cel certificate mounted to rear of cel was inked by Ed Hartley, painted by Gibson/Ste- the mount. Gouache on celluloid on master painted background. Sheet size: 14 × 10 in, double mounted to 20 × 16 phenson, and the illustrator was John Calmette. in. Presented in a gold leaf frame with conservation glass. £1,750 [109487] 58

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59 60 rocco slipcase and blue cloth chemise. Front free endpaper ins, marbled endpapers, all edges gilt. Housed in a custom first sowerby edition, first impression, in the with publisher’s advert slip for Alice tipped-in and contem- red cloth and morocco slipcase. With black and white illus- scarce dust jacket. The copyright to Alice’s Adventures porary bookseller’s blind stamp, slightly later ownership trations by Tenniel. An excellent set, attractively bound. in Wonderland expired in 1907 and by Christmas that inscriptions to half-title and title page. Mrs J. Insley Blair’s presentation copy of Alice’s Adventures in Wonder- year at least seven illustrated versions by new artists copy, with her Blairhame book label.Front hinge tender, rear land, inscribed by the author on the half-title, “Mary starting, spine ends and joints rubbed. An excellent copy. had been published. This version was part of the St Trimmer, from the author.” Dodgson notes in his di- Martin’s illustrated library of standard authors. first edition, presentation copy inscribed ary that he had lunch with Mary, the daughter of Revd £1,200 [111022] by the author to his cousin, the poet Menella Bute Trimmer, Rector of St Mary, Guildford, and her fam- Smedley (1820–1977): “Miss M. B. Smedley with the ily on 6 August 1868. Dodgson later photographed Author’s affectionate regards Jan. 1869” (half-title). Mary. A beautifully bound set of these later printings This copy is of the first issue with “Melancholetta . . . (Alice’s Adventures in Wonderland was first published in 78” uncorrected to page 87 on the Table of Contents, 1866; Alice Through the Looking Glass in 1872). and the title page uncancelled (no mention of Alice in Wonderland) – it also includes the publisher’s advert £6,750 [112633] slip for Alice tipped in on the front free endpaper, which is “sometimes found in copies of the first edi- 61 tion (any issue)” (Williams, Madan and Green). [DODGSON, Charles Lutwidge.] CARROLL, Williams–Madan–Green–Crutch 68. Lewis. Alice’s Adventures in Wonderland. £3,750 [111636] London: Chatto and Windus Publishers, 1907 60 Octavo. Original blue cloth, titles to spine and front board gilt, gilt rules to boards, pictorial label to front board, gilt [DODGSON, Charles Lutwidge.] CARROLL, illustrated endpapers, top edge gilt. With the dust jacket. Lewis. Alice’s Adventures in Wonderland; Frontispiece with tissue-guard and 11 colour plates, black and white illustrations to text by Milicent Sowerby. Spine [together with] —Alice Through the Looking and board edges faded, occasional faint foxing to contents. Glass. London: Macmillan and Co., 1869 & 1885 An excellent copy in the dust jacket with small hole to spine panel, spine split at folds with tape repairs to verso, and 2 volumes, octavo (180 × 122 mm). Finely bound for Henry some shallow chips to extremities. Sotheran in red morocco, titles and decoration to spines gilt, raised bands, Alice motifs to covers, gilt rules to turn- 61

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

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62 63 the proscenium arch, and is open at the top to allow for easy movement of the figures. It comes with two ([DODGSON, Charles Lutwidge.] CARROLL, ([DODGSON, Charles Lutwidge.] CARROLL, nested set pieces, the outer one with an opening cut Lewis.) FOLKARD, Charles. Collection of Lewis.) [SEYMOUR, Alfred Henry.] Alice in in the middle showing the second set behind it. The original ink drawings for Songs from Alice in Wonderland toy theatre, with 33 hand-carved former is painted to resemble the outside of a castle wall, complete with turrets extending downward and Wonderland and Through the Looking-Glass. and painted figures. [London: c.1935] quatrefoil windows. The latter has an inset, non- [1921] Miniature plywood theatre (220 × 270 × 145 mm), frontage functional doorway and stands on its own. painted in stone-grey with fluted column either side con- One gouache and watercolour painting and 39 ink and pen- The figures, theatre, and set pieces are all finely drawn taining 2 scenery inserts. Together with 35 individual fine cil drawings of varying sizes and formats. Watercolour and thin birch ply figures after John Tenniel, painted in water- with pen and ink and brightly painted with watercol- gouache banner (152 × 498 mm), featuring Alice and numer- colour with inked detail, the Cheshire Cat with tab hole- our by Alfred Henry Seymour, ostensibly for use by his ous other characters, signed by Folkard with initials in the punched for attachment to front scenery insert, the remain- children. Seymour worked his entire life at the Bank lower right corner and mounted on grey card (542 × 190 mm; ing 34 (including 5 tableaux with 2 figures and one with 3) of England, and it is unclear if he had any formal ar- framed). tab-mounted to bespoke stands, 3 of which each holding 2 tistic training; however, the degree of skill required to Collection of original preliminary artworks by figures on separate tabs (the Walrus and the Carpenter; Al- shape the wooden figures and create colour images Charles Folkard for the songbook “Songs from Alice ice and the Caterpillar; Alice and Humpty). Duchess figure from black and white shows considerably artistry. A fi- in Wonderland and Through the Looking Glass”. First pub- duplicated with a prototype on commercial mahogany-type nal figure, that of the Duchess, survives from an earlier lished in 1921 by A. & C. Black, London, the book fea- plywood, illustrated in indian ink. A few figures very slightly loose in mounts. Excellent condition overall. version made from mahogany and tinted with india tured Carroll’s words put to music by Lucy Etheldred ink and wash. A second Duchess was later reproduced Broadwood and illustrated throughout by Folkard. This remarkable handmade toy theatre recreates using the final birch and watercolour technique, sug- A full description of the works is available on our website some of the most iconic scenes from Lewis Car- gesting that the artist rejected his earlier attempt be- or on request. roll’s two Alice books. The set contains 31 figures or cause of its more translucent finish. £4,750 [110506] groups derived from Tenniel’s line drawings. The figures are made from fine, thin birch plywood and It does not appear that the theatre was ever used; the set into corresponding stands. Another piece, the figures were rediscovered after Seymour’s death in head of the Cheshire Cat, hangs from a small pin 1993. Thus, they retain their pristine condition and set in the proscenium arch. The theatre itself is also bright colour. made of plywood, with decorative moulding creating £7,850 [107020]

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

64 65 66

64 66 with raised bands, gilt rules to boards, marbled endpapers, top edge gilt. Photogravure frontispiece portrait with tissue DONLEAVY, J. P. The Ginger Man. With an DOYLE, Arthur Conan. The Adventures of guard by Pirie MacDonald to Volume I. Small bookplate to Introduction by Arland Ussher. London: Neville Sherlock Holmes. London: George Newnes Ltd, 1892; the verso of front free endpapers at the top, pages nice and clean, some minor restoration to a couple of headcaps, an Spearman, 1956 [together with] — The Memoirs of Sherlock excellent set. Octavo. Original blue cloth, titles to spine gilt. With the dust Holmes. London: George Newnes Ltd, 1894 first complete collected edition, number jacket. Tiny split to head of spine; a very good copy in the 2 volumes, octavo. Finely bound by the Chelsea Bindery in 324 of 760 sets signed by the author in volume I, of jacket with slightly faded spine, light wear to spine ends, dark blue morocco, titles and decoration to spines, elabo- which 750 were for sale and ten for presentation. The and a few marks to rear panel. rate decorative borders to boards, pictorial onlays to front Crowborough edition – named after the Sussex town first uk edition, inscribed by the author on covers of Holmes and Watson on a train on front cover of where Doyle’s home, Windlesham, was located – has the half-title, “J. P. Donleavy, Washington D.C. March “Adventures” and Moriaty on “Memoirs”, burgundy endpa- double the number of volumes of the Author’s Edi- 1994.” pers, decoration to turn-ins, gilt edges. Illustrated through- tion of 1903. Doyle had already signed sheets for it out the text by Sydney Paget. Some occasional mild foxing, but his illness and death on 7 July 1930 prevented him £875 [112282] an excellent copy. seeing final publication of the work, and so it belongs first editions of the first two great collections of 65 to that select category, the posthumous signed limit- Holmes stories. The first collection, Adventures, is the ed edition. The introductions are reprinted from the (DOVES PRESS.) SHAKESPEARE, William. first issue with the misprint “Miss Violent Hunter” Author’s Edition, and the text is set from the existing on page 317; there is no corresponding issue point for The Tragedie of Julius Caesar. London: Doves editions without any corrections. Memoirs. Press, [1913] Green & Gibson A61. £6,750 [113677] £15,000 [107739] Octavo. Original vellum, titles to spine gilt. With a custom linen slipcase. Text printed in red and black. Vellum a lit- 67 tle bowed with some light soiling, faint foxing to edges. An excellent copy. DOYLE, Arthur Conan. The Works. The Limited edition, one of 200 copies. Cobden-Sanderson Crowborough Edition. New York: Doubleday, produced four of Shakespeare’s plays at the Doves Press: Doran & Co., 1930 Julius Caesar, Hamlet, Anthony and Cleopatra, and Coriolanus. Tidcombe 32. 24 volumes, octavo (215 × 146 mm). Contemporary blue half morocco, blue cloth sides, titles and decoration to spine gilt £1,250 [108120]

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31 67 All items are fully described and photographed at peterharrington.co.uk

68 69 70

68 ing business in the Levant”, who thus had “become tissue guards. Extremities lightly rubbed, spine ends skil- familiar with the subject”. The Tractatvs de chocolata is fully restored, endpapers lightly browned. A very good copy. DUFOUR, Philippe Sylvestre. Traitez Nouveaux in fact by Antonio Colmenero de Ledesma and was signed limited edition, number 172 of 1,000 cop- & curieux du Café, du Thé et du Chocolate. first published in Spanish with title Curioso tratado de ies signed by the artist. Ouvrage également necessaire aux Medecins, la naturaleza y calidad del chocolate (Madrid, 1631); the Hughey 23. Dialogvs de chocolata is by Bartolomeo Marradon. Con- & à tous ceux qui aiment leur santé. Lyon: Jean £1,750 [107522] sidered by Weinberg and Bealer to be “the first book Girin, & B. Riviere, 1685 to attempt to derive the pharmacological effects of 70 Duodecimo (152 × 88 mm). Contemporary sheep, title di- coffee from its chemical constituents” (The World of rect to spine, fleurons gilt to the compartments, foliate Caffeine: The Science and Culture of the World’s Most Popular (DULAC, Edmund.) ANDERSEN, Hans edge-roll, edges marbled. Housed in a quarter calf book- Drug, p. 105). Vicaire draws attention to the “Dialogue style box, marbled sides, red morocco label. Engraved pic- du Chocolat” which concludes the work, and is in the Christian. Stories from Hans Andersen. London: torial title and 3 other similar plates, engraved head-piece form of a conversation between a doctor, an Ameri- Hodder and Stoughton, 1911 and historiated initial to each section. The highly appealing can Indian, and a “bourgeois”, Sabin noting “Le traité Quarto. Publisher’s brown leather, titles gilt to spine and frontispiece shows a gathering of a Turk, a Chinese, and an du chocolat contient des notices sur l’hist. naturelle American native, each enjoying their own native beverage. front cover, top edge gilt, patterned endpapers. Frontispiece The other plates stand at the beginning of the relevant sec- de l’Amérique”. and 28 tipped-in illustrations by Dulac. Board edges slightly tions of the text, and show the individual nations with re- Bitting, pp. 134–5; Cagle 169; Kress S.1578; Sabin 21146; Vic- rubbed; an excellent copy. marques of the plants, and preparatory equipment required aire 293; Wellcome II, p. 494. signed limited edition, deluxe issue. Number for each. Miniscule contemporary ownership inscription £2,500 [113444] 23 of 100 specially bound copies, signed by the artist inked to the title page. A little rubbed, head of spine chipped and printed on Japanese vellum. and repaired, neat restoration at the joints and corners, endpapers tanned at edges from turn-ins, small ink stamp of 69 £3,850 [107391] the United Fruit Company to the front free endpaper, light (DULAC, Edmund.) QUILLER-COUCH, browning throughout, remains very good. 71 first edition, same year as a Paris edition in Lat- Arthur. The Sleeping Beauty and Other Fairy (DULAC, Edmund.) Sindbad the Sailor and in, expanded from the same author’s Usage du caphé, Tales. From the Old French. London: Hodder & du thé, et du chocolate of 1671. “The work of Dufour Stoughton, [1910] Other Stories From the Arabian Nights. London: upon coffee, tea, and chocolate is a classic. It is the Hodder and Stoughton, [1914] standard work of reference for the early history and Quarto. Original brown morocco, titles to spine and decorative panelling to spine and boards gilt, top edge gilt, oth- methods of preparation” (Bitting). Dufour describes Quarto. Finely bound by the Chelsea Bindery in teracotta ers untrimmed. With 30 colour plates by Dulac tipped in on morocco, titles to spine gilt, raised bands, pictorial block himself as a “merchant, negotiating with others do- card printed with captions and decorative borders, all with to front board gilt, inner dentelles gilt, dark green endpa-

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71 73 pers, gilt edges. With 23 mounted colour plates by Edmund Sassoon, with the latter contributing a chapter to the ing and revealing books of its type . . . a genuinely Dulac. Contemporary inscription to half-title, some minor present work entitled “A Subaltern’s Service in Camp truthful and fascinating picture of the war as it was foxing to a few leaves, an excellent copy. and in Action,” covering the period from 12 March to for the infantry.” Compiled in diary form from the first trade edition. 16 April 1917, which is described as, “An early draft of reminiscences of around 50 members of the Battal- £2,000 [111191] pages of Memoirs of an Infantry Officer.” Graves offered ion, it is without doubt the most authentic account to contribute, but Dunn was not an admirer of Good- of the experience of the Western Front at battalion 72 bye to All That, and declined his offer. Graves is men- level. Providing complete confirmation of the old tioned, disparagingly, a handful of times in the text. cliché that war is “90% boredom and 10% sheer ter- DUNN, James Churchill. The War the Infantry Dunn’s is an extraordinary book, in the Face of Battle ror”, these accounts provide remarkable insight into Knew 1914–1919. A Chronicle of Service in John Keegan described it as “one of the most interest- the mental state invoked by the conditions of trench warfare. France and Belgium with The Second Battalion Not in Lengel. His Majesty’s Twenty-Third Foot, The Royal £3,250 [113439] Welch Fusiliers: founded on personal records, recollections and reflections, assembled, edited 73 and partly written by One of their Medical DURRELL, Lawrence. [Alexandria Quartet:] Officers. London: P. S. King & Son Ltd, 1938 Justine; Balthazar; Mountolive; Clea. London: Octavo. Original red cloth, title gilt to the spine, initials of Faber and Faber, 1957–60 the regiment gilt to the upper board. With the typographical dust jacket. 27 leaves of sketch-maps bound in at the rear. 4 volumes, octavo. Original pink, blue, yellow and red cloth Faint mottling to the boards, pale differential browning to respectively, titles to spines gilt. With the dust jackets. An the free endpapers, text-block very slightly toned, overall excellent set in bright jackets, Justine with toned spine, very good in lightly browned jacket, a touch soiled, some some nicks and a couple of short closed tears to foot of front chipping at the head and tail of spine and corners, no loss panel. of text. first editions, balthazar inscribed by the au- first edition, one of just 500 copies privately thor on the front free endpaper, “Inscribed for H. T. produced by the author, this remains an extremely G. Martin by Lawrence Durrell, 1962.” elusive title, almost impossibly so in the jacket. The £3,750 [112301] battalion included the authors of two of the most famous literary accounts of the Great War, Graves and 72

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

trumpeter” and “maybe Olivia, Maria & Malvolio cross- gartered in the garden?”, a reference to Twelfth Night. Eliot started at Harvard in 1906. Taking advantage of the new elective system of course offerings introduced by Charles Eliot, his cousin and the president of the university, he chose courses in medieval history, Greek literature, government, German grammar and prose, and English literature. George Pierce Baker was one of four lecturers on the English literature paper (see Miller, T. S. Eliot: The Making of an American Poet, 1888–1922, pp. 79–80). Eliot’s first year of study was unfocused and he ended up on academic probation, though soon recovered and in 1908 made the discovery that changed his life: a copy of Arthur Symons’s The Symbolist Movement in Literature, which he found in the Harvard Union Library, and which left him convinced of his poetic calling. In his final year, 1909–10, he read for the MA in English Studies, taking Baker’s paper entitled “The Drama in England from the Miracle Plays to the Closing of the Theatres”. This appears to have been 74 75 Eliot’s introduction to vernacular medieval drama, which he explored some twenty-five years later with 74 vice gilt to front covers, Lee’s work with additional gilt title, his own play, Murder in the Cathedral, about the assas- top edges gilt. Baker with frontispiece, folding colour view sination of Thomas Becket. By 1909 “his vocation had ELIOT, George. Scenes of Clerical Life. Edinburgh of London in 1588, 28 further plates, mostly after contem- been confirmed: he joined the board and was briefly and London: William Blackwood & Sons, 1858 porary engravings, 2 double-page; Lee with frontispiece, 5 secretary of Harvard’s literary magazine, the Harvard plates, one line of manuscript facsimile to the text. Baker: Advocate, and he could recommend to his classmate 2 volumes, octavo (195 × 120 mm). Finely bound by Riviere front inner hinge split but holding, short closed tear to fold- & Son in late 19th-century polished tan calf, dark red and ing view not affecting image, small mark to p. 33 not affect- William Tinckom-Fernandez the last word in French green morocco labels, spines richly gilt, covers with triple ing text, short closed tear to top edge of sig. D3, the text sophistication – the vers libre of Paul Fort and Francis gilt rules, gilt inner dentelles, dark blue coated endpapers, spared, very pale tide-mark to lower margin from sig. F4, Jammes” (ODNB). His work on the Advocate was his ap- top edges gilt. Contemporary armorial bookplate and book- sigs. N3 and O2 slightly torn in gutter costing a few letters prenticeship for later positions as assistant editor of seller’s ticket to front and rear pastedowns. Tiny chip to (the sense easily guessed). O7–8, T6 damp-stained. Lee: ex- The Egoist from 1917 to 1919, and then as editor of his head of spine of Volume 2, joints a little tender. A bright set tremities and joints lightly rubbed, small abrasion to front own journal, The Criterion, from 1922 to 1939. in excellent condition. joint, rear cover lightly marked, marking to verso of half- In 1905 Eliot’s mother wrote to the headmaster of first edition in book form of George Eliot’s first title, pp. 276–9 slightly foxed from the plate, p. 397 finger- marked in margin. Both good copies. Milton Academy, which he attended for a year be- published work, three stories that had previously fore Harvard, claiming that her teenage son had read t. s. eliot’s copies, with his engraved armorial book- been serialised in Blackwood’s Magazine. and memorised most of Shakespeare’s works. In fact plate to the front pastedown of each volume, and his Sadleir 818. Shakespeare’s unchallenged position at the heart of inked ownership inscription dated 1909 to the front the Western canon weighed heavily on the young Eli- £1,000 [107734] pastedown of George Pierce Baker’s The Development of ot, who later wrote that “the only pleasure I got from Shakespeare as a Dramatist, which is a first edition, and Shakespeare was the pleasure of being commended 75 his pencilled ownership inscription to Sir Sidney Lee’s for reading him; had I been a child of more independ- A Life of William Shakespeare, a revised edition of a work (ELIOT, T. S.) BAKER, George Pierce. The ent mind I should have refused to read him at all” (cit- first published in 1898, and which “dominated the field ed after Maddrey, The Making of T. S. Eliot, p. 40). He Development of Shakespeare as a Dramatist. for the whole of the 20th century” (ODNB); there are made his first significant contribution to Shakespeare New York: The Macmillan Company, 1907; [Together pencilled underlinings throughout Baker’s work, and scholarship in a now totemic essay entitled Hamlet and the plate of the De Wit drawing of the Swan Theatre with] LEE, Sir Sidney. A Life of William His Problems, published in 1920 in his collection The Sa- in 1596, facing page 210, bears several annotations in a cred Wood. In it he claimed that the play was an artistic Shakespeare. New and revised edition. New York: hand which might be ascribed to a young Eliot. A note failure owing to Shakespeare was unable to present an The Macmillan Company, 1909 at the bottom reads “a permanent stage on temporary “objective correlative” for Hamlet’s state of mind; the foundations”, and figures in the hut and on stage are 2 works, octavo. Original green and red cloth, spines let- idea of the object correlative was to prove highly in- tered and ruled in gilt, covers ruled in blind, publisher’s de- respectively labelled “note twist of perspective to show

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76 77 78 fluential in the development of New Criticism. Eliot was public, as he read parts of Practical Cats on BBC radio St Louis in June 1953. Laid in is a Wall Street Journal article determined to present Shakespeare as an Elizabethan on Christmas Day 1937, two years before the book was on Eliot, published a few days after the poet’s death. dramatist influenced by the likes of Kyd and Marlowe, published. Eliot was close with the Tandies and their Gallup A60. rather than a genius to be considered outside of any three children, visiting frequently and exchanging nu- £2,750 [111829] historical context. merous letters. Polly and Eliot’s friendship appears to £4,750 [113998] have been very affectionate, with Eliot often referring to Polly as “Pollytandy” or “Pollitandy”. 78 76 Gallup A32. ELIOT, T. S. The Cultivation of Christmas Trees. £5,750 [112209] Illustrated by David Jones. London: Faber and ELIOT, T. S. Collected Poems 1909–1935. London: Faber, 1954 Faber and Faber, 1936 Inscribed in his native St Louis Octavo. Original pale blue printed wrappers. With the origi- Octavo. Original blue cloth, titles to spine gilt, top edge 77 nal printed envelope. With a colour illustration by David red, other edges untrimmed. With the supplied dust jacket. Jones. Wrappers slightly toned and with a couple of small Spine and covers faded to edges, a little light foxing to con- ELIOT, T. S. The Complete Poems and Plays. stains. An excellent copy together with the lightly toned tents. An excellent copy in the dust jacket, with faded spine envelope with splits along two sides and lightly nicked and and some nicks to spine ends. New York: Harcourt, Brace and Company, 1952 creased extremities. first edition, pre-publication presentation Octavo. Original blue-green cloth, titles to spine in silver first edition, presentation copy, inscribed by copy, inscribed on the front free endpaper, “To G. and silver on blue ground, facsimile of the author’s signa- Eliot for Polly Tandy on the title page: “For Pollyma’am and Polly Tandy, comp[limen]ts. of Possum. 31.iii.36” ture in silver on blue ground to front board, top edge green. and her Christmas tree and all who surround it, from With the pictorial jacket. Contemporary bookseller’s ticket [31 March 1936]. Official publication date was 2 April. T. Possum 1954”. For the recipient, see item !!! above. Eliot initially met Geoffrey Tandy, a writer, broadcaster tipped-in on front free endpaper; recipient’s ownership Gallup A66. and scientist who worked at the Natural History Mu- inscription to front pastedown in pencil. Light spotting to cloth, partial toning to title. An excellent copy in a chipped seum, in a pub. As their friendship deepened, Eliot £2,250 [112274] and creased jacket. would frequently visited the Tandies and they also kept up a regular correspondence. Throughout the 1930s, first collected edition, inscribed by the au- the family would be the first audience on which Eliot thor on the title page, “Inscribed for Maisie Drew by T. tested out the cat poems, both in letters and on visits to S. Eliot, Webster Groves, 3.vi.53” [3 June 1953]. Publica- the family’s Hampshire cottage. In addition, Geoffrey tion date was 22 November 1952; Eliot visited his native would be the first to present the cat poems to a wider

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

79 80 81 82

79 man who not only publishes books but who also reads 82 them – sincerely, Ralph Ellison. May, 1952.” Sheed, an (ELIOT, T. S.) JONES, David. In Parenthesis. Australian-born lawyer, created the imprint Sheed & FAULKNER, William. Intruder in the Dust. New London: Faber & Faber Ltd, 1961 Ward with his wife, Maisie Ward, publishing authors York: Random House, 1948 Octavo. Original blue cloth, title to spine blue on white such as G. K. Chesterton, Hilaire Belloc, Evelyn Octavo. Original black boards, titles to spine gilt, top edge ground, top edge gilt. With the original clear plastic wrap- Waugh, and Ronald Knox. This novel, Ellison’s first, blue. With the dust jacket designed by Sydney Greenwood. per. Frontispiece, plate and map. A fine copy. won the National Book Award in 1953 and was named Bookseller’s ticket to front free endpaper. A fine copy in the signed limited edition. Number 34 of 70 copies one of the 100 Best Novels of the 20th century by Time jacket. signed both by the author and by T. S. Eliot, who con- magazine and The Modern Library. first edition. tributed the preface. Jones’s prose-poem on the First £5,000 [112078] £1,250 [112812] World War was first published in 1937, without Eliot’s preface (Eliot here lauds it as “a work of genius”). The 81 83 trade edition was published in 1963, without the frontispiece, plate, or map. Uncommon. FALKNER, J. Meade. The Lost Stradivarius. [FELLIG, Arthur.] Weegee by Weegee. An Gallup B85. Edinburgh and London: William Blackwood and Sons, Autobiography. New York: Ziff-Davis Publishing £2,250 [111656] 1895 Company, 1961 Octavo. Original blue cloth, decoration and titles to front Octavo. Original black cloth, gilt lettered spine, gilt facsim- 80 board in blind and to spine gilt, buff patterned endpapers. ile of Weegee’s studio stamp on front cover. With the dust Spine gently rolled, spine ends and tips a little rubbed and ELLISON, Ralph. Invisible Man. New York: jacket. Portrait frontispiece of Weegee by Philippe Halsman worn, minor foxing to contents; an excellent, bright copy. and 57 full-page plates. Some marks to covers, tips bumped. Random House, 1952 first edition, first issue, presentation copy, A very good copy in the torn jacket with some loss to head of rear panel, and tape repairs to verso. Octavo. Original black and buff cloth, title to spine white, inscribed by the author to the poet Henry New- decoration to spine black. With the dust jacket. Some minor bolt on the first blank, “Henry Newbolt, from the au- first edition, with an inscribed photograph spotting to endleaves and edges. An excellent copy in the thor. Jan 1896.” A sophisticated supernatural tale, by of the author tipped-in to the front free endpa- rubbed jacket with some minor creasing, shallow chips to the author who wrote the popular Moonfleet, with the per: “To Ivor Richman, another weegee, Weegee. extremities, partial split to joints repaired on verso. relevant issue point: the earliest catalogue inserted at London, 1996.” Weegee, the pseudonym of Arthur first edition, presentation copy, inscribed the end, dated 10/95. Fellig (1899–1968), developed his signature photo- by the author to the writer and publisher Frank Wolff 2119. graphic style by following the city’s emergency ser- Sheed (1897–1981) on the front free endpaper, “For £3,250 [107230] vices and documenting their activity. In 1938, he was Frank Sheed, who impresses me as being that rare the only New York newspaper reporter with a permit

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83 86 to have a portable police-band shortwave radio. He listened closely to police broadcasts and prided him- An author ought to write for the youth of his own gen- self on beating the authorities to the scene, keeping a eration, the critics of the next, and the schoolmasters portable darkroom in the trunk of his car in order to of ever afterward . . . So, gentlemen, consider all the get his freelance product to the newspapers first. He cocktails mentioned in this book drunk by me as a later also worked in cinema, initially making his own toast to the American Booksellers Association.” short films and later collaborating with film directors 85 Bruccoli A5.1.c. such as Jack Donohue and Stanley Kubrick. £9,750 [111821] £1,000 [110976] 85 FITZGERALD, F. Scott. This Side of Paradise. 86 84 New York: Charles Scribner’s Sons, 1920 FITZGERALD, F. Scott. The Great Gatsby. New FERMOR, Patrick Leigh. A Time to Keep Octavo. Original green cloth, titles gilt to spine and blind to York: Charles Scribner’s Sons, 1925 Silence. London: The Queen Anne Press, 1953 front board. Bookplate of Sheryl Lucinda Hoar to front pastedown. Faint mark and small nick to fore edge of front free Octavo. Original dark green cloth, gilt lettered spine, blind Octavo. Original black crushed morocco, title to spine gilt. endpaper, some minor rubbing to extremities, front hinge lettered front cover, top edge trimmed, others uncut. With frontispiece. A couple of minor marks to covers, some repaired, rear hinge tender. A very good copy. Housed in a custom black cloth slipcase. Small ownership minor foxing to endpapers. An excellent copy. the “author’s apology” edition, signed by inscription to front free endpaper. Very minor wear to tips, first and signed limited edition, out-of-series faint spotting to top edge and contents. An excellent copy. the author; first edition, third printing, prepared and unnumbered, though still signed by the au- for distribution to American Booksellers Associa- first edition, first state of the text: with “chatter” thor. From an edition of 500, the first 50 copies were tion, with a tipped-in leaf entitled “Author’s Apology” on p. 60, line 16, “northern” on p. 119, line 22, “it’s” bound in black morocco, as seen here, and the rest signed by Fitzgerald, “Sincerely, Scott Fitzgerald”. Is- on p. 165, line 16, “away” on p. 165, line 29, “sick in were bound in black buckram. With the bookplate of sued the same month as the first, the third printing tired” on p. 205, lines 9–10, and “Union Street sta- Bent Juel-Jensen to the front pastedown (1922–2006), included an unknown number of copies with this tion” on p. 211, lines 7–8. bibliophile and benefactor of the Bodleian Library. tipped-in page printed on glossy paper and signed by Bruccoli A11.I.a. This is Leigh Fermor’s characteristically pensive trav- Fitzgerald; Bruccoli notes there were “probably 500 elogue of the monasteries of Europe, including the £3,750 [107228] copies” treated in this way. Rock Monasteries of Cappadocia in Turkey. Prepared for a convention of the American Booksell- £1,875 [111300] ers Association, the printed apology reads in part: “My whole theory of writing I can sum up in one sentence:

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

87 88 89

87 88 time-honoured literary tradition Fleming claims to have been sent Michel’s manuscript account of which FLEMING, Ian. Live and Let Die. London: FLEMING, Ian. Goldfinger. London: Jonathan he is merely the editor. Michel therefore gets a spuri- Jonathan Cape, 1954 Cape, 1959 ous credit as co-author on the title page. This novel is Octavo. Original black boards, titles to spine and roundel to Octavo. Original black boards, skull design blindstamped to the only Bond book to be written in the first person. front board gilt. With the dust jacket. Ownership signature front cover with gilt “coins” in the eye sockets, titles to spine Gilbert A10a (1.1). to front pastedown blacked out. Light foxing to endpapers gilt. With the dust jacket. Faint mark to lower edge of text £875 [111412] and edge of text block; an excellent copy in the jacket with a block. An excellent, fresh copy in the jacket with a little mi- little rubbing and some nicks to extremities. nor creasing to spine ends and light rubbing to extremities. 90 first edition, in the first issue jacket without the first edition. The seventh book in the James Bond design credit slug to the front flap. The earliest dust series. FLEMING, Ian. On Her Majesty’s Secret Service. jackets issued made no mention of Kenneth Lewis Gilbert A7a (1.1). London: Jonathan Cape, 1963 and at some point the need was recognised to credit £2,250 [113890] his work. A stamp was made and as a stopgap exist- Octavo. Original quarter vellum with black cloth sides, titles ing jackets were overstamped beneath the blurb on to spine gilt, ski track decoration to front board in white, top edge gilt. With the original clear plastic jacket. Colour the front flap. This slightly amateurish solution was 89 frontispiece portrait of Ian Fleming. Vellum a little finger- swiftly abandoned and the jacket was reset and re- FLEMING, Ian. The Spy Who Loved Me. London: marked, an excellent, fresh copy. printed to include the Lewis credit. Copies of the first Jonathan Cape, 1962 Signed limited edition. One of 35 unnumbered copies impression exist with all three states though we note marked “Presentation” and signed by Fleming, in ad- that the third state dust jacket may readily be found Octavo. Original dark grey boards, titles to spine in silver, dition to 250 signed and numbered copies. This was on reprints and ought therefore be regarded with dagger design to front board in silver and blind, red end- Fleming’s only signed limited edition; printed from some suspicion. papers. With the dust jacket. Spine slightly rolled, small erasure spot to front free endpaper. An excellent, fresh copy Gilbert A2a (1.1). in the bright jacket, with very minor nick to head of front £9,750 [112367] panel. first edition. In many ways this is one of the most ambitious of Fleming’s Bond books. It purports to be the first hand testimony of a 23 year old Canadian woman with whom Bond has an ill-fated affair. In 90

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90 91 92 the same setting of type as the regular trade edition, torial dust jacket. Gift inscription to front free endpaper. lisher’s reader for Jonathan Cape from 1937. He was it was bound last, just in time for simultaneous publi- Spine slightly rolled, small bump to head of front cover. instrumental in the publication of Fleming’s work cation on 1 April 1963. A very good copy in the jacket with some creases and two and the dedicatee of Goldfinger. With a letter laid-in short tears to head of spine, small mark to foot of front pan- from the then-chairman of Jonathan Cape, Michael Gilbert A11a. el, extremities rubbed and slightly nicked. S. Howard, presenting the copy as a gift to a Mr Pope. £12,500 [110691] first edition. Ian Fleming’s novel Thunderball in- Gilbert p. 596. corporated material from an unproduced screenplay 91 he had worked on in 1958 in collaboration with Kevin £425 [109952] FLEMING, Ian. The Man with the Golden Gun. McClory, Jack Whittingham, and Ivar Bryce, with the result that Fleming found himself in a well-publicised London: Jonathan Cape, 1965 case in the High Court defending himself against Mc- Octavo. Finely bound by the Chelsea Bindery to a design by Clory’s accusations of plagiarism, though Fleming Paul Smith, red full morocco, titles to spine in black and gilt, and McClory eventually settled out of court. front cover decorated with black morocco onlay and gilt show- Gilbert A9a (1.1). ing a stylish evening-suited man with a golden gun, rear cover with Paul Smith facsimile signature in gilt, gilt-ruled turn-ins, £750 [113486] pink coated endpapers, all edges black. Fine condition. first edition, in a specially executed fine binding 93 by the Chelsea Bindery, designed by and bound for (FLEMING, Ian.) PLOMER, William. Address Paul Smith in collaboration with Peter Harrington. Given at the Memorial Service for Ian Fleming. £3,500 [106436] St Bartholomew the Great. Westerham: Privately 92 printed at the Westerham Press, 15 September 1964 FLEMING, Ian. Thunderball. London: Jonathan Octavo. Original black wrappers, printed paper label to front cover. With the original unprinted glassine. An excel- Cape, 1961 lent copy, with some shallow chips to the glassine. Octavo. Original dark brown boards, titles to spine gilt, first edition, wrappered issue. The South Afri- skeletal hand design on front board in blind. With the pic- can poet and novelist William Plomer had been pub- 93

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

94 95

94 cellent set, slightly toned internally; spine of jacket of Weet je subjuncti sunt libri Hebraeorum chronologici, nog? slightly faded and nicked at head. FRANCIS, Dick. Dead Cert. London: Michael eodem interprete. Paris: In the shop of the widow of first edition of Anne Frank’s collection of eight Joseph, 1962 short stories, together with the first edition in Martin Le Jeune, 1585 Octavo. Original burgundy boards, titles to spine gilt. With French, translated by Nelly Weinstein. Frank began Folio (358 × 225 mm), in two parts. Contemporary French the dust jacket. Spine gently rolled, edges tanned and lightly writing the stories in 1943, sometimes reading them calf, skilfully rebacked with original spine compartments spotted, contents toned. A very good copy in the toned dust aloud to her family and friends in hiding with her. She laid down, compartments with gilt centre tools with gilt jacket with a few mild creases and nicks. wrote in her diary on 7 August 1943, “a few weeks ago arms of St Albans School added either side, the second gilt- I started writing a story, something I made up from lettered, sides with leaf-form centrepieces in gilt, single gilt first edition, of the author’s first novel, inscribed rule borders. St Albans School woodcut bookplate to front by him to “Philip Murray, Very best of luck, Dick Fran- beginning to end, and I’ve enjoyed it so much that pastedown. Woodcut printer’s device to title, roman and cis” on the title page. The recipient was Irish biblio- the products of my pen are piling up. ” The collection Hebrew types. Corners a little worn, a few trivial marks, but phile Dr Philip Murray, author of The Adventures of a was published two years after her Diary. Uncommon a very good, tall copy with wide margins all round. Book Collector (2011). in commerce, with one copy of the first edition at auc- From the library of St Albans School, Hertfordshire, tion since 1975, and none of the French edition. £3,250 [112807] one of the oldest schools in the world. The school was £2,500 [111827] founded within St Albans Abbey by Abbot Wulsin in 95 948 and was the first school in the world to accept lay From the library of one of the oldest schools students not intending to join a religious order. FRANK, Anne. [Anne Frank’s short stories:] in the world The bookplate here has the school motto Mediocra firma, Veet je nog? Verhalen en sprookjes; Contes. used between the 16th and 20th centuries, meaning Amsterdam & Paris: Uitgeverij Contact; Calmann- 96 “the middle course is safe” (compare mediocritas aurea, “the golden mean”). The motto was adopted in the late Levy, 1949 & 1959 GÉNÉBRARD, Gilbert. Chronographiae libri 16th century by the Bacon family and used by Francis 2 works. Weet je nog? Octavo. Original pink pictorial boards, quatuor; priores duo sunt de rebus veteris Bacon, Viscount St Alban, who spent most of his child- title to spine and front cover black. With the dust jacket. populi et praecipuis quatuor millium annorum hood at Gorhambury, near St Albans, in the substantial Contes: Tall octavo. Original white wrappers, title to spine new house built by his father in the 1560s. Gorhambury gestis, posteriores e D. Arnaldi Pontaci, black and to front black and red. Weet je nog? 4 full-page was named after Geoffrey de Gorham [Gorron, near drawings and illustrations to text by Kees Kelfkens; Contes: . . . chronographia aucti, recentes historias 6 plates and illustrations to text by Dominique Rolin. An ex- Le Mans, Maine, France], who was Master and subse- reliquorum annorum complectuntur . . . quently Abbot of St Albans in the 12th century.

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97 first edition of Grahame’s timeless book, “one of the central classics of children’s fiction” (The Oxford 96 GOLDING, William. Rites of Passage; Close Companion to Children’s Literature). From the library of Quarters; Fire Down Below. London: Faber & art historian Robert Henry Hobart Cust (1861–1940), The school coat of arms is composed of the cross Faber, 1980–87–89 an early scholar of Sodoma and the town of Siena, of Saint Alban together with the school motto. The with his armorial bookplate to the front pastedown, 3 works, octavo. Original green or black boards, titles to spines and contemporary ownership inscription to the front cross of Saint Alban is a saltire, signifying that Alban gilt or white. With the dust jackets. An excellent set, with some free endpaper, dated “Florence, March 1909”. was martyred but beheaded, not crucified. As the minor foxing to edges of text blocks, in the bright jackets. meaning of “mediocrity” later took on a pejorative Listed in the Grolier Club’s One Hundred Books Famous in first editions, each volume signed by the author. Children’s Literature. slant, the school has since changed its motto to Non Rites of Passage, winner of the 1980 Man Booker prize, nobis nati (“Born not for ourselves”), adapted from is signed by the author on the front free endpaper; £5,000 [112015] that of Geoffrey de Gorham. the other two on the half-titles. The trilogy is collec- Gilbert Génébrard (1535–1597), Archbishop of Aix, tively known as To the Ends of the Earth. From the li- was a French Benedictine exegete and Orientalist, brary of the Irish book collector Dr Philip Murray, au- who translated many rabbinic writings into Latin. thor of The Adventures of a Book Collector (2011), though His sacred chronology was first published as Genebrar- unmarked as such. dus, Chronographia in duos libros distincta (Louvain: Jo- £1,250 [113601] hann Foulerum, 1572). It is continued here by Arnaud de Pontac (d. 1605). This is the second edition from the shop of Martin Le Jeune (Juvenis), one of the lead- 98 ing 16th-century Christian Hebrew printers in Paris, GRAHAME, Kenneth. The Wind in the Willows. who died about 1584. The title to the second part has London: Methuen and Co., 1908 his name as the printer, dated 1584; the general title is dated 1585, “apud viduam”. Octavo. Original blue-green cloth, spine and front cover lettered and decorated in gilt, top edge gilt, untrimmed. Housed £2,000 [111377] in a custom green cloth solander box. Frontispiece by Graham Robertson with tissue guard. A touch of wear to spine ends and tips, front tip a little bumped. An excellent, bright copy. 98

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

99 100 101

99 100 media dell’arte. Italian comedy of this era had a strong influence on the Elizabethan theatre in England, GRAHAME, Kenneth. The Wind in the GRAZZINI, Anton Francesco. Comedie; Cioè, notably in the comedies of Shakespeare and Jonson, Willows. Illustrated by Ernest H. Shepard. La Gelosia, La Spiritata, La Strega, La Sibilla, where “high” and “low” styles were mixed with simi- London: Methuen & Co. Ltd, 1931 La Pinzochera, I Parentadi. Parte non più lar gusto and Italian settings were favoured. Each of the six comedies here has its own title, fo- Large octavo. Original green cloth-backed grey boards, stampate, nè recitate. Venice: appresso Bernardo liation and register, and surviving copies are often white paper label to spine printed black, spare label bound Giunti, et Fratelli, 1582 in at rear. With the dust jacket. Housed in a green quarter found incomplete, broken into their constituent morocco solander box by the Chelsea Bindery. Illustrated Octavo (150 × 90 mm). Eighteenth-century half calf, smooth parts. Four of the comedies – La Strega (The Witch), La throughout by E. H. Shepard. A few spots to first few pages. spine with gilt roundels in compartments, green morocco Sibilla (The Sibyl), La Pinzochera (The Go-Between) and An excellent, fresh copy in the price-clipped dust jacket, label, marbled sides, blue edges. Each comedy except the I Parentadi (The Kingships) – were not staged during some soiling to panels, trivial loss to foot of spine, short first has its own separate dated title page, foliation and Grazzini’s lifetime and are printed here for the first register. Occasional browning, some leaves trimmed a lit- closed tear to foot of rear panel and fold of front flap. time. La Gelosia (Jealousy) was first published in 1551; tle short in the fore margin, slight bleed into most margins signed limited edition, number 29 of 200 large from the edge-dye; overall, a very good copy. La Spiritata (The Possessed) in 1561. The latter was paper copies signed by both Grahame and Shepard. translated anonymously into English as The Bugbears Shepard, well-known by then for his illustrations of first edition of this collection of comedies by the (known only from a single manuscript). A. A. Milne’s Winnie-the-Pooh series, was asked to Florentine poet and playwright Anton Francesco Grazzini, called “Il Lasca”, (1503–1584), who was an With the book labels of Luigi Razzolini and Ludovico illustrate a new edition, following on from Milne’s Passarini on front pastedown. Luigi Razzolini (his popular adaptation of the book for stage, Toad of Toad important practitioner of the commedia erudite, the 16th-century popular drama that spurned the clas- book label has the alternative form of his first name, Hall. In 1931 Shepard visited Grahame at his house in Aloysii, in manuscript) was the author of Bibliografia Pangbourne to make sketches, and at their first meet- sicizing taste of the age and the refined artistic ide- als of Pietro Bembo. These are robust comedies built dei testi di lingua a stampa citati dagli Accademici della Cr- ing Grahame said to him, “I love these little people, usca (1863); Grazzini helped to found the Accademia be kind to them”. Shepard’s classic illustrations of around the theme of intrigue-deception. Although in the classical tradition of Plautus and Terence, the della Crusca in 1582. Razzolini edited several early anthropomorphized animals render this the most Italian authors, including Boccaccio and Petrarch. popular version of the book even today. dialogue is expressed in the lively and popular version of spoken Florentine. In its use of stock comedy char- He has added the note on the front free endpaper: £9,500 [107688] acters – gullible fools, lustful young people, corrupt “Questa edizione è citata dagli Accademici della Cr- scheming servants, and the like – the style shares usca. Gamba 449.” Ludovico Passarini published a many elements with the more improvisational com- number of antiquarian works in the 1870s and 1880s,

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102 some under the anagrammatic pseudonym Pico Luri di Vassano. Adams G1074; Gamba 449. £4,750 [113446]

101 GREENE, Graham. The Third Man and The Fallen Idol. London: William Heinemann Ltd, 1950 Octavo. Finely bound by the Chelsea Bindery in black morocco with black and white pictorial onlay wrapped around both boards depicting Harry Lime standing in the shadows holding a gun, titles onlaid and blocked to spine in white and grey, black and white patterned endpapers, black edges. A fine copy. 103 first edition. first edition, presentation copy, inscribed by 103 £2,000 [113388] the author to the landlady of his Piccadilly flat on the front free endpaper, “Mrs Harrington, with all good HAGUE, Michael. Original watercolour of a 102 wishes, from his grateful lodger, Graham Greene.” unicorn and fairies. [c.1993] GREENE, Graham. The End of the Affair. Miller 29. Watercolour and ink on artist board. Image size: 500 × 430 £3,250 [112314] mm. Presented in a wooden frame with conservation double London: William Heinemann Ltd, 1951 mount and glass. Octavo. Original grey cloth, titles to spine gilt, publisher’s Original watercolour by American illustrator and au- device to rear board in blind, buff endpapers. With the dust thor Michael Hague, signed by him in the middle of jacket. Spine slightly faded, some light marks to covers. A the lower edge. It was most likely prepared for one of very good copy in the mildly foxed dust jacket with split to Hague’s storybooks or calendars. foot of spine, and some minor nicks and chips to extremities. £2,750 [109469]

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

105

edition of Harper’s from January 1881 and January 1882. It was then published by Harper’s under their Franklin Square Library imprint on 25 November 1881 and issued to booksellers unbound: this itera- tion Purdy considers the true first edition, though the London edition was the first to contain Hardy’s final revisions, with the novel originally written “un- 104 der the gravest handicaps” after Hardy had fallen ill with just three instalments in type and was forced 104 head and foot, central publisher’s device within three-line to dictate the rest to his wife from his sick-bed. The border to sides in blind, cream endpapers. Housed in a dark triple-decker format was largely adopted for sale to HAGUE, Michael. Original watercolour, “The blue leather-entry slipcase. Publisher’s 32-page catalogue to lending libraries, with sets retaining the original Snow Queen”. [c.1993] rear of vol. II as issued. Spines rolled and sunned, extremi- cloth in anything approaching collectable condition ties lightly bumped with a few short nicks to spine-ends; li- markedly uncommon. Watercolour and ink on artist board. Image size: 400 × 450 brary stamps effaced from spines, front covers of vols. I and Purdy, pp. 36–7, Sadleir 1109, Wolff 2980 mm. Presented in a silver frame with conservation mount II, and pastedowns, three adjacent strips of fading to vol. II and glass. front cover, a few pale red marks to front cover vol. III, occa- £4,250 [106269] Signed by the artist in the lower left hand corner. Pro- sional light foxing as usual, briefly heavier towards front of vols. I and II; light browning to half-titles, title-pages, final duced for one of Hague’s calendars to illustrate the 106 gatherings and vol. II quire D (different paper-stock). A very month of February. good copy. HAWKING, Stephen. A Brief History of Time. £3,500 [109468] first uk edition, printed in early December 1881 From the Big Bang to Black Holes. Introduction “in an edition presumably of 1,000 copies” (Purdy), by Carl Sagan. Illustrations by Ron Miller. 105 rare in the original cloth; this copy from the library of Walter E. Smith, the pre-eminent modern bibliog- London: Bantam Press, 1988 HARDY, Thomas. A Laodicean; or, The Castle rapher of Victorian fiction, with his pencilled owner- Octavo. Original blue boards, titles to spines gilt. With the of the De Stancys. A Story of To-Day. London: ship inscription to the front free endpaper of each dust jacket. Illustrations and diagrams throughout. Spine Sampson Low, Marston, Searle & Rivington, 1881 volume. A Laodicean originally appeared as a serial in slightly rolled, a little foxing to top edge; an excellent copy the European edition of Harper’s New Monthly Maga- in the bright jacket. 3 volumes, octavo. Original grey sand-grain cloth, spines zine December 1880 to December 1881, and in the US lettered in gilt between blind-stamped three-line bands at

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106 108 first uk edition, published simultaneously on 1 two leaves not affecting text, occasional staining or brown- April 1988 with the US edition. The error-riddled first ing, some underlining, still a good copy. printing of the US edition was recalled and destroyed, The German humanist scholar Eobanus Koch (Coc- though a small number survived, bearing a silvery 107 cius) (1488–1540) was considered the foremost Latin light-blue dust jacket, similar in colour to the UK first poet of his age. His prose work “On the species of edition dust jacket. book collector and author of The Adventures of a Book drunkards” is a mock-quodlibetical speech that ap- £1,500 [113760] Collector (2011), though unmarked as such. plies the scholastic method of argumentation, first Hanneman A7a. printed anonymously in 1515. His first bestseller, the satire was reprinted in 1516 and 1550 and afterwards 107 £8,500 [113500] well into the 18th century. The book also includes HEMINGWAY, Ernest. Men Without Women. two additional works, first published in 1505: Jakob New York: Charles Scribner’s Sons, 1927 On the species of drunkards Hartlieb, De fide meretricum; and Paul Olearius [Jakob Wimpfeling], De fide concubinarum in sacerdotes. Copac Octavo. Original black cloth, gold labels printed in black 108 locates only a single copy of this edition in the British to spine and front cover, yellow decorated endpapers, top Isles, at Cambridge. edge red. With the dust jacket. Ownership signature to front [HESSUS, Helius Eobanus.] De generibus pastedown and blindstamped to title page. Spine slightly ebriosorum, et ebrietate vitanda: cui BM STC German, 1455–1600, p. 337; VD16; E 1501. Imprint supplied from Benzing, “Ulrich von Hutten und seine rolled, light spotting to top edge. A very good copy in the adiecimus de meretricum in suos amatores, & dust jacket with toned spine, some short closed tears and a Drucker”, 1956, p. 139, no. 248. For the author’s biography, little minor loss to spine ends, rubbing to extremities. concubinarum in sacerdotes fide: quaestiones see under Eobanus in Contemporaries of Erasmus. first edition, in the first issue dust jacket, con- salibus & facetijs plenae, laxandianimi, iociq; £950 [108213] forming to the following issue points: unbroken page suscitandi causa, nuper editae. [Frankfurt: David number on p. 3, printed on heavier paper stock than subsequent printings, and the jacket without the two Zöpfel,] 1557 reviews to the front panel. Hemingway’s second col- Duodecimo (127 × 78 mm), in three parts. Late 18th-century lection of short stories, ten of which were previously dark green vellum sewn on two cords, paper spine label, published in magazines, is uncommon in the dust thick endpapers reused from an engraved book. Title within jacket. From the library of Dr Philip Murray, Irish decorative border. Bookplate of Franz Pollack-Parnau. Title leaf frayed at fore edge with very slight loss of border, restored with tissue, small paper restorations to succeeding

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

109 110 112

109 signed limited edition. An out-of-series copy front panel of dust jacket. Dust jacket lightly worn at spine from an edition of 400 copies signed by the author ends and slightly rubbed along joints; a bright, clean copy. HILBESEIMER, L. Mies van der Rohe. Chicago: and printed on Barcham Green paper. The book was first edition of this key work. Written in the af- Paul Theobald and Company, 1956 first published in 1964. termath of the great depression, Keynes’ masterpiece Quarto. Original grey cloth, title to spine and front cover £1,500 [112609] is generally regarded as one of the most influential grey. With the dust jacket designed by William Fleming. An social science treatises of the century. It “subjected excellent fresh copy in the price-clipped jacket, with some 111 the definitions and theories of the classical school of minor rubbing and nicks to extremities, and short closed economists to a penetrating scrutiny and found them tear to foot of front panel. JANSSON, Tove. Alice i Underlandet. Stockholm: first edition, inscribed by the author to an Albert Bonniers, 1966 unknown recipient and signed by the architect on the title page, dated September 1960. It is also signed by Octavo. Original brown cloth, titles to spine gilt, green endpapers. With the dust jacket. Colour and black and white over 80 other architects on the front free endpaper illustrations. An excellent copy in the slightly toned jacket who were associated with Mies, either working for with short closed tear to head of front panel and trivial chip- him, taught by him, or were associated with him in ping to spine ends. a professional capacity. Though the exact date of the first jansson edition. A whimsical illustrated ceremonial signing is unknown, in 1960 Mies was version of Alice in Wonderland, in Swedish, from the awarded the AIA Gold Medal – the highest award giv- creator of the Moomins. en by the American Association of Architects – and it is likely connected to this occasion. £1,250 [111942] £7,500 [110932] 112 110 KEYNES, John Maynard. The General Theory ISHERWOOD, Christopher. A Single Man. of Employment Interest and Money. London: London: The Land Press, 1980 Macmillan and Co., Limited, 1936 Quarto. Original blue cloth, title to spine gilt, decorations Octavo. Original dark green cloth, titles to spine gilt, dou- to covers gilt and silver designed by James Brockman. With ble rules to spine gilt and to boards in blind. With the dust jacket. Ownership inscription of W. M. Deans to head of the blue cloth slipcase as issued. A fine copy. 111

46 Peter Harrington 128

113 115 seriously inadequate and inaccurate” (PMM), quickly rolled, extremities lightly bumped. An excellent copy in the 115 and permanently changing the way the world looked toned and slightly rubbed jacket with a few mild closed tears at the economy and the role of government in society. and nicks tape-repaired on verso. KIPLING, Rudyard. The Jungle Book. With Moggridge A10.1; Printing and the Mind of Man 423. first edition, inscribed by the author on the Illustrations by J. L. Kipling, W. H. Drake, and half-title “For Peter – Best, Stephen King, 10/29/82”. £9,750 [114096] P. Frenzeny. London: Macmillan and Co., 1894; Carrie was Stephen’s King’s first novel, and memora- [together with] — The Second Jungle Book. bly filmed shortly after publication in 1976. 113 £2,500 [111279] London: Macmillan and Co., 1895 (KING, Jessie M.) “MARION” [Gemmell, 2 volumes, octavo (179 × 114 mm). Recent navy blue moroc- Marion.] Mummy’s Bedtime Story Book. co over bevelled boards by Bayntun, gilt panelled spines, gilt panelled sides, front covers decorated respectively with an London: Cecil Palmer, [1929] elephant and a bear in coloured onlays, all edges gilt, richly gilt turn-ins, marbled endpapers. With the original cloth Quarto. Finely bound by the Chelsea Bindery in bright blue covers and spines bound in. Illustrations throughout. Some morocco, titles to spine gilt, two raised bands, single rule offsetting from turn-ins to endpapers, scattered foxing. to boards gilt, pictorial title block with onlay to front board, twin rule to turn-ins, yellow endpapers with original illus- first editions. A handsomely bound set of Ki- trated endpapers bound in, gilt edges. With 12 full-page pling’s classic stories, illustrated in part by his father, coloured illustrations and numerous smaller colour illustra- John Lockwood Kipling. tions throughout by Jessie M. King. Ink inscription to the Stewart 123 & 132. verso of the frontispiece, an excellent copy in a fine binding. £6,000 [111202] first edition. £2,250 [113392]

114 KING, Stephen. Carrie. New York: Doubleday & Company, Inc., 1974 Octavo. Original dark red cloth, gilt lettered spine, black endpapers, fore edge. With the dust jacket. Spine very gently 114

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116 117 118

116 117 18 September 1933 on the front free endpaper. Garnett was Lawrence’s publisher at Cape and also helped him KIPLING, Rudyard. Poems 1886 to 1929. I. LARKIN, Philip. The Less Deceived. Yorkshire: prepare the Cranwell edition of 1926. Maggie, Crane’s Departmental Ditties, Barrack-Room Ballads, The Marvell Press, 1955 first novel, was originally published in New York in The Seven Seas; II. The Five Nations, Songs Octavo. Original green cloth, titles to spine gilt. With the 1893. Garnett was influential in introducing Crane’s controversial work to a British readership; in a BBC From Books; III. Verses From Sea Warfare, The dust jacket. An excellent copy, with some minor foxing to top edge in the jacket with faded spine. broadcast shortly after Garnett’s death in 1937, E. M. Years Between, The Muse Among the Motors, first edition, in the first issue binding, and with Forster praised him for having done “more than any Verses from A History of England, Verses from the misprint “floor” for “sea” on p. 38 in the first line man to discover genius in others, and to bring it to the A Diversity of Creatures, Verses from Land of the poem “Absences”. notice of the public” (Heath, ed. The Creator as Critic and other writings by E. M. Forster, p. 241). T. E. Shaw was the Bloomfield A6a. and Sea Tales, Verses from Debits and Credits, name that Lawrence assumed when he joined the tank Verses not collected in book form. New York: £2,500 [111296] corps in 1923; he transferred to the RAF two years later Doubleday, Doran & Company, Inc., 1930 and remained there until February 1935, three months before his death in a motorcycle accident. 3 volumes, quarto. Original cream paper covered boards, T. E. Lawrence’s copy £1,500 [109568] red paper labels to spines printed gilt, gilt motifs to front 118 covers, top edges gilt. With the dust jackets. Frontispiece to Vol. I with tissue-guard. Minor wear to tips, a couple of (LAWRENCE, T. E.) CRANE, Stephen. Maggie. 119 marks to front cover of Vol. II. An excellent, bright set in the slightly soiled and rubbed jackets with some tears and small A Child of the Streets. London: William Heinemann, (LAWRENCE. T. E.) GARNETT, Edward (ed.) chips to extremities. 1896 153 Letters from W. H. Hudson. Edited and with first u.s. edition, signed limited issue of this Small octavo. Original dark blue broad-weave cloth over an Introduction and Explanatory Notes. London: collection. Number 98 of 537 copies signed by the au- flexible boards, titles to spine gilt, covers ruled in blind thor, of which 525 were for sale. It was first published with titles and scroll-and-flower motif to front gilt, top edge The Nonesuch Press, 1923 in the UK the previous year. gilt, others untrimmed. Catalogue note from original sale Tall octavo. Original brown cloth, paper spine label, un- of Lawrence’s Cloud Hill library laid in. Spine sunned and £1,875 [111335] trimmed. Photogravure portrait of Hudson on title page. Spine rolled a little rubbed and faded overall, short (12 mm) split slightly rolled, a few marks to covers, corners lightly bumped. to cloth on front joint, contents toned, bookseller’s blindstamp to front free endpaper. A good copy. first edition, limited issue, presentation copy from edward garnett to t. e. lawrence, first uk edition. inscribed by edward gar- inscribed on the blank before the half-title: “‘T E nett to t. e. lawrence (as “T. E. Shaw”) and dated Shaw’ from Edward Garnett. Nov./23”; number 246

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119 of 1,000 copies. For Garnett and Lawrence’s association, see the previous item. With the bookplate of the artist Sir William Rothenstein (1872–1945), whose portrait of Lawrence was included in his Twenty Four 121 Portraits (1920), along with that of Hudson. Payne A46a. Octavo. Original blue cloth, gilt lettered spine. With the first edition. Described by Lear’s biographer Peter £1,750 [108851] dust jacket. Some minor fading to foot of boards, a few Levi as “the finest of Edward Lear’s productions as a spots to edge of text block. An excellent copy in the bright traveller . . . because its lithographs are of such beau- 120 jacket with a couple of spots to rear panel. ty and done with such care . . . it marks a high point first edition of Le Carré’s third book. The defini- LE CARRÉ, John. The Spy Who Came In From in his career” (Edward Lear: A Biography, 2013, p. xxiii). tive Cold War novel, it won Le Carré the 1964 Somer- In 1854 Lear’s close friend Franklin Lushington had the Cold. London: Victor Gollancz Ltd, 1963 set Maugham Award and secured his reputation as a been appointed judge at the supreme court of justice master of the spy thriller. on Corfu, “and so Lear decided to join him and make a £2,500 [112411] winter home in Corfu” (ODNB). He would become extremely familiar with the island and its environs over The most desirable of all of his books the next ten years. The Ionian islands were ceded to Greece in 1863 and Lear decided to try to exploit this 121 topicality with a view book (“at a time when so great a change in the destiny of these islands is about to LEAR, Edward. Views in the Seven Ionian occur”), touring the islands before his return home. Islands. London: Published by Edward Lear, 1863 There are nine views of Corfu, including the title-vi- Folio. Original green pebble-grain cloth neatly rebacked gnette, three each of Santa Maura, Lefkas, Cephalonia with the original spine laid down, gilt lettered on the front and Zante, and one each of Paxos, Ithaca, and Cerigo. cover, yellow coated endpapers. Housed in a custom made The subscription list of over 300 names is headed by green cloth solander box, green morocco label. Tinted lith- the Royal Library and the Prince of Wales. Lear made ographic title page with vignette and 20 tinted lithograph a net profit of £300, but had to chase up payment from plates by and after Lear. Pencilled ownership inscription on no less than 50 of the subscribers (Noakes, Edward Lear: front free endpaper of Mary Cabot Briggs (dated 1913) of the The Life of a Wanderer, 1968, pp. 198–9). Boston Brahmin Cabots. A very good copy, the gilt on the binding bright and the plates clean. Blackmer 987. 120 £8,500 [110922]

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

122 123 124

122 the Intellectual World in the Long Eighteenth Century, 2015, mand as a young man, is guilty not because of any chapter 9) – was one of the most popular publications particular transgressive act, but because he refuses to LEE, Harper. To Kill a Mockingbird. London: of its time, written by the sisters Harriet (1757/8–1851) accept the undoubted fact of his guilt, which consists Heinemann, 1960 and Sophia Lee (bap. 1750–1824). Sophia, who has invariably in putting self-indulgence before anything Octavo. Finely bound by the Chelsea Bindery in burgundy been called the founder of “historical Gothic”, con- else” (Kafka: Gothic and Fairytale, 2003, 2.1 “Kafka and morocco, titles to spine gilt, twin rule to turn-ins gilt, dark tributed the framing story and two novellas, The Harriet Lee”). green endpapers, gilt edges. A fine copy. Young Lady’s Tale: the Two Emilys and The Clergyman’s £1,000 [111976] first uk edition. Tale. ODNB notes interestingly that “at the height of this work’s success, Sophia supported Harriet in her 124 £1,375 [107347] refusal of a marriage proposal urged by philosopher and novelist William Godwin (1756–1836)”. LEESE, Arnold S. A Treatise on the One- “One of the most impressive of the early However, one work stands out: Kruitzner, Harriet’s Humped Camel in Health and in Disease. Gothic novellas” – an influence on Byron, De Gothic novella with a German setting – “the story Stamford, Lincolnshire: Haynes & Son, 1927 of an evil son’s cruelties to his mother” (Snodgrass, Quincey and Kafka Encyclopaedia of Gothic Literature, 2005, p. 208) – often Octavo. Original green cloth, gilt lettered spine. Mono- 123 reprinted separately and imitated by Byron in his play chrome frontispiece, 19 illustrations from photographs, 2 Werner (1822); “Byron writes of Kruitzner, ‘When I was temperature charts, illustrations in the text. Spine slightly rolled and toned. A very good copy. LEE, Harriet & Sophia. Canterbury Tales. young (about fourteen, I think), I first read this tale, London: G. G. and J. Robinson, 1797–1805 which made a deep impression upon me, and may, first edition, presentation copy, inscribed by indeed, be said to contain the germ of much that I the author on the front pastedown: “To my old pal, 5 volumes, tall octavo (209 × 129 mm). Contemporary mar- have since written’” (ODNB). It was also a major in- A. N. Foster, with best wishes from Arnold S. Leese”. bled calf, decorative gilt spines, red and green morocco twin Leese (1878–1956) was a fascist politician and veteri- labels. gilt roll tool border on sides, yellow edges, marbled fluence on Thomas De Quincey in the shaping of his narian, who was recognised as a leading authority on endpapers. Joints a little rubbed, a few joints partially split, own Gothic romance, Klosterheim (1832), and has been some spines chipped at head. A very good set with the half- described as “his favourite novel” (Patrick Bridgwa- the camel and served as a camel specialist with the titles to volumes II-V. ter, De Quincey’s Gothic Masquerade, 2004, p. 138). The East Africa Protectorate; he also penned Out of Step: Events in the Two Lives of an Anti-Jewish Camel-doctor first editions; complete sets in first edition are same author also makes a link between Kruitzner and (Guildford 1951). scarce both in commerce and institutionally. Can- Kafka’s protagonists Josef K. (in Der Proceß) and K. terbury Tales – “an ambitious series of thematically (in Der Schloß), describing the novella as “quasi-Kaf- £2,000 [107289] connected stories” (Inge Heuer in British Women and kaesque in that Kruitzner, when relieved of his com-

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125 most sustained achievement in fantasy for children et. An excellent, fresh copy in the bright jacket with a few by a 20th century author’. minor nicks to extremities. LEWIS, C. S. [The Chronicles of Narnia:] The Oxford Companion to Children Literature, p. 370. first edition of this literary analysis of race rela- Lion, the Witch and the Wardrobe; Prince £6,000 [111848] tions – an enlarged version of the essay originally Caspian; The Voyage of the Dawn Treader; published in Lewis’s magazine The Enemy in 1927. The Silver Chair; The Horse and His Boy; The 126 Morrow & Lafourcade A11. £975 [111660] Magician’s Nephew; The Last Battle. London: LEWIS, Wyndham. Tarr. London: The Egoist Press, Geoffrey Bles, [The Bodley Head] 1950–1956 1918 7 volumes, octavo. Recent burgundy morocco, raised bands Octavo. Original orange cloth, titles to spine gilt. With the to spines, titles and extra decoration to spines gilt, sin- dust jacket. Small mark to spine panel, light foxing to top gle rule to boards gilt, marbled endpapers, all edges gilt. edge of text block. An excellent copy in the jacket with chip Housed in a matching cloth slipcase. With colour frontis- to foot of spine, shallow chip to head of front panel, some pieces and black and white illustrations by Pauline Baynes. nicks to extremities with tape repairs to verso. The occasional minor blemish, an excellent set. first uk edition, presentation copy, inscribed first editions. The complete set of the Narnia se- by the author on the title page, “To K. W. Marshall, ries. ‘The immediate inspiration for “The Lion, the from Wyndham Lewis. 1929.” Tarr, Lewis’s first novel, Witch and the Wardrobe” was a series of nightmares was originally published in the US, and precedes the that Lewis had had about Lions. More seriously, he UK edition by three weeks. Uncommon in the jacket. was concerned to do for children what he had done for an adult readership in his science fiction trilogy Morrow and Lafourcade A3b. . . . The Narnia novels are not allegorical; they are en- £4,500 [111831] tirely in keeping with the belief, shared by Lewis and his close friend and Oxford colleague Tolkien, that 127 stories in themselves, especially of the mythical type, can give spiritual nourishment without imparting LEWIS, Wyndham. Paleface. The Philosophy of abstract meaning . . . As Naomi Lewis has written, the ‘Melting-Pot’. London: Chatto & Windus, 1929 the books are ‘intoxicating’ to all but the most relent- Octavo. Original white cloth-backed grey boards, titles to lessly unimaginative readers, and must be judged the spine in black, bottom edge untrimmed. With the dust jack- 127

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

An exceptional collection, encapsulating the close relationship between the sculptor Leopold “Leo” Solomon (1919–1976), L. S. Lowry (1887–1976), and Mervyn Levy (1914–1996), artist and leading art critic and dealer. It was Levy who, as a 14-year-old school boy, introduced Solomon, then 10 years old, to painting in oils; Solomon and Lowry became friends later in life, in the 1950s. Solomon was appointed Princi- pal of Rochdale College of Art in 1953, and during his time there Lowry would visit classes and occasionally offer advice to the students. One year in the Christ- mas holidays, Solomon cast a bronze bust of Lowry, modelled during a 90 minute sitting at the College, and 16 months later it was selected by the Royal Acad- emy for inclusion in their 1967 summer exhibition. In April 1976, a month after Lowry’s death, Solomon suffered a heart attack, spending about a month in Birch Hill Hospital, before he too died. a) Card with original drawings by Lowry and Levy: an undated printed Hallmark “Get Well” card, construct- ed from a folded A4 sheet. The card was given to Leo 128 Solomon by Lowry and Levy, and features an original 129 signed drawing by Lowry in biro on the front cover, A pioneering work of computer typesetting and an original drawing by Levy, jokingly signed L. S. title page by Lowry and Levy; the numbered copies Levy, also in biro, on the inside of the card. were issued with a signed bookplate to the front past- 128 b) 1974 prospectus for the Rochdale College of Art with edown. Two of these printed and unnumbered book- original drawing by Levy: Octavo. Original white card LODGE, David. Out of the Shelter. London: plates are loosely laid-in. folder printed in black, with 7 printed sheets loosely Macmillan, 1970 d) The Lowry Commemorative Portfolio, containing three inserted, as issued. It features an original signed portraits of the Lowrys: Portrait of The Artist’s Moth- Octavo. Original green boards, titles to spine gilt. With the drawing of Solomon by Levy on the front cover, in er; Portrait of The Artist’s Father; Self-Portrait of the dust jacket designed by Justin Todd. An excellent copy in the biro. Solomon remained principal of the College un- Artist; and Bronze Medallion of L. S. Lowry (London: bright jacket with small chip to foot of spine. til his death in 1976. A hugely successful and popular Jupiter Books, 1975): 3 offset lithographs on heavy first edition of Lodge’s fourth novel, one of the principal, Solomon developed the College from nine wove paper (sheet sizes: 36.7 × 27 cm). Housed in first books to be typeset by computer. The process full-time and 90 part-time students and two part-time the blue leather portfolio, as issued. Together with a was deeply flawed, resulting in significant textual er- members of staff, to 190 full-time and 550 part-time 5-inch diameter bronze medallion, cast by the Morris rors, and Lodge was also disappointed with the dust students, and 26 staff, establishing one of the larg- Singer Foundry Ltd, and housed in the blue leather jacket design. It was revised and reissued by Secker est foundation courses outside the polytechnics. He presentation box as issued. This is portfolio number & Warburg in 1985. Uncommon, with just five copies would have passport-sized pictures of the full-time six from a signed limited edition of 300, published appearing at auction since 1970. students taken at enrolment so he quickly knew them on the occasion of Lowry’s 88th birthday. It con- by name and sight, explaining: “Students want to be £2,250 [111657] tains three prints signed in pen on the lower right by aware that a personal interest is being taken in them Lowry; the medallion, featuring Lowry’s profile by and their work . . . It is no use being a demagogue in 129 Solomon cast in bronze, is numbered on the accom- an ivory tower when you are dealing with young, intel- panying engraved plaque, as issued. The prints of the LOWRY, L. S. A collection of items signed by ligent people whose future is in your hands.” artist’s mother and father are after oil on canvases Lowry and Mervyn Levy with original drawings, c) The Paintings of L. S. Lowry (London: Jupiter Books, (1910), and the self-portrait is after an oil on board 1975): Quarto. Original blue morocco, title to spine (1925). Laid-in is a typed note from the publisher to from the estate of Leopold Solomon. gilt, blue endpapers, all edges blue. First edition, Solomon. Dated 9 February 1976, it was originally Together, 9 items: 1 Hallmark card, 1 printed book, 1 pro- signed limited issue of Levy’s monograph on Lowry, sent with portfolio number 11, and encloses the Mor- spectus, 3 lithographs, 1 bronze medallion, 1 typed note, 1 of which Solomon is the printed dedicatee. This is ris Singer certificate for portfolio number six (seen Morris Singer Foundry certificate. In excellent condition. an out-of-series copy from an edition of 100 specially here), which Solomon already owned. bound copies, and is signed, rather unusually, on the £8,750 [111652]

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129

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

130 131 132

Presentation copy to Charles Kingsley 131 “Such was his conviction that he and Claire, his latest girlfriend, could be happy together, that within only a 130 MACLAREN-ROSS, J. Bitten by the Tarantula. fortnight he was contemplating going back to Ireland A Story of the South of France. London: Allan MACDONALD, George. Within and Without: a with her. It all went wrong, however, on the evening Wingate, 1945 of Wednesday 12 September when she made a tactless dramatic poem. London: Longman, Brown, Green, remark which deeply offended him. That Friday she and Longmans, 1855 Octavo. Original red cloth, title to spine gilt. With the dust wrote to apologise, but he found what she’d said so jacket designed by John Banting. 2/- price in ballpoint pen inexcusable he appears to have broken off the affair Octavo. Original brown morocco-grain cloth, spine lettered amended to 1/- in pencil on half-title. Spine a little rolled, in gilt, sides with thick-and-thin border blocked in blind, faint smudge to title. A very good copy in a rubbed jacket with a regretful postcard, quoting one of her poems: reddish brown endpapers. In a cloth folding case, black with a few tiny chips and two tape repairs on the verso. ‘The dream, like a perfect crime, must remain in the head.’ Only a few days after their romance had ended spine label lettered in gilt. Skilfully recased, inner hinges first edition, first impression. presentation restored, a good copy. in such anti-climax, he rebounded into a liaison with copy inscribed by the author on the half-title a wealthy married woman by the name of Inez” (Wil- first edition of the author’s first book, pres- verso: “Viesna, mon amour pour toi comme ce petit letts, Fear and Loathing in Fitzrovia, 2003, p. 293). entation copy to charles kingsley, inscribed by cadeau, ce roman frivole et sans importance ni dédi- MacDonald in ink at the head of the title: “The Rever- cace, mais qui maintenant, comme son auteur, est tout Viesna’s letter of apology which Willetts references end Charles Kingsley With much honour from George à toi. Julian (J. Maclaren Ross), Londres Le six octobre is in the Harry Ransom archive, dated 14 September MacDonald.” An excellent association copy, bringing mil-neuf-cent-soixante-deux”. The recipient “Viesna” 1962: “I was very much in the wrong on Wednesday, together the only two significant writers of Christian is identified by Paul Willetts as Claire, a “Dublin-based so I now send you my very sincere apologies for my fantasy in the Victorian period. Kingsley recognised poet and friend of Brendan Behan”, one of a few wom- stupid, tactless and inexcusable remark, which I re- the newcomer’s talent immediately, writing back to en with whom Maclaren-Ross, penniless and back in tract completely, if belatedly. I am quite sure it has MacDonald in approbation after receiving this copy London after he had separated from his wife, had af- killed any feeling you might have had for me and I am (see Robert Lee Wolff, George MacDonald; the Golden Key). fairs in summer and early autumn 1962. all the sorrier as I think everything you said that even- Though demonstrating that MacDonald had obvious ing could have come true, and we could have made failings as a dramatist, the book announced his lyrical each other very happy: but now I have spoiled it all.” talent and won, as well as Kingsley’s approval, “the ap- The tone of Maclaren-Ross’s inscription here sug- preciation of Tennyson and the intense admiration of gests that his romance with Viesna/Claire did not cool Lady Byron, who became at once one of MacDonald’s off quite as suddenly as Willetts’s account suggests. closest friends and supporters” (ODNB). Viesna’s letter cited courtesy of The Harry Ransom Center, For another book from Kingsley’s library, see item !!! above. The University of Texas at Austin. £6,500 [43749] 131 £1,650 [111721]

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133 134 135

132 133 first uk edition, inscribed by the author on the half-title, “Gabriel, ’85.” First published in the MÁRQUEZ, Gabriel García. One Hundred MÁRQUEZ, Gabriel García. One Hundred Years US earlier the same year, and originally published Years of Solitude. Translated from the Spanish of Solitude. New York: The Limited Editions Club, in Barcelona under the title Relato de un náufrago in by Gregory Rabassa. London: Jonathan Cape, 1970 1983 1970. From the library of the Irish book collector Dr Philip Murray, author of The Adventures of a Book Collec- Octavo. Original blue boards, title to spine gilt, top edge Quarto. Original dark brown leather-backed buff linen, top tor (2011), though unmarked as such. He befriended pink. With the pictorial dust jacket. An excellent, bright edge trimmed, others untrimmed, cream endpapers. With Márquez, who inscribed copies of eleven of his books copy with the occasional faint spot to contents, in the jacket the publisher’s brown card slipcase. With frontispiece and with a little rubbing to spine ends. numerous illustrations in text by Rafael Ferrer. Spine lightly for him (see item !!! above). first uk edition, inscribed by the author on sunned. An excellent copy in a slightly sunned and rubbed £1,250 [113604] slipcase. the half-title, “Gabriel. ’85.” together with an original ink drawing of a fish. From the library of the Irish signed limited edition, of which this is num- 135 ber 1,011 of 2,000 copies signed by the illustrator, book collector Dr Philip Murray, who befriended MILLER, Arthur. Death of a Salesman. New Márquez, though unmarked as such. In his book, The introducer, and translator. This copy additionally Adventures of a Book Collector (2011), Murray writes: “I inscribed by Marquez on the verso of the title page: York: The Viking Press, 1949 “Para Ted, este mamotreto, Gabriel ‘92” and with one had heard that the Mexican postal system is one of Octavo. Original orange cloth, spine lettered in brown, picto- the most unreliable anywhere in the world, but I de- original lithograph loosely inserted. With loosely in- rial design to front board in brown, pictorial endpapers, top cided to chance it and sent eleven books . . . nearly a serted monthly newsletter from the Limited Editions edge black. With the dust jacket. Spine very slightly rolled, a year went by without any further word. I was certain Club, dated April 1983. hint of fading along bottom edges of boards, contents toned. my luck had run out and I would never see my cop- £4,500 [112981] An excellent copy in the bright dust jacket with just a small ies again . . . the return package had burst open and portion of light creasing at the head of the spine panel. had had to be repacked. All the books were inscribed 134 first edition, signed by the author on the and the author had drawn various images in some of half-title, under the ownership inscription of William them, so it was worth the wait.” The book was first MÁRQUEZ, Gabriel García. The Story of a Ship- Kelly Drake. published in English in the US earlier the same year, Wrecked Sailor. Translated from the Spanish by £3,500 [113853] and originally published in Argentina in 1967 under Randolph Hogan. London: Jonathan Cape, 1986 the title Cien años de soledad. £6,250 [113603] Octavo. Original dark blue boards, titles to spine in silver, top edge blue. With the dust jacket. Spine slightly rubbed and bumped at head. An excellent copy in the bright jacket.

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

137

138 MILNE, A. A. The House at Pooh Corner. London: Methuen & Co. Ltd, 1928 Octavo. Original pink cloth, titles to spine and motifs to front board gilt, top edge gilt, illustrated endpapers. With the dust jacket. Frontispiece and 108 illustrations in the text by E. H. Shepard, of which 7 are full-page. An excellent, bright copy in the jacket with minor nicks and chips to ex- 136 tremities and light tissue repair to verso. first edition. The fourth and final Pooh book, in 136 137 which Tigger makes his appearance and Poohsticks is invented. MILNE, A. A. The Red House Mystery. London: MILNE, A. A. Now We Are Six. London: Methuen £1,000 [111267] Methuen & Co. Ltd, 1922 & Co. Ltd, 1927 Octavo. Original green cloth, titles to spine gilt, titles to Octavo. Original red cloth, titles to spine and pictorial de- 139 front board in blind. With the dust jacket. Contemporary signs to boards gilt, top edges gilt, illustrated pale pink end- ownership signature to front free endpaper. Spine ends papers. With the dust jacket. Illustrated throughout by E. H. NABOKOV, Vladimir. Lolita [Cyrillic]. New York: lightly bumped, edges slightly foxed, endpapers lightly Shepard. Vertical band of toning to half-title and verso of Phaedra Inc., Publishers, 1967 tanned, occasional mild spotting to text block. An excel- final leaf (a natural product of the long-term presence of the lent copy in a slightly toned and rubbed jacket with slightly dust jacket). An exceptional copy, the cloth sharp-cornered Octavo. Original pink cloth, title to spine gilt. With the dust nicked and chipped extremities. and very bright, the jacket remarkably well preserved. jacket. An excellent copy in the lightly toned jacket with a little rubbing to edge of spine panel. first edition of the author’s only mystery novel. first edition. Included here is some of Milne’s first edition in russian, Juliar’s “issue b” in pink Rare in the jacket. Advance review copy with the pub- most memorable verse: “The Knight Whose Armour cloth, with three cancel leaves (“issue a” was in wrap- lisher’s slip loosely inserted. Didn’t Squeak”, “The Emperor’s Rhyme” and “King pers). The translation was the only one prepared by Haycraft Queen Cornerstone. John’s Christmas” (“King John was not a good man / £6,500 [112974] He had his little ways”). £2,750 [112307]

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Nabokov himself and includes a postscript by him with those unique features of his native Scandinavia: 141 that appears only in this edition. the melancholic mystery of a bleak Nordic twilight ORWELL, George. Down and Out in Paris and Juliar A28.7b. seemed to cast a magical spell on the images them- London. London: Victor Gollancz Ltd, 1933 £1,250 [113747] selves” (Susan E. Meyer, A Treasury of the Great Children’s Book Illustrators, 1983, p. 200). Octavo. Finely bound by the Chelsea Bindery in blue moroc- 140 £3,750 [111806] co, titles and decoration to spine gilt, raised bands, single rule to boards gilt, twin rule to turn-ins gilt, blue and white NIELSEN, Kay. East of the Sun and West of the decorative endpapers, gilt edges. A fine copy. Moon: Old Tales from the North. London: Hodder first edition of Orwell’s first full-length work, a two-part memoir of his life among the poor and des- & Stoughton, [1914] titute in and around the two cities. An “immensely Quarto. Original blue cloth, titles and pictorial decoration interesting book . . . a genuine human document, to spine and front board gilt, gold and black pictorial end- which at the same time is written with so much ar- papers. Housed in custom made tan cloth slipcase and silk- tistic force that, in spite of the squalor and degrada- lined blue cloth chemise lettered in gilt. Colour frontispiece tion thus unfolded, the result is curiously beautiful” and 24 colour plates mounted on japon paper with captioned tissue-guards, line drawings and decorations in the text. Ex- (Compton Mackenzie). One of 1,500 copies printed. tremities of binding just lightly rubbed. An excellent copy. £2,500 [112415] first edition. The richness of Nielsen’s colour images for this lavish illustrated book were achieved by a four-colour process, in contrast to many of the illustrations prepared by his contemporaries, such as Rackham and Dulac, which characteristically utilised a traditional three-colour process. “Nielsen’s second book . . . became his most famous: East of the Sun and West of the Moon, a collection of fifteen old tales from Norway . . . [and demonstrate] Nielsen’s extraordinary prowess as an illustrator. In these elegant paintings, he combined qualities of Oriental design 141

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

142 PÂRIS, François Edmond. Souvenirs de Jérusalem. Lithographié par Hubert Clerger, Jules Gaildrau et Fichot. Ouvrage publié par l’escadre de la Méditerranée. Paris: Arthus Bertrand, [1862] Large folio (630 × 490 mm). 17 leaves, loose in contemporary green cloth portfolio with original printed wrapper mounted to front panel, green cloth ties. Coloured lithographic plan mounted to title leaf as issued, 2 text leaves, and 14 lithographic plates of which 12 in original hand-colour. Pencilled pagination to upper inner corners of plates. Subtle repair to edges of title, text leaves, and a few plates (Halte des pèlerins, Vue génerale de Jérusalem, Intérieur de la Porte d’or, and Mosquée el Aksa), light marginal foxing or soiling, the images affected only in the first two plates (Halte des pèlerins and the Vue génerale). A very good copy. first and only edition of this uncommon pictorial account of the visit of the Mediterranean Squad- ron of the French Navy to Jerusalem in 1861. Most of the plates illustrate the interior of the Church of the Holy Sepulchre, but there are also depictions of the Al-Aqsa Mosque and the Mosque of Omar. “Pâris was named commander of the third division of the Mediterranean Squadron in December, 1858. He was already well known as a naval artist . . . and he produced works on the technology of steam engines and other technical matters” (Blackmer). The colour plates in this copy are exceptionally bright. Blackmer 1255; not in Abbey, Arcadian Library, Atabey, Burrell, Gay or Weber. £5,000 [107989]

143 PEABODY, Henry Greenwood (photog.) Representative American Yachts. A Collection of One Hundred Views. With Descriptive Sketches by George A. Stewart. Boston: Henry G. Peabody, 1891; [together with] — Representative American Yachts, 1893 Supplement. With Descriptive Sketches by William E. Robinson. Boston: Henry G. Peabody, 1893 Landscape folio (268 × 330 mm). Modern dark blue half morocco, matching sand-grain boards, title gilt to plain spine, compartments formed by wide gilt rolls, double rules to the spine and corner edges, marbled endpapers. Housed in a striking drop-back box with a wooden spine and board edg- 142 es with decorative “trunnel” dowels, red and black morocco

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labels to the spine, central panels of the boards of sail-cloth, blue moiré silk lining. With 110 high-quality photogravure plates in a range of tints. Text leaves lightly browned, occasional mild fingersoiling, a few minor knocks to the box, one dent to the lower edge of the front “board”, but overall very good indeed. first editions, extremely uncommon, of this superb collection of images of some the great yachts of a golden age of American boat-building. OCLC lists just six copies of the first, all in the United States, two copies of the 1893 supplement and a few copies 143 of subsequent portmanteau editions. Missouri-born and Dartmouth College-educated, Peabody initially embarked on a career as an engineer, but after a year joined the studio of photographer Alexander Helser in Chicago, making photography his lifelong profes- sion. Thereafter he based himself in Boston, where he specialized in marine photography publishing The Coast of Maine (1889) and the present works. In 1893 he was commissioned by the Notman Studio to travel to British Columbia via the Great Northern Railway, and in 1896 he became photographer to the Boston and Maine Railroad. A successful trip to Mexico in 1899 with journalist and urban planning expert Syl- vester Baxter to record Spanish colonial architecture – Spanish-Colonial Architecture in Mexico (1901–2), with illustrations from Peabody’s photographs – resulted in his joining the Detroit Publishing Company, one of America’s biggest producers of picture postcards. For them Peabody was based in Pasadena, where he remained even after the firm folded in 1924. Until his death in 1951 he regularly photographed the National Parks, and his lantern-slide and filmstrip shows were used to promote the railway company-backed “See America First” campaign. Not in Morris & Howland; Toy 321 for the first-named, the second not listed. 143 £6,500 [112236]

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

first edition, early issue – with the caption on the Kangooroo plate uncorrected, and mispagination of p. 121 as 221 – of this foundation work on Australia as a European colony, the official account of the voyage of the First Fleet to Botany Bay and the settlement of Australia, based on the governor’s journals and despatches. The appended “List of Convicts” – giving names, location and date of convictions, and length of sentence – is the basic source for all First Fleet genealogy. Arthur Phillip (1738–1814) not only commanded the voyage but was holding a commission appointing him representative of the Crown for the eastern half of Australia and the adjoining Pacific islands. “Phillip was given the task of founding a convict settlement in Australia, and became the first governor of New South Wales. Reaching Botany Bay in 1788, via Tener- ife, Rio de Janeiro and the Cape of Good Hope, Phil- lip decided that the site was unsatisfactory and sailed to Port Jackson, where he founded the city named Sydney, after Thomas Townshend, Viscount Sydney, secretary of state” (Hill). As large parts of the coast- line were still unexplored, Phillip soon embarked on a voyage of coastal discovery. With three boats he set out to investigate Port Jackson, which Cook had named but had not charted. When Phillip discovered the extent of the Harbour, he was overjoyed: “Here all regret arising from the former disappointments was at once obliterated; and Governor Phillip had the satisfaction to find one of the finest harbours in the world, in which a thousand sail of the line might ride in prefect security”. Phillip’s discovery of Sydney Har- bour was of paramount importance, providing as it did a secure place for settlement. Phillip’s journal and 144 that of Hunter, which both contain the first charts of the Harbour based on Hunter’s surveys, therefore One of the most significant 18th-century Quarto (295 × 222 mm). Contemporary calf, neatly rebacked represent “the foundation stones of any collection of with the original spine laid down, green morocco label, books devoted to coastal discovery” (Wantrup). books on Australia red morocco onlay bands with gilt arabesque roll, compartments with similar corner-pieces, sun in splendour The account of the voyage is based mainly on Phil- 144 centre-tools, boards with a bead and chain panel enclosing lip’s earliest report to the Government on the Colony, PHILLIP, Arthur. The Voyage of Governor a floral panel, both gilt, marbled endpapers. With portrait and the reports of other members of the First Fleet. frontispiece after Wheatly, vignette title and 53 copper en- The actual compiler is not known, but he must have Phillip to Botany Bay; with an Account of the graved plates, 5 of them folding. Complete with impressive had access to the official documents, as it is a very ac- Establishment of the Colonies of Port Jackson list of 8-page subscribers list including the names of Joseph curate account. The present work is the basic source Banks, George Anson, Nathaniel Portlock and Alexander & Norfolk Island; compiled from Authentic Dalrymple; errata leaf bound in before the Advertisement, book, the first in order of importance for the history of Australia and no collection can be complete with- Papers, which have been obtained from the and the advertisement leaf at the rear. A little rubbed, some scuffs to the boards, foxing to the frontispiece and title out a copy. several Departments, to which are added, The page, some offsetting tom the plates, occasional spotting, Casey Wood, p. 518; Cox I, p. 314; Ferguson, 47; Hill, p. 233; Journals of Lieuts. Shortland, Watts, Ball, & collector’s bookplate of Adrian Bullock to the front past- Lowndes, p. 1852; Nissen ZBI 3518; Wantrup, 5. edown, but overall a very good copy. Capt. Marshall; with an account of their New £5,000 [111570] Discoveries. London: John Stockdale, 1789

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146 (POPE, Alexander, trans.) HOMER. The Iliad of Homer, Translated by Mr. Pope. London: Bernard Lintot, 1715–20 6 volumes bound in 3, quarto (277 × 222 mm). Later 18th- century sprinkled calf, spines richly gilt in compartments, red morocco labels, dated in gilt at foot, sprinkled edges. Engraved frontispiece portrait of Homer by Vertue, folding map, folding view; complete with the Shield of Achilles plate, often lacking; pictorial headpiece and opening initial to each of the 24 books. Ownership inscription in the second volume of Richard Synge, son of the original subscriber, Michael Synge. Extremities rubbed, first headcap chipped exposing headband, joints starting at ends but held firm by cords, a little minor toning here and there, an excellent set. first edition, one of 750 quarto sets for subscribers (there were also copies issued one month later in both large paper and small folio format) of one of the most important publications of its era, notable for 145 establishing Pope as probably the first true profes- 146 sional poet in English. Together with an example of the original receipt signed by the poet (“A. Pope”), 145 Iliad with Lintot on 23 March 1714, a contract which for two guineas received from Richard Hill as first specified that Lintot could not sell other copies until payment ‘to the Subscription, for the Translation (POGANY, Willy.) WAGNER, Richard. The one month after the poet’s 750 special subscribers’ of Homer’s Iliads; to be delivered, in Quires, to the Tale of Lohengrin, Knight of the Swan, by T. W. copies had been delivered. By presenting the poem in Bearer hereof ’, subscribed “To Mr Lintott Bookseller/ quarto, rather than the folios of Chaucer, Jonson, and Rolleston. London: G. G. Harrap & Co., [1913] Fleet Street”; printed with manuscript insertions. Shakespeare, Pope’s Homer introduced a new format The subscriber appears to be the Richard Hill who Narrow quarto. Original full vellum, gilt lettered spine, gilt for canonical literature into English publishing, fol- lettered and decorated front cover, pictorial endpapers, top was a friend of Pope’s early mentor, the diplomat and lowing the pattern established in France around the edge gilt, others untrimmed, pictorial endpapers. Frontis- Secretary of State Sir William Trumbull, and himself middle of the 17th century. Pope’s third large-scale piece and illustrated half-title, title, contents, and introduc- a distinguished diplomat, remembered still as cham- enterprise, his edition of Shakespeare, completed in tion leaves, 8 tipped-in colour plates, 45 full-page illustra- pion of the Vaudois. tions, elaborate decorative borders and smaller illustrations 1725, would appear in the same format. The particular method of publication by subscription throughout, printed on pale grey paper. Very small blemish The translation of the Iliad took Pope “six years, and in episodic annual volumes was innovative, allow- to gilt motif on front cover, front cover slightly sprung. An at first ‘I wished any body would hang me’, he told excellent copy, with the additional etched plate in its origi- ing Bernard Lintot to use profits generated from one Spence; he was ‘under great pain and apprehen- nal envelope. volume to finance printing of the next. Pope signed sions’ over it and ‘dreamed often of being engaged a contract for his new verse translation of Homer’s signed limited edition, number 107 of 525 cop- in a long journey and that I should never get to the ies signed by the artist. “His illustrations to Wagner’s end of it’ (Spence, 197, 193) . . . Pope earned £1,275 Tannhäusser (1911), Parsifal (1912) and Lohengrin (1913) from Lintot for his translation. Subscriptions raised may be preferred to Rackham’s Wagner illustrations this sum (by a modern estimate) to about £5,000 . . . as they have a strong Germanic fin de siècle feel about [The edition] established Pope’s fortune and set his them. A mixture of colour plates, lithographs and line fame on a firmer foundation. As he wrote in 1737, ‘But drawings on heavy grey paper, they were a popular (thanks to Homer) since I live and thrive,/Indebted and unusual feature of the Christmas market of those to no Prince or Peer alive’ (Epistle 2, ii.68–9, Poems, years” (Felmingham, The Illustrated Gift Book 1880–1930, 4.169)” (ODNB). 1988, p. 60). This copy has the additional etched plate signed by Pogany, showing Wagner as an ancient seer £7,500 [106341] surrounded by his creations. £2,000 [111276]

146

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148

147 (PUZO, Mario.) The Godfather. Hollywood: Paramount Pictures, 1972 Film advertising poster for The Godfather based on the novel by Mario Puzo, produced by Albert S. Ruddy, directed by Francis Ford Coppola. Starring Marlon Brando, Al Pacino, James Caan, Richard Castellano, Robert Duvell, Sterling Hayden, John Marley, Richard Conte, Diane Keaton. Screen- play by Mario Puzo and Francis Ford Coppola. UK quad size. Approx. poster size 104 × 69 cm (41 × 27 inches). Excellent condition. Presented in a dark brown wooden frame. The film was the box office leader for 1972 and was, for a time, the highest-grossing picture ever made. It won three Academy Awards for that year: Best Pic- ture, Best Actor (Brando) and in the category Best Adapted Screenplay for Puzo and Coppola. Its nomi- nations in seven other categories included Pacino, James Caan and Robert Duvall for Best Supporting Actor and Coppola for Best Director. The success spawned two sequels: The Godfather Part II in 1974, and The Godfather Part III in 1990. £1,250 [108588]

148 RANSOME, Arthur. Coot Club. London: Jonathan Cape, 1934 Octavo. Original green cloth, titles to front board blind 147 stamped, titles to spine gilt, illustrated endpapers. With the

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Charles I. Frédéric Rivet’s later work, De l’éducation des enfants and particulièrement de celles princes (Amsterdam, 1679), a development of his father’s thinking, has been demonstrated to have influenced John Locke’s ideas on education, formulated during his five-year sojourn in the Netherlands in the 1680s. It was Wil- liam of Orange’s accession that made it safe for Locke to return to England, where Some Thoughts Con- cerning Education was published in July 1693. Brita Rang, “An unidentified source of John Locke’s Some Thoughts Concerning Education”, Pedagogy, Culture & So- ciety, 9:2, 249–278, 2001. £1,650 [108892]

150 (ROMAN MISSAL.) Missale Romanum. Ex decreto sacrosancti Concilii Tridentii restitutum, S. Pii V. Pontificis Maximi jussu 149 editum, Clementis VIII. & Urbani VIII. 150 Auctoritate recognitum, in quo missae dust jacket. Illustrated by the Arthur Ransome. Spine gen- the year of publication. A note on p. lxxxiii reads “Brix- tly rolled, contents slightly foxed. An excellent copy in the novissimae sanctorum accuratè sunt dispositae. iae-Conglutinator est Ioseph Goltius in Via Pallade lightly foxed jacket with some minor loss to spine ends, and Venice: Typographia Balleoniana, 1725 iuxta Xenodochium Mercaturae. Die 13. Decembris shallow chips to head of rear panel. 1725” (The Brescian binder is Joseph Goltius on the Via first edition, with the errata slip. Folio in eights (350 × 242 mm). Contemporary brown goat- skin over heavy reverse-bevelled boards, raised bands to spine Pallade, next to the marketplace of the Xenodochium). £900 [108218] enclosed by dot-and-zig-zag roll gilt, floral centrepieces gilt There are also four two-page orders of service for vari- to compartments, covers elaborately gilt with single-fillet ous occasions bound in between signatures Dd8 and 149 border enclosing a composite frame incorporating dog-tooth a, all printed in Brescia at the shop of Giovanni Maria and floral rolls with stylised fleur-de-lys lobes and cornerpiec- Ricciardi in 1725 (one of these is a missal for the feast RIVET, André. Instruction du Prince Chrestien. es, intermediate quatrefoil formed from back-to-back dog- days of the martyrs of Brescia), and bound in at the rear Par Dialogues, Entre un jeune Prince, & son tooth rolls, spandrels gilt with feather, floral and fleur-de-lys is a later Brescian missal, printed by F. Luchi in 1856. tools, central vignettes of Christ crucified (front) and the Vir- The only other copy of this edition traced (University of directeur. Avec une Meditation Sur Le Voeu de gin and Child (rear) within elaborate rolled floral border, in- Saint Bonaventure, New York) is bound with a similar David, Au Pseaume CI. Leyden: Joannes Maire, 1642 terstitial blind rules, decoratively gilt-gauffered edges. Text in double-column, rubrication throughout, and frequent music array of shorter texts, all printed in Parma, suggesting Octavo (147 × 93 mm). Contemporary vellum sewn on three score. Engraved vignette title page and 4 full-page engravings that Balleoni’s presswork enjoyed a degree of popular- cords, manuscript title to spine, with two (of four) tawed by Elisabetta Piccini (signed Suor Isabella P.F.) depicting the ity across northern Italy. The engravings by Piccini are skin ties. Vellum somewhat soiled, a good clean copy. Annunciation, the Nativity, the Crucifixion, the Resurrection, especially appealing. “Elisabetta Piccini (1644–1734) first edition of this work on the education of and Pentecost, profuse woodcut initial figures and tailpieces was the daughter of the Venetian engraver Giacomo throughout, mostly incorporating cherubim and of which 5 princes, itself apparently influenced by François de la Piccini (d. 1669), who trained her in the art of draw- hand-rubricated, Maltese cross tools to the text. Green silk ing and engraving in the styles of the great masters, Mothe le Voyer’s De l’instruction de Monsieur le Dauphin tabs laid down to fore edge of sigs. M1–6 (one tab frayed, (Paris, 1640). Andre Rivet, a French Huguenot Bibli- sigs. 4 & 5 with later, 19th c. paper restoration to margins); 4 particularly Titian and Peter Paul Rubens. In 1666 she cal scholar, was recruited by the University of Leiden pink silk page-markers laid in. Tips worn, joints rubbed and entered the Convent of Santa Croce in Venice and took in 1620. His advice on the education of princes was head and foot, a few shallow worm-tracks to rear board not the name Suor (Sister) Isabella. She continued to work to leave an influential trail. The prince to whom this reaching text-block, short closed tear to bottom edge sig. L4 as an engraver, accepting numerous commissions book is dedicated was William II of Orange (1626– & shallow chip to the same on sig. L6, neither affecting text, from Venetian publishers to illustrate liturgical books, 1650), father of the future William III of England. bound without sig. Ee1 (final leaf ) in the main text (though biographies of saints, and prayer manuals” (SMU, on- the only institutional copy traced giving the same pagination, André Rivet and his son Frédéric, who would become line). Balleoni included Piccini’s engravings for his pp. 432) and sigs. e4–f1, hinge between sigs d & e strength- first Roman Missal, printed in 1704. tutor to William III, travelled to England in 1641 to ened with linen. A handsomely bound copy. assist in the arrangement of the marriage between £1,500 [112562] A striking 18th-century Roman Missal, attractively William II of Orange and Mary, eldest daughter of printed in Venice and apparently bound in Brescia in

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

151 152 154

151 152 Octavo. 8 loose unopened gatherings, loose title page and half-title. Housed in a red morocco-backed dark green cloth ROWLING, J. K. Harry Potter and the ROWLING, J. K. Harry Potter and the Chamber solander box with titles to front in gilt. Extremities mildly Philosopher’s Stone. London: Bloomsbury, 1997 of Secrets. London: Bloomsbury, 1998 toned, title page with a few short closed tears to the lightly tanned and creased fore margin. An excellent copy. Octavo. Original pictorial wrappers, titles to front cover in Octavo. Original pictorial boards. With the pictorial dust first edition of the author’s first work, a play in yellow, white and dark green, titles to spine yellow, white jacket. A fine copy in the dust jacket. blank verse. A noted rarity of modern literature, Chat- and black. Issued without a dust jacket. Housed in a red first edition. quarter morocco solander box made by the Chelsea Bind- terton was printed at the author’s expense when she ery. Light rubbing to extremities, slight creasing to tips of Errington A2(a). was just 16 years of age. The number of copies printed front cover, crease to rear cover, faint spotting to endleaves. £1,750 [113484] is thought to have been 100. An excellent copy. Cross & Ravenscroft-Hulme A1. first edition, paperback issue. Presentation copy, 153 £9,750 [93916] inscribed by the author on the title page, “To Terence, ROWLING, J. K. Harry Potter and the Deathly Jo (J. K. Rowling!)”. The signature is in her typical 155 format for the very earliest presentation copies, with Hallows. London: Bloomsbury, 2007 the exclamation mark after her pseudonym reflecting SACKVILLE-WEST, Vita. Twelve Days. An Octavo. Original pictorial boards. With the dust jacket. A her excitement at her first publication. The recipient fine copy. account of a journey across the Bakhtiari was a friend from Rowling’s teacher training course at the Moray House School of Education, Edinburgh first edition. Inscribed by the author on the title Mountains in South-western Persia. The Hogarth University. page, “To Mark, J. K. Rowling”, with the publisher’s Press: London, 1928 hologram sticker of authenticity. One of 5,150 copies, and with all the requisite points Octavo. Original marbled brown and black cloth, titles to of first printing: Bloomsbury imprint, 10-down-to-1 £3,000 [69841] spine gilt. With the dust jacket. With 32 plates. Bookplate to number line, the list of equipment on p. 53 with “1 front pastedown. Contents lightly foxed; an excellent copy wand” appearing twice in the list, and the misprint 154 in the jacket with some light marks to spine and front cover, “Philospher’s” at line 9 of the rear cover text. some nicks and minor chips to extremities and short closed SACKVILLE-WEST, Vita. Chatterton: A Drama tear to head of front panel. Errington A1(aa). in Three Acts, by Victoria Sackville-West. first edition. £15,000 [113494] Sevenoaks: [Printed for the author by] J. Salmon, 1909 Cross & Ravenscroft-Hulme A17. £975 [111407]

64 Peter Harrington 128

155 157 158

156 number on the spine. Housed together in a chemise within portrait is the same as that used by Salten on his press a teracotta cloth box with pictorial block of The Little Prince card for the Union of Foreign Correspondents in Vi- SAINT-EXUPÉRY, Antoine de. The Little to front board in black. Illustrated throughout by the author. enna (issued December 1932). Inscribed photographs Prince. Translated from the French by Katherine A fine copy. of Salten are extremely uncommon. Woods. New York: Reynal & Hitchcock, 1943 first edition in english, signed limited is- £3,500 [107906] sue, number 465 of 500 copies signed by the author, Quarto. Finely bound by the Chelsea Bindery in terracotta with another 25 reserved. Although the manuscript morocco, titles to spine in black, two raised bands, picto- was composed in the author’s native French lan- 158 rial onlay of The Little Prince to front board, twin rule to guage, it was written in Asharoken, New York, and turn-ins in black, dark green endpapers, gilt edges. With SASSOON, Siegfried. The Old Huntsman and first published in New York City in both French and the original dust jacket showing the matching limitation other poems. London: William Heinemann, 1917 English editions. £8,500 [113396] Octavo. Original grey paper boards, printed paper label to spine. With the dust jacket. A fine copy in the jacket with a couple of minor chips to head of spine and extremities. 157 first edition, presentation copy, inscribed by SALTEN, Felix. Bambi: A Life in the Woods. the author on the front free endpaper, “For Burton, Foreword by John Galsworthy. New York: Simon with all good wishes, from Siegfried Sassoon. May 1917.” The recipient, Nellie Burton, was Robert Ross’s and Schuster, 1928 devoted landlady and a good friend of Sassoon’s, Octavo. Original green vertical-ribbed cloth, spine lettered who took lodgings with her at various points during gilt and with thick gilt rule at head and tail, front cover with and after the war; Burton supervised Ross’s suite of deer motif in gilt in central panel, pictorial endpapers, top rooms at Half Moon Street, near the Ritz, and was a edge yellow. Frontispiece and 25 plates by Kurt Wiese, vi- fierce guardian of their privacy. gnette title page printed in black and green. Spines dulled Keynes A15a. and slightly rolled. A very good copy. first edition in english, first printing (July 1928); £4,500 [111826] originally published in German (Berlin: Ullstein Ver- lag, 1923). With an excellent photographic portrait of Salten mounted opposite the title page and inscribed: 156 “for Mr Nelson Craig cordially Felix Salten, 1935”. The

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

159 160

159 cut. With the dust jacket and plain glassine wrapper. With 7 Original production cel with key original water-colour plates with laid-in tissue-guards, vignette half-title and title production background from “The Mayflower Voyag- SASSOON, Siegfried. The War Poems. London: page, and frequent head- and tailpieces, all by William Ni- ers”, the first part of an eight-part mini-series called William Heinemann, 1919 cholson. Front board very lightly sprung and with one letter “This is America, Charlie Brown”. The cel features faintly smudged in the title, tips minutely bumped, a few Small octavo. Original red cloth, printed paper labels to spots to deckle edges as usual, Nicholson’s lightly pencilled Snoopy, Peppermint Patty, Marcie and Sally boarding spine and front cover. With the dust jacket. Very slight ton- signature somewhat faded. An excellent, crisp copy in the the Mayflower to leave England. The episode, which ing to jacket spine, vertical band of toning to prelims and bright dust jacket, the toned spine panel with a small sec- follows Charlie Brown, Linus, Lucy and the Peanuts end matter (a natural product of the long-term presence of tion of tape repair to verso at the foot and a couple of mild gang as they join the Pilgrims in their journey to the the dust jacket), a touch of foxing. An exceptional copy. nicks at the head. New World, first aired on 21 October 1988. first edition of Sassoon’s “savagely realistic and first illustrated edition, signed limited is- £3,850 [111932] compassionate war poems” (Rupert Hart-Davis in sue. Number 214 of 300 copies signed by the Sassoon ODNB), gathering 64 pieces, 12 of which appear in and Nicholson on the limitation page. First published 162 print for the first time here, the others having been the previous year, Sassoon’s “lightly fictionalized auto- published in two previous collections: The Old Hunts- biography of his early years in Kent, in which he figures (SEUSS, Dr.) JONES, Chuck. An original man (1917) and Counter-Attack (1918). A strikingly well as the narrator George Sherston, was an immediate production cel from the MGM animation Dr preserved copy. success, was awarded the Hawthornden and James Tait Seuss’s How the Grinch Stole Christmas: Why Santa, Keynes A20. Black memorial prizes, and was quickly accepted as a Why? MGM, 1966 £3,250 [112422] classic of its kind – an elegy for a way of life which had gone for ever. He continued the story in Memoirs of an In- Original hand painted production cel: the image of the fantry Officer (1930) and Sherston’s Progress (1937)” (ODNB). Grinch measuring 155 × 185 mm. Mounted, glazed and An elegy for a way of life which had gone £2,750 [112533] framed in black wood (overall size 390 × 440 mm). In excel- for ever lent condition. 161 Originally broadcast by CBS on 18 December 1966, 160 How the Grinch Stole Christmas became a perennial fea- SASSOON, Siegfried. Memoirs of a Fox-Hunting SCHULZ, Charles M. Original production cel ture of US festive season television – the position from “The Mayflower Voyagers”. Schulz Studios, occupied by Raymond Briggs’s The Snowman for Brit- Man. With illustrations by William Nicholson. ish audiences. Superbly voiced by Boris Karloff and 1988 London: Faber & Faber, 1929 with ear-catching music by Albert Hague and Eugene Octavo. Original japon vellum, titles and decoration to Original pan production cel with key original water-colour Poddany, it was Chuck Jones’s inspired direction that spine and covers in red and black, top edge gilt, others un- production background. Image size: 22 × 9 inches. Framed turned Seuss’s updating of the Scrooge story into a size: 31 inches by 18.5 inches. small screen classic.

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162

161 164

In this scene the Grinch tries to explain to Cindy Lou final quarto edition, the seventh overall, this copy Who what exactly he is doing in her home on Christmas from the collection of American Shakespeare scholar Eve and features at around the 16:29 mark in the film. Joseph Parker Norris (1847–1916), with his engraved The cel captures a trademark Chuck Jones expression of armorial bookplate to the front pastedown. Richard smarmy cunning on the face of the despicable Grinch. Wellington took over Bentley’s copyrights in 1697. All £4,000 [112739] quarto editions of Othello from the third onward largely 163 followed the text of the second, published by Richard Hawkins in 1630; Jaggard records all quartos from the 163 fourth onward as edited by John Dryden, though such (SEUSS, Dr.) JONES, Chuck. An original Max (who he later “disguises” as a reindeer), set on a textual differences as there are appear to be misprints printed background for presentation purposes. The rath- production cel from the MGM animation Dr (Rosenberg, The Masks of Othello, p. 265). Othello’s ap- er perturbed Max (gripping a pin cushion in his mouth) is pearance in quarto format preceded its publication in Seuss’s How the Grinch Stole Christmas. MGM, 1966 acting as a “tailor’s dummy” for the cunning Grinch as he the First Folio (1623) by a year. “F [the First Folio] con- Original hand painted production cel: the image of the Grinch sets about stitching together his Santa outfit; the scene tains approximately 160 lines that are absent from Q and Max measuring 160 × 200 mm (overall size including back- features at around the 8:20 mark in the film. Cels signed [the first quarto edition], including a number of extend- ground 230 × 300 mm). Mounted, glazed and framed in black by Chuck Jones are by no means common. ed passages and some well-known set-pieces, while Q wood (overall size 430 × 500 mm). Authentication seal on the £7,000 [112740] has generally fuller and more elaborate stage directions, front and accompanied by the certificate of authentication on and includes a scattering of lines and phrases missing the reverse of the frame, both signed by Jones’s daughter Linda from F . . . There has been broad agreement among edi- and dated “5.15.00”. In excellent condition. 164 tors and textual critics that both Q and F derive from a Originally broadcast by CBS on 18 December 1966, SHAKESPEARE, William. Othello, the Moor of manuscript (or separate manuscripts) in Shakespeare’s How the Grinch Stole Christmas became a perennial fea- Venice. A Tragedy. As it hath been divers times own hand . . . Thus each has claims to authority . . . The ture of US festive season television – the position oc- Acted at the Globe, and at the Black-Friers: And Second Quarto of 1630 (Q2) . . . also demands serious at- cupied by Raymond Briggs’s The Snowman for Brit- tention, since it offers a carefully corrected version of ish audiences. Superbly voiced by Boris Karloff and now at the Theatre Royal, by Her Majesties Q, produced by an editor who made extensive use of F” with ear-catching music by Albert Hague and Eugene Servants. London: for R. Wellington, 1705 (Michael Neill’s appendix to the Oxford Edition, p. 405). Poddany, it was Chuck Jones’s inspired direction that Produced as they were for theatre use, quarto editions of turned Seuss’s updating of the Scrooge story into a Quarto (216 × 170 mm). 19th-century marbled boards, roan tips, rebacked with tan calf, spine lettered in gilt, top edge Shakespeare are notably uncommon survivals. small screen classic. gilt, marbled endpapers. Corners rubbed and darkened, ti- Bartlett pp. 78–9; Ford 213; Jaggard p. 422. Original hand painted production cel setup signed by tle-page lightly soiled with skilful repair to verso, mild scat- £6,000 [111068] Chuck Jones and featuring the Grinch and his pet dog tered spotting, light browning to sigs. C to I. A good copy.

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165 Discover the Source of the Nile; and the frontispiece por- this edition follows that of the 1818 first edition, pub- trait to Boswell’s Life of Johnson. He engraved some lished in London. The spine-lettering is unusual by SHAKESPEARE, William. The Plays. From plates for Boydell’s Shakspeare Gallery, and in 1807 pub- English standards, with the title in the middle com- the corrected text of Johnson and Steevens. lished this six-volume set of Shakespeare illustrated partment and the author’s name at foot. Embellished with plates. London: John Stockdale, with engravings after works by Stothard and Henry £7,500 [106343] Fuseli on his own account, a substantial demonstra- 1807 tion of his huge popularity. From the library of Mer- 167 6 volumes, quarto (330 × 270 mm). Late 19th-century brown seyside industrialist James McBryde, with his book- half morocco, spines in compartments with gilt titles direct, plate to each front pastedown. McBryde, who was SHELLEY, Percy Bysshe. The Cenci. A Tragedy, raised bands ruled in gilt and black, light brown cloth sides originally from Scotland, owned an alkali factory in in Five Acts. [Livorno,] Italy: for C. and J. Ollier, ruled in black, marbled endpapers, edges untrimmed. With St Helens in the second half of the 19th century. A 22 copperplates engraved by James Heath after Thomas Sto- handsome set with untrimmed edges. London, 1819 thard, William Hamilton and Henry Fuseli. Spines lightly faded, occasional light spotting to contents, a few frontis- £2,500 [111313] Small quarto (225 × 145 mm). Late 19th-century red-brown pieces and titles a little dust-soiled, frontispiece to Volume full morocco by Ramage, raised bands tooled in gilt to spine forming compartments, second and third gilt-lettered di- 5 slightly creased and with tiny repair on the recto. An excel- 166 lent set. rect between double rules gilt, remaining compartments SHELLEY, Mary W. Frankenstein, or the triple-ruled in gilt, “Italy 1819” tooled to foot in gilt, broad first heath edition. James Heath (1757–1834) seven-fillet border to covers gilt, top edge gilt, others un- was the London-born son of a bookbinder. The fam- Modern Prometheus. Philadelphia: Carey, Lea and trimmed, floral roll to turn-ins gilt, marbled endpapers. ily originated in Nottingham where James Heath’s Blanchard, 1833 Armorial bookplate of Joseph Turner to front pastedown. grandfather Joseph Heath was a bookseller and writ- Light rubbing to corners, joints and headcaps, very faint ing-master. James was apprenticed to the engraver 2 volumes bound as one, duodecimo (172 × 102 mm). Con- foxing towards top edge of title-page, p. 102 and binder’s Joseph Collyer the younger in 1771 and became es- temporary black straight-grained calf, marbled sides, raised blanks, light marginal tanning to pp. 29–33, small spill-burn tablished as one of the leading line engravers of his bands, titles and ruling to compartments gilt, all edges to p. 9 partially obscuring one letter, otherwise the very oc- sprinkled red, marbled endpapers. With half-titles. Spine casional spot chiefly restricted to margins. These flaws time. His first major success was in engraving plates judiciously restored at top compartment, front joint care- minor: an excellent, notably wide-margined copy in a fine for Bell’s edition of The Poets of Great Britain. He was fully repaired, tips refurbished, internally fairly clean, with Victorian binding. employed by the Robinson family of booksellers from occasional spot of foxing to text. An excellent copy. first edition, one of 250 copies printed. Shelley’s 1779 to 1804. He became one of the most widely-em- first u.s. edition of Mary Shelley’s masterpiece verse tragedy proved an unexpected sensation on ployed engravers of the age, producing illustrations of Gothic horror and early polemic against the hu- publication despite its action being far too lurid for for many celebrated works including Lavater’s Essays bris of modern science, with Shelley’s name spelled the London stage. He been fascinated by the story on Physiognomy; Vancouver’s A voyage of discovery to the incorrectly as “Shelly” on the title page. The text of of Beatrice Cenci and Guido’s portrait of her in the north Pacific Ocean, and round the world; Bruce’s Travels to

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168 169 170

Colunna palace at Rome, and originally intended the “It was the only tree that grew out of Octavo. Original green cloth, titles to spine in red. With the latter to be copied as a frontispiece for this book. dust jacket. Spine a little rolled, edges of text block slightly He worked exceptionally fast on his version of the cement” spotted. An excellent copy in a lightly toned, rubbed and edge-chipped jacket with two small ink marks to front panel. tragedy, starting in May and ending in August of his 169 annus mirabilis, the same year he wrote Prometheus Un- first edition, presentation copy inscribed by bound, The Masque of Anarchy, and the “Ode to the West SMITH, Betty. A Tree Grows in Brooklyn. New the author on the front free endpaper: “To my dear Wind”. The book is excellently produced, handsome- York: Harper & Brothers, 1943 friend Eric Gillett who was exceptionally kind to me ly printed on thick laid paper: “It has a few errors of when I was utterly unknown, CPS, 19. ii – 45”. Eric Octavo. Original green cloth, paper spine label. With the Gillett (1893–1978) was a literary critic, publisher and the press incidental to the Italian compositors’ igno- dust jacket. Extremities of jacket spine lightly creased and broadcaster. During the First World War he served as rance of English . . . but on the whole it seems to me a with a few nicks and chips, panels slightly rubbed, neat con- preferable text to the second edition – a text more like temporary ownership inscription on front pastedown, pale a captain in the Lancashire Fusiliers and was wound- the absolute production of Shelley” (Forman). offsetting to endpapers. A very good copy. ed at Ypres. He published and edited a number of literary anthologies and wrote reviews for the Daily Forman, p. 56; Granniss 50; Wise, p. 51. first edition. Betty Smith’s coming-of-age novel Telegraph and The Times. Gillet was a regular contribu- £4,500 [108029] set in turn-of-the-century New York was an immedi- tor to the BBC (he appeared on over 2,000 radio pro- ate bestseller, gaining enormous popularity among grammes) and “one of the pioneers of talking about front line US servicemen via an Armed Services Edi- 168 books on the air” (The Radleian 1979, p. 61). tion produced in a huge numbers: “Betty Smith’s A SHUTE, Nevil. On the Beach. London: Heinemann, Tree Grows in Brooklyn was perhaps the most popular £3,750 [113363] 1957 ASE of them all. It provided such a vivid account of childhood that many men felt as though Smith were Octavo. Original red cloth, titles to spine gilt. With the writing about theirs” (Molly Guptill Manning, When dust jacket. Small tear to head of front board, spine slightly rolled. A very good copy in the jacket with two closed tears Books Went to War: the stories that helped us win World War to foot of spine panel, some nicks, creases and rubbing to II, 2014, p. 105). extremities and repairs to verso. £3,250 [112011] first edition, signed by the author on the title page, using his full name, “Nevil Shute Norway”. 170 Shute’s best-known novel, this was the basis for the 1959 film starring Gregory Peck, Ava Gardner and SNOW, C. P. Strangers and Brothers. London: Fred Astaire. Signed copies are very uncommon. Faber and Faber, 1940

£3,500 [113589] 170

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171 172 173

171 ty’ and ‘potatoes’ set against a background of squalor of inscribed books, most of which he donated to his and poverty” (Patrick C. Power in his Translator’s alma mater (see H. Peter Kriendler, “21”: Every Day was (STEADMAN, Ralph.) Flann O’Brien. The Poor Preface). New Year’s Eve, 1999, p. 69). Mouth (An Béal Bacht). A bad story about the £2,250 [112460] Goldstone & Payne A15b. hard life. Edited by Myles na Gopaleen (Flann £6,750 [111803] O’Brien). Translated by Patrick C. Power, and 172 illustrated by Ralph Steadman. London: Published STEINBECK, John, & Edward F. Ricketts. 173 by Bernard Jacobson Ltd, 1975 Sea of Cortez. A Leisurely Journal of Travel STEVENSON, Robert Louis. Treasure Island. Quarto. Original rough broad-weave cloth (resembling and Research. With a scientific appendix London: Cassell and Company, Limited, 1883 sacking), lettered in black on the front cover using Stead- Octavo (185 × 120 mm). Full green calf by Zaehnsdorf man’s calligraphy, map endpapers. Pictorial double-page comprising materials for a source book on the (signed 1911), spine richly gilt in compartments, red mo- title-page, illustrated throughout by Ralph Steadman. Neat marine animals of the panamic faunal province. rocco labels lettered in gilt to second and third, remain- library stamp of Denis Anthony Collins on recto of rear free New York: The Viking Press, 1941 ing compartments with circular onlays in red morocco endpaper. An excellent copy. to centre, covers with three-line border gilt and elaborate Octavo. Original green cloth, spine and front cover lettered first edition in english, number 44 of 130 cop- central quatrefoils with “RLS” monogram gilt to enclosed in silver, top edge orange, map endpapers. With the dust ies signed in pencil by the artist at the head of the red morocco onlays, top edge gilt, four-line rule enclosing jacket. 40 plates from photograph (8 colour, the remainder sawtooth roll to turn-ins gilt, pastedowns gold-painted with title page and in the lower margin of the original aq- monochrome). Bookplates on front free endpaper of Carol scalloped border and foliate cornerpieces tooled in blind, uatint (loosely inserted). Also inscribed flamboyantly G. and William E. Simon. Jacket with a few short closed- free endpapers green. Map frontispiece printed in blue, red across the half-title: “With best wishes from Ralph tears and nicks. An excellent copy. and black. Bound without publisher’s advertisements. Orig- Steadman”, accompanied by signature ink splashes first edition, inscribed by steinbeck on the inal cloth spine mounted to rear blank. Spine sunned to tan, and a thumbnail portrait of a dejected individual. The half-title: “For Bob Kriendler whom I didn’t even light rubbing along joints and extremitiess, surface splitting wonderful original print shows the hero’s father and know was a collector – Many thanks John Steinbeck, to inner hinges, occasional light toning towards edges, very Martin O’Bannassa “sitting on top of the hen-house, New York 1946.” Bob Kriendler was a member of the sporadic faint spotting. A very good copy, finely bound. gazing at the sky to judge the weather and also chat- founding family of Manhattan’s legendary “21” Club. first edition of Stevenson’s first novel. Originally ting honestly and quietly about the difficulties of While a student at Rutgers, he became a doorman at written as a pendant to the now-famous treasure map life”. “This celebrated satirical work, An Béal Bocht, the Club and because he had an interest in writers, the author had drawn to entertain his young stepson first published [in Gaelic] in 1941, is here translated he persuaded co-founder Jack Kriendler to institute a “on a rainy day in the Scottish Highlands” (Grolier), for the first time under the title of The Poor Mouth . . . policy of stocking books written by illustrious author- Treasure Island was serialised in Young Folks magazine [O’Brien] comments mercilessly on Irish life . . . The customers. Bob eventually amassed a large collection from October 1881 to January 1882 under the pseudo- key-words in this work are surely ‘downpour’, ‘eterni-

70 Peter Harrington 128

174 175 nym “Captain George North”. It was only with the ap- Frank, Lewis Mumford, Dorothy Norman, pearance of this first edition, however, that it received Paul Rosenfeld & Harold Rugg. With 120 any kind of critical attention, indeed, “was immediately hailed by critics as a classic”. Illustrations. Garden City, NY: Doubleday, Doran & With the following issue-points: “dead man’s chest” Company, Inc., 1934 176 not capitalised on pages 2 or 7; the first letter of “vain” Octavo. Original black cloth, titles to spine in silver, top broken in the last line, page 40; the “a” not present in edge black. With the dust jacket. 31 plates of illustrations auriculas, hyacinths, and tulips, with their line 6, page 63; the “8” dropped from the pagination from photographs. Rubbing to corners and ends of spine, descriptions, and an account of the most on page 83; the “7” overstamped in the pagination on light soiling to covers, front hinge cracked and rear hinge page 127; the full stop not present following “oppor- weak, in the dust jacket with some shallow chips to spine approved methods of culture. London: John ends and edges, toning to rear panel. A very good copy. tunity” in line 20, page 178; with “worse” in line 3, Ridgway, 1827–32. page 197. first edition, presentation copy inscribed by 2 volumes, octavo (236 × 141 mm). Recent dark green half Grolier 48. stieglitz on the front free endpaper, “For Godfrey Lundberg, from Alfred Stieglitz, an American Place morocco, decorative gilt spines, green linen cloth sides, £4,500 [106724] speckled edges, marbled endpapers. 200 hand-coloured en- Dec. 20/36. As a souvenir of the night at the Place graved plates by J. Watts after Edwin Dalton Smith (green when Mr. Lundberg photographed 7 O’Keeffes and 2 tissue guards). Occasional light ofsetting from letterpress 174 Marrens for the Chicago Tribune. It was a rare pleasure to plates otherwise a clean and attractive set. for me to see real competency at work – a man know- STEVENSON, Robert Louis. A Child’s Garden first edition of this highly attractive botanical ing his job.” Lundberg was a staff photographer for directory, originally published periodically. Wilfrid of Verses. London: Longmans, Green, and Co., 1885 the Chicago Tribune who was married to Eleanor Jew- Blunt describes Edwin Dalton Smith as a “consider- ett, the art editor for the Tribune. Octavo. Original blue cloth, titles to spine gilt, top edge gilt, able artist of small-scale work” (The Art of Botanical others untrimmed. With a custom green linen chemise and £4,250 [112398] Illustration, 1950, p. 212). He was employed at the green quarter morocco slipcase. Spine rolled, edges lightly rubbed, a little spotting to contents. An excellent copy. Royal Gardens at Kew for many years and contrib- 176 uted illustrations for Sweet’s Flora Australasica (1827– first edition. One of only 1,000 copies published. 1828). Sweet was a Devon-born horticulturist based £2,750 [107241] SWEET, Robert. The Florist’s Guide, and the in Chelsea. Cultivator’s Directory; containing coloured Dunthorne 296; Great Flower Books p. 7; Pritzel 9080; Nis- 175 figures of the choicest flowers, cultivated by sen BBI 1925. STIEGLITZ, Alfred. America & Alfred florists; including ranunculas, carnations, £8,750 [111188] Stieglitz. A Collective Portrait. Edited by Waldo picotees, pinks, georginas, polyanthus,

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

178

177 Miss G. Wallbrand Evans, who may have been trained 4 works, quarto. Original pictorial cloth or boards, picto- 177 at the Guild of Women Binders in Hampstead. She rial endpapers. With the dust jackets. Colour illustrations then took on Winifrid Stopes, younger sister of Ma- throughout by Hilary Knight. Eloise with neat stamp (and (TAUNTON, Ethel, binder.) BROWNING, rie. Taunton gave up binding soon after and Winifrid accession number) of 20th Century-Fox Film Research Li- brary on front pastedown; Christmastime with neat pres- Robert. Men and Women. London: J. M. Dent, bought some of her equipment. entation inscription; doll in excellent condition and with [1899] Cockerell started as an apprentice to T. J. Cobden- the original box (Eloise label still intact and the box maker’s Sanderson at the Doves Bindery in Hammersmith in stamp on the underside). Overall a very good set. Small octavo (149 × 92 mm). Contemporary red-brown mo- 1893. He moved to Denmark Street in 1897, Gilbert rocco by Ethel Taunton (her dated monogram gilt to rear first editions, presentation copy of Eloise in Street in 1899, and then Ewell, Surrey in 1902, a few turn-in), raised bands to spine forming compartments, Paris with a lengthy inscription from the author: “For titles to second and third gilt, remaining compartments miles from Taunton’s home in Tadworth. Bookbind- my darling Fairfax – with a little petite of every thing decoratively tooled in gilt, two-line gilt frame to covers en- ing became a common activity among upper-class that’s choisie, because because because, you are! closing intricate central quatrefoil enclosing smaller trifoils women with the growth of the Arts and Crafts move- Love love love Kay and Moi Eloise xx”. Eloise in Moscow composed of green onlays elaborated in gilt, dotted corner- ment in the late 19th century. Cockerell in particular is inscribed on the title page by the illustrator: “Hi- pieces gilt, front cover additionally with initials “S. & K.B.” had a number of female pupils, “who found opportu- lary Knight Dec 3 95”. gilt to centre, all edges gilt, twin rules to turn-ins gilt, blue nities in craft bookbinding denied them in the trade, “When four Eloise dolls adorned the cover of the endpapers. Photogravure portrait frontispiece, title page where women were confined to sewing” (ODNB). The printed in red and black with woodcut border. Extremities December 1957 issue of ‘Good Housekeeping’, San- date of the present binding identifies it as one of the very lightly rubbed, spine faintly sunned, a few mild scuffs ta Claus was not prepared. No one was. Just before and marks to covers. A very good copy. earliest Taunton would have produced. Thanksgiving ’57, Simon & Schuster had published Handsomely bound in the Art Nouveau style by Ethel Tidcombe, Women Bookbinders 1880–1920, pp. 169–70. the highly anticipated sequel book, Eloise in Paris, but a Taunton, a pupil of pioneering craft bookbinder £1,875 [112125] brand new 21 inch Eloise rag doll was making quite a Douglas Cockerell, the design here reflecting his splash of its own. An ad campaign for Cannon Sheets featured the Eloise doll. Department stores across “simple vocabulary of flowers and leaves and scroll- 178 ing lines into roundels, panels, and arabesques that America were spotlighting the dolls. FAO Schwarz in- echo[ed] the proportions and structure of the book” THOMPSON, Kay. [Complete set of the four cluded the Eloise doll in its Christmas ’57 mail order (ODNB). Taunton worked with Cockerell at his work- original Eloise books:] Eloise: a book for catalog. Even the most popular magazine in America, shop in Gilbert Street (later Gilbert Place), Blooms- Life, weighed-in with a spread showing a little girl sur- bury, for six months. She then spent a year and a half precocious grown ups; Eloise in Paris; Eloise at rounded by Eloise dolls, clothes, merchandise, and, back at her family home in Tadworth, Surrey, bind- Christmastime; Eloise in Moscow; [with:] the most spectacularly two 43 inch, larger-than-life-size ing for friends and local booksellers, before return- original 21-inch Eloise doll and packaging. New dolls that Eloise illustrator Hilary Knight recently joked were ‘a little scary’” (Sam Irvin, “The Rawther ing to London and establishing her own bindery in York: Simon and Schuster, 1955–59 Marloes Road, Kensington. Her first assistant was [sic] Definitive History of the Eloise Doll”,Antique Doll Collector, August 2001 – archived by the Kay Thomp-

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179 180 181 son website). The doll is remarkably scarce when ac- grey matte paper. “The most original and beautiful copies in sheets in the warehouse of the binder Key companied by the original packing. children’s book of the 1920s was William M. Timlin’s & Whiting were destroyed in the bombing of London £5,750 [106361] masterpiece The Ship That Sailed to Mars . . . a magical on 7 November 1940 . . . [The coloured versions of the combination of science fiction and fairyland” (Rich- illustrations] had been commissioned for their first ard Dalby, The Golden Age of Children’s Book Illustration, American edition, and were in the American publish- The most original and beautiful children’s 1991, pp. 102–3). er’s hands when Allen & Unwin decided to include book of the 1920s Locke, A Spectrum of Fantasy, II p. 109 (“Fantasy with its them in the second impression. The original art was roots in the fairy tale, describing the building of a space- called back for reproduction in Britain, then returned 179 flying sailing ship, its voyage to Mars and the monsters across the Atlantic” (Hammond & Anderson p. 15). TIMLIN, William M. The Ship that Sailed to encountered en route . . . This unique book, highly sought- The first edition was published on 21 September 1937 after by collectors of fantasy, illustrated books and South and the first impression of 1,500 copies was sold out Mars: a Fantasy. London: George G. Harrap & Africana”). by December. Company Limited, [1923] £2,500 [112445] Hammond & Anderson A3b. Quarto. Original quarter japon, gilt lettered and decorated £15,000 [113684] spine, grey paper covered boards, title to front board in 180 dark grey. Title page and letterpress printed in blue & black, 48 mounted colour plates, and 48 mounted pages of let- TOLKIEN, J. R. R. The Hobbit or There and 181 terpress. A few light marks to covers, old faded staining at Back Again. London: George Allen & Unwin Ltd, 1937 TOLKIEN, J. R. R. Bilbo le Hobbit. London: head of front cover, light bump to lower fore-corner. A very good copy. Octavo. Original green cloth, spine and covers blocked in George Allen and Unwin Ltd, 1969 dark blue, top edge green, map endpapers printed in black first edition. Born in Northumberland, Timlin and red. With the dust jacket. Colour frontispiece, 4 full- Octavo. Original cream cloth, title to spine and front cover (1892–1943) began his art training in the north east of page plates from drawings by the author (3 in colour, one gilt, illustrated endpapers. With the dust jacket. An excel- England but completed it when his parents emigrat- monochrome: “Mirkwood”), 8 full-page line drawings. lent fresh copy in the jacket with slightly faded spine. ed to South Africa, where he studied art and practised Jacket spine lightly toned, light scuff to top corner of front first edition in french. It was first published in as an architect. The Ship That Sailed to Mars is his only panel, a few minor nicks and chips, binding spine rolled, a the UK in 1937. few pale brown marks to covers. A very good copy in a republished book, a fantastical illustrated gift book that Hammond & Anderson G.1. rivalled those of Rackham, Dulac, Goble and Nielsen. markably well-preserved dust jacket. £2,750 [112616] The book was published in Britain by George Harrap, first edition, second impression, the first to who had earlier published Willy Pogany, and they fol- include coloured versions of four of Tolkien’s illus- lowed a similar format here, reproducing Timlin’s trations. “The second impression consisted of 2,300 original calligraphic text mounted, like the plates, on copies printed in December? 1937 . . . [although] 423

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

lustrate and closes with best wishes for the new year and a hope “that it is anything rather than illness that has prevented you from sending me the photos earlier”. Writing again on 7 February, Wallace thanks Kend- all for the photos he has sent and itemizes the seven he intends to use; “Thanks also for the map showing extension of the British ice sheet . . . PS I have some glacial photos from another geol. friend, but I can get no good one of a terminal moraine in a valley, though there are so many in Wales & England”. On 18 February, Wallace returns two negatives (not present here), with thanks: “The glaciated boulder of Rhomb-porphyry is very interesting & useful. The gorge seems to be the Aarschlucht of which I have a better view. I have not yet been able to get a clear & good photo of a good terminal moraine. I suppose 182 183 they are so common nobody thinks of taking them!” Wallace publicly acknowledges Kendall’s help at vol. 182 With four autograph letters to the geologist I, p. 136 in the published text of the book. VERNE, Jules. Around the World in Eighty Days. who supplied materials for the book The last letter, dated 2 August 1902, is evidently written in response to a letter from Kendall concerning Translated by Geo. M. Towle. London: Sampson 183 the book itself, and opens by apologizes for a tardy Low, Marston, Low, & Searle, 1873 WALLACE, Alfred Russel. Studies Scientific response: “ . . . I have been so fully occupied with writing new editions of several of my books, & with Octavo. Original blue cloth, spine and front cover blocked in & Social. In two volumes. With numerous black and gold, bevelled boards, buff endpapers, gilt edges. negociations [sic] for buying some land, & then with Frontispiece and 54 plates. 48pp publisher’s catalogue at illustrations. London: Macmillan and Co., Limited; designing & building a house (now approaching end, dated October 1873. Contemporary gift inscription The Macmillan Company, New York, 1900 completion) and making a new garden, that my cor- from the British antiquary and poet Thomas Francis Dillon respondence has been greatly neglected. I am glad Croker FSA FRGS (1831–1912), “With affectionate regards 2 volumes, octavo. Original green cloth, spines and front that you were at length convinced that there are rock from T. F. Dillon Croker to Josephine Emily Bolton, Christ- covers lettered and ruled in gilt. With 114 illustrations and basins in highly glaciated districts, but why their ex- mas 1873” on the front free endpaper verso. Spine slightly diagrams. Presentation slip tipped-in to vol. I, each volume darkened, extremities rubbed, two short nicks at head of with ownership inscriptions of Percy Fry Kendall. Spines istence seemed so highly improbable to you & others spine, a little scattered foxing, but an excellent copy. slightly darkened, contents lightly foxed; an excellent, as to lead you to think it even possible, that the occur- rence of hundreds of Alpine valley lakes going far be- first uk and first illustrated edition in bright set. low sea-level – while beyond glaciated areas they were english, rare with the title page dated 1873. This first edition, presentation copy to the British Sampson Low edition was published in November geologist Percy Fry Kendall (1856–1936), who sup- 1873, but the overwhelming majority of copies have plied Wallace with photographs of glacial features for the title dated 1874, in line with usual contemporary the book, together with four autograph letters signed practise for books published for the Christmas mar- from Wallace to Kendall, the last tipped-in to vol. I, ket. The binding was issued in a number of variant dated 3 August 1902. The first three letters concern colours: blue, green, red, and purple. photographs and a map of geological features that The novel was first published in French in 1873 as Le Tour Kendall has offered to supply to Wallace for inclusion du monde en quatre-vingt jour, from which James R. Osgood in the present book. of Boston published an unillustrated translation in July The first letter is dated 15 January 1900, Parkstone, 1873, under the title The Tour of the World in Eighty Days. Dorset: “I am sorry to trouble you again, but not hav- The translator George Makepeace Towle (1841–1893) ing heard from you since Oct. 30th I fear you may be was an American lawyer and politician. “In an unusual ill, or that you may be taking a great deal of trouble twist, this American translation crossed the Atlantic for about the Map you spoke of ” (Kendall has underlined use by Sampson Low in England” (Taves and Michaluk). the latter clause in pencil and added the comment: “yes”). Wallace describes the features he wants to il- £8,750 [108972] 183

74 Peter Harrington 128 almost entirely absent – could be wholly explained by sufficiently rapid differential, & often very restricted earth-movements of which no proof has ever been given, – I cannot imagine. It seems to me exactly parallel to the unreasoning disbelief in the antiquity of man, which still leads the bulk of geologists to reject all evidence of his preglacial existence, often without careful examination. To me, the cumulative argu- ments are, in both cases, quite conclusive, and are at all events so weighty as to throw the burden of proof on those who reject them in favour of others and for more difficult hypotheses. When they are obliged to assume hundreds of local earth movements sufficiently rapid to produce deep lake-basins, and also to assume that no such rapid and local movements have recently occurred in any non glaciated region, – I say – Give your proofs! The thing is far too improbable to be accepted without proof!” 186 Kendall has annotated the letter in pencil: “ARW quite misapprehends my position in regard to both 185 rist and Pomologist was particularly pleased with Warner’s questions. I recognise that many rock basins are the work, noting that it constituted “a very handsome vol- result of glacial erosion. But a line must be drawn WARNER, Robert, & Benjamin Samuel Williams. ume . . . in every way suitable to be laid on any drawing- somewhere short of the great tectonic basins and the Select Orchidaceous Plants. With Notes on room table” of any lover of flowers (Hogg, 1867) and the question is where? As to preglacial Man I have never Culture. London: Lovell, Reeve, & Co., 1862–5 success of the first series led to the publication of a sec- had a doubt. PFK.” ond (1865–75) as well as a third series (1877–91). Folio. Original morocco grained green cloth, titles to front £7,500 [111560] Great Flower Books (reprint) p. 149. board gilt, all edges gilt, red-brown endpapers. 40 hand- coloured lithographic plates. Extremities lightly worn, mild £3,500 [112387] 184 spotting to prelims, small tear to centre of final leaf affect- WARHOL, Andy. Advertising flyer for Mao Tse- ing 3 lines of text. A very good copy. 186 Tung portfolio. New York: Multiples Inc. and Castelli first edition of the first series of Warner and Wil- liams’s richly illustrated large-format work on orchid WAUGH, Evelyn. Men At Arms; Officers and Graphics, 1972 species, one of “the most glorious iconographic orchid Gentlemen; Unconditional Surrender. London: Offset lithograph on gloss art card. Sheet size 17.5 × 35 cm. books produced during the height of orchid collecting Chapman and Hall, 1952–55–61 Excellent condition. in the 19th century” (Long, Flora Illustrata, p. 8). The Flo- 3 volumes, octavo. Original blue cloth, titles to spines gilt, signed on the cover in felt pen by warhol. top edges blue. With the dust jackets. An excellent set in the This card was produced to announce the publica- jackets; Officers and Gentlemen toned, with short closed tear tion of the Mao Tse-Tung portfolio of which Warhol to head of front panel, Men At Arms with extremities rubbed signed an unknown amount. and some small chips to spine ends and tips, Unconditional Feldman & Schellmann II. 90–99 Surrender with spine sunned. £3,750 [113700] first editions, presentation copy of Uncondi- tional Surrender, inscribed by the author on the front free endpaper: “For Henry and Barbara, with neigh- bourly greetings, from Evelyn. October 1961.” The re- cipients were Henry Hopkinson, 1st Baron Colyton, and his second wife Barbara; Colyton was the Con- servative MP for Taunton 1950–6, Waugh’s constitu- ency, following his move to Combe Florey House, near Taunton, in 1956. The three books comprise the Sword of Honour trilogy.

185 £3,250 [113742] 184

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187 188 190

187 189 first edition, limited issue, one of 50 copies printed on Van Gelder paper. There was also a trade issue of WAUGH, Evelyn. [The novels and short stories.] WILDE, Oscar. Salomé. Drame en un acte. 600 copies. Salome was composed by Wilde in French London: Chapman and Hall, 1928–57 Paris: Librairie de l’Art Independant, & London: Elkin and not published in English until the following year. 17 works, octavo. Recent dark blue morocco, titles and deco- Mathews & John Lane, 1893 Mason 348. ration to spines gilt, raised bands, single rule to boards gilt, Crown octavo. Contemporary half vellum for Hatchards, £2,750 [112802] marbled endpapers, all edges gilt. The occasional minor green cloth sides ruled in gilt, flat bands to spine forming blemish, an excellent set. compartments, olive-green morocco labels to second and first editions of all of Waugh’s full-length novels, third, floral centrepieces gilt to remaining compartments, Wilde’s greatest triumph from Decline and Fall (1928) to Unconditional Surrender top edge gilt, others untrimmed, marbled endpapers, 190 (1961), and his volume of short stories, Mr. Loveday’s bound green silk page-marker. With the terminal licence Little Outing and other Sad Stories (1936). leaf. Original paper wrapper bound in before half-title. WILDE, Oscar. The Importance of Being Contemporary ownership inscription of Mde Mérey, dated £7,500 [110684] 1897, to the initial blank, possibly Belgian soprano Jane Mé- Earnest. A Trivial Comedy for Serious People by rey (1872–1923), pupil of Rosine Laborde in Paris; later col- the Author of Lady Windermere’s Fan. London: 188 lector’s bookplate and accession label to front pastedown. Leonard Smithers and Co, 1899 Boards slightly bowed, vellum at upper outer corners dark- WELLS, H. G. The War of the Worlds. London: ened, internally crisp and clean. A very good copy. Square octavo. Original pale purple cloth, gilt lettered William Heinemann, 1898 spine, gilt floral motifs from designs by Charles Shannon on spine and covers, untrimmed. Bookplate to front paste- Octavo. Original grey cloth, spine and front cover lettered down. Spine and top of boards slightly sunned, spine ends a in black, publisher’s monogram in black on back cover, un- touch bumped, light offsetting from bookplate, occasional trimmed. Spine rolled, small brown stain on front cover, in- minor spotting to text block. A very good copy. ner hinges split but sound. A very good copy. first and limited edition, out-of-series copy out first edition, first issue, with the 16-page publish- of an edition of 1,000 copies. The Importance of Being er’s catalogue and the end, dated 1897 and headed by Earnest, Wilde’s last play, opened to great acclaim on New Letters of Napoleon I. The War of the Worlds was Valentine’s Day 1895 but was withdrawn after Wilde’s originally printed as a serial in Pearson’s magazine from failed libel suit against Lord Queensbury led to his April to December 1897. arrest. The subsequent “utter social destruction of Locke, Spectrum of Fantasy, I p. 228; Wells 14. Wilde” (ODNB) meant that the play was not published £3,500 [109638] in book form until February 1899, after Wilde’s release from prison. Richard Ellmann comments that Smithers’s handsome editions of Earnest and An Ideal Husband “brought Wilde a little money”. Mason 382. £3,850 [112957] 189

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191 192 193 194

191 third edition, out-of-series copy from a limited Royal quarto. Original red cloth-backed grey boards, pink edition of 500, and the first edition illustrated through- paper label to front board, titles to spine gilt, top edge gilt. WODEHOUSE, P. G. Summer Lightning. out by Vanessa Bell, the first and second editions con- In the original green card slipcase. With 2 illustrations by London: Herbert Jenkins Limited, 1929 taining a woodcut frontispiece and finispiece only. W. A. Dwiggins in pink, green and orange. Spine a little tanned, a few minor marks and nicks to boards, sporadic Octavo. Original orange cloth, titles and publisher’s device First published in 1919, Kew Gardens was Woolf ’s third light spotting to contents. An excellent copy in a rubbed to spine in black, titles and single frame to front board in published book and the first book illustrated by her slipcase with neatly repaired edges. sister Vanessa; its unexpected success was “the most black. With the illustrated dust jacket. Bookseller’s ticket signed limited edition, number 472 of 550 cop- to front pastedown. Gift inscription to front free endpaper. dramatic factor in the Woolfs’ becoming significant ies signed by the author in her trademark purple ink. Endpapers lightly toned, some foxing to edges of text block commercial publisher” (Woolmer p. xxiii). Sales of the and last few pages. A very good copy in the jacket with resto- first edition were slow until the appearance of a review Kirkpatrick A15. ration to spine ends and the Herbert Jenkins colonial library in the Times Literary Supplement hailing it as “a work of £1,250 [113655] sticker to spine panel. art . . . a thing of original and therefore strange beauty, first uk edition in book form, published some with its own ‘atmosphere,’ its own vital force” (idem p. 194 three weeks earlier in the US with the title Fish Pre- xxiv). This resulted in a flood of orders that the Woolfs ferred. This, the third of Wodehouse’s stories to be set could not fulfil on their own, and they contracted the WORDSWORTH, William[, & Samuel Taylor in Blandings Castle, orginally appeared as a serial in second edition to professional printer Richard Mad- Coleridge.] Lyrical Ballads, with pastoral and both the US and the UK earlier that same year. ley. Kew Gardens was not simply a vehicle for showcas- other poems. In two volumes. London: Longman, McIlvaine A41b. ing Vanessa’s artistic talents: alongside Virginia’s sec- Hurst, Rees, and Orme, 1805 £2,250 [113585] ond published work, The Mark on the Wall (1917), and An Unwritten Novel (1920), Kew Gardens was one of her 2 volumes, duodecimo. Contemporary green half morocco, early shorter fictions which really “were less stories marbled sides, spine gilt in compartments. Light rubbing to 192 than theoretical expositions of the new form of fiction spine ends and tips, excellent condition. WOOLF, Virginia. Kew Gardens. Decorated by that she had come upon” (ODNB). Vanessa’s contribu- fourth edition of this cornerstone text in British Vanessa Bell. [London:] The Hogarth Press, 1927 tion was also of great personal importance to Virginia, poetry, and an attractive copy in contemporary mo- who saw it as a means of “binding herself to her sister” rocco. Largely based on the 1802 third edition, it is Crown quarto. Original paper boards, titles to spine in (Willis, p. 31). The third edition of Kew Gardens is highly the last of the early lifetime editions and the final edi- brown, three-colour pictorial design by Vanessa Bell to front uncommon in this condition. tion to include contributions by Coleridge. Wise, in board, untrimmed, printed on rectos only. In a contemporary brown paper dust jacket with manuscript title to front Kirkpatrick A3c; Willis pp. 30–34; Woolmer 156. his bibliography of Wordsworth, places a “high bib- panel. Title page printed in brown and decorative floral £4,500 [112433] liographical value upon all four editions of the Lyrical frames throughout, all after designs by Bell. Head of spine Ballads.” This edition includes Wordsworth’s Preface bumped, pale foxing along rear joint, a few very small mark- from the 1800 edition, dubbed “the manifesto of the ings to rear board, free endpapers tanned, very light foxing Signed by Virginia Woolf Romantic Movement”. to title and equivalent offsetting to versos, these flaws mi- 193 Reed A7; Healey 17; Printing and the Mind of Man 256 (first nor: a superb copy, exceptionally well-preserved in a con- edition); Wise, Wordsworth 7. temporary dust jacket conceivably supplied at publication. WOOLF, Virginia. Beau Brummell. New York: £2,750 [111617] Rimington & Hooper, 1930

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

195 196 197 198

195 lustrated title page with tissue-guard. With the bookplate of the wife of Yeats. She was originally known as Geor- George Henry Corey to the front pastedown. A little brown- gie, until Yeats declared the name insufferable. YEATS, W. B. The Wanderings of Oisin and other ing to cloth, a little minor wear to tips. An excellent copy. George managed the Cuala Industries with Yeats’s poems. London: Kegan Paul, Trench & Co., 1889 first edition. One of 750 unnumbered copies. sisters Lily and Lolly after her husband’s death, in- Octavo. Original blue cloth, titles to spine and front board Wade 15. creasingly on her own as Lily’s health failed and Lolly gilt, black coated endpapers. Bookplate to front pastedown. £2,750 [112121] died suddenly in 1940. The second separate printing A few scratches to cloth, head of front hinge split, rear hinge of the text, it is based on the text as it appeared in cracked but holding. A very good copy. The Wanderings of Oisin (1889), and incorporating the 197 first edition, presentation copy, inscribed by corrections that were made by the author in his own Yeats on the front free endpaper, “To James A. Healy, YEATS, W. B. The Winding Stair and other copy. Mosada was Yeats’s first published work, and most of the subscribers for the book were found by poems. London: Macmillan and Co., Limited, 1933 was first published in 1886 as an offprint from the John O’Leary, the Fenian leader. W. B. Yeats.” James Dublin University Review. That edition, of around 100 Augustine Healy (1890–1975) was an Irish-American Octavo. Original green cloth, titles and geometric pattern to copies, is now “exceedingly rare” (Wade, p. 18). spine gilt, pictorial design by T. Sturge Moore to front board Wade 206. stockbroker, bibliophile, and patron of Irish writers, in blind, fore and bottom edges untrimmed. With the dust who donated the James Augustine Healy Collection jacket. Bookseller’s ticket to rear pastedown. An excellent, £3,500 [112217] of 19th and 20th Century Literature to Colby College bright copy in the jacket with nicks to spine ends. in Maine. He had an extensive correspondence with first edition of Yeats’s follow-up collection to The 199 Elizabeth C. Yeats and George Yeats, from whom he Tower. obtained all the Dun Emer and Cuala Press books, YEATS, W. B. The Variorum Edition of the Wade 169. a great number of which were inscribed by their au- Poems. Edited by Peter Allt and Russell K. thors or by W. B. Yeats. One of 500 copies issued. This £1,750 [112136] Alspach. New York: The Macmillan Company, 1957 copy is in the variant binding, without the publisher’s monogram to the rear cover. 198 Octavo. Original red and buff cloth, titles to spine gilt, top Wade 2. edge blue. With the slipcase. Spine slightly faded; an excel- YEATS, W. B. Mosada. Dublin: Cuala Press, 1943 lent copy. £8,500 [112219] Octavo. Original cream card wrappers, titles to front wrap- first edition, signed limited issue. Number per in black. With the original glassine jacket. Frontispiece 381 of 825 copies signed by Yeats. The limitation 196 reproducing Yeats’s manuscript. Bookplate of William Rob- sheets, signed by the author before his death in 1939, YEATS, W. B. Poems. London: T. Fisher Unwin, inson Pattangall. An exceptional copy. were retained by the publisher until the publication first cuala press edition, limited issue. Num- of this edition, which was deferred until after the war. 1895 ber 40 of 50 copies, and, though uncalled for, this Wade 211n. Octavo. Original buff cloth, titles and elaborate designs by H. copy is signed by “George” Hyde-Lees (1892–1968), £2,500 [112375] Granville Fell gilt to spine and boards, edges untrimmed. Il-

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GIFT SELECTION

200 202 first hammond edition, elegantly illustrated and ACKROYD, Peter. Hawksmoor. London: Hamish (ARCADIA PRESS.) INNES, Hammond. The bound in the attractive art nouveau-style gilt deco- Hamilton, 1985 Conquistadors. London: The Arcadia Press, 1970 rated cloth. Gilson E94. Octavo. Original brown boards, titles to spine gilt. With the Quarto (255 × 186 mm). Finely bound by Zaehnsdorf in con- dust jacket. Extremities lightly bumped, spine very gently temporary brown morocco, titles to spine, raised bands, £750 [112289] rolled, mild spotting to top and fore edges, contents toned, decorative Aztec motif onlay to front board in black and superficial splitting along gutter between half-title and title, blue morocco, inner dentelles gilt, marbled endpapers, all 204 still a very good copy in the bright dust jacket with very faint edges gilt. Housed in a pale brown cloth flat-back solander creasing to extremities. box with black morocco labels. Frontispiece and 47 colour AYCKBOURN, Alan. The Norman Conquests. A Trilogy of Plays. London: Chatto & Windus, 1975 first edition, inscribed “For P. Murray, from Peter plates, and maps and illustrations to text. A fine copy. Ackroyd, London: January 28, 1986” on the title page, first edition, signed limited issue. Number 32 Octavo. Original blue boards, titles to spine gilt. With the with an additional signature by the author. The inscrip- of 265 numbered copies, specially bound by Zaehns- dust jacket designed by David Brinson. Spine lettered up- tion was at the request of the Irish book collector Dr dorf and signed by the author. side-down (similar printing mishaps noted in other copies). Light spotting to fore edge, a few pale spots to prelims and Philip Murray, author of The Adventures of a Book Collector £325 [106068] end matter. An excellent copy in the toned dust jacket. (2011). Hawksmoor was awarded the Guardian Fiction Prize and Best Novel and the 1985 Whitbread Awards. first edition, inscribed by the author “To 203 Dr Murray, with all good wishes, Alan Ayckbourn, £275 [113569] AUSTEN, Jane. Sense and Sensibility. With an Scarborough March ’84” on the front free endpaper. introduction by Joseph Jacobs and illustrations by The inscription was at the request of the Irish book 201 Chris Hammond. London: George Allen, 1899 collector Dr Philip Murray, author of The Adventures of AMIS, Martin. Money: A Suicide Note. London: Octavo. Original green cloth, titles and elaborate decora- a Book Collector (2011). The Norman Conquests contains Jonathan Cape, 1984 tion to spine and front board gilt, top edge gilt. Frontispiece Table Manners, Living Together, and Round and Round the Garden. Octavo. Original black boards, titles to spine gilt. With the and illustrations to text. ownership inscriptions to verso of dust jacket. A fine copy. front blank. Spine gently rolled, light potting to endleaves. £350 [113970] An excellent copy. first edition, signed by the author on the title page. £450 [109750]

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

205 (AYRTON, Michael.) WEBSTER, John. The Duchess of Malfi. With introductory essays by George Rylands and Charles Williams. London: Sylvan Press, 1945 Octavo. Original blue leather, decoration to front board and title to spine gilt, marbled endpapers, top edge gilt. Illustrated by Michael Ayrton. Spine ends a little rubbed, minor foxing to endpapers; an excellent copy. deluxe issue. Number 194 of 200 specially bound copies. £275 [112346]

Founding text of the Scout movement 206 BADEN-POWELL, Robert. Aids to Scouting for N.-C. Os & Men. London: Gale & Polden, Ltd, n.d. [c.1900] Duodecimo. Original printed red linen on card wraps. Housed in a red cloth solander box by Temple Bookbinders. Contemporary bookseller’s stamp to front pastedown. A few minor marks to wrappers. An exceptionally bright copy in excellent condition. Early reprint with a leaf with “General Sir Redvers 207 209 Buller on the Value of Scouting” on the recto and Press BAILEY, David. London NW1. Urban Landscapes. BOUCHER, Anthony. The Case of the Baker Street Opinions on the verso bound before the title leaf, but London: J. M. Dent & Sons, 1982 Irregulars. New York: Simon and Schuster, 1940 retaining the note on the title verso explaining how Quarto. Original silver boards, titles to spine in black, black Octavo. Original red cloth, titles to spine black, Sherlock the proofs were sent out of Mafeking with “the last endpapers. With the dust jacket. 59 black and white plates. Holmes silhouette to front board black. With the dust despatches that got through the Boer lines.” Drawing A fine copy in a lightly toned jacket. jacket. Ownership inscription to front free endpaper. A lit- on his experiences in Africa and India, Baden-Powell first edition. A collection of black and white pho- tle darkening to spine and board edges; an excellent, bright put together this small guide on reconnaissance and copy in the jacket with extremities slightly creased and tographs of solitary urban spaces, NW1 represented a bushcraft whilst bottled up in Mafeking. It was a huge rubbed, some shallow chips to extremities. success, selling 100,000 copies in just a few months. distinct departure for Bailey, a photographer usually associated with fashion and glamour. first edition, with a typed note signed by His celebrity status after the relief of the siege “made the author to fellow mystery writer Veronica Park- him an attractive figure to voluntary organizations £300 [109789] er Johns laid in, in which he reflects on her short story, seeking his endorsement. In particular he became “The Homecoming” – “a damned good story, which aware that his military manual Aids to Scouting was be- 208 assuredly as an editor I would buy, but a little less ing used by church organizations, such as the Boys’ BETJEMAN, John. Summoned By Bells. London: John strikingly individual. And your greatest virtue is be- Brigade and the Young Men’s Christian Association” Murray, 1960 ing not quite like anybody else.” The Homecoming won (ODNB). He was made Vice-President of the Boy’s the annual short story contest run by Ellery Queen’s Octavo. Original green cloth, titles to spine gilt, boards Brigade in 1903. However, he became convinced that Mystery Magazine in June 1952. Although unmarked as his very particular ethos and training methods, “with blocked in blind with bell decoration, patterned endpapers. With the dust jacket. Illustrations to the text. A fine copy in such, this copy is from the library of the renowned their focus on individual responsibility, fitness, and the jacket with lightly toned spine with some shallow chips bibliophile Lawrence M. Solomon (1931–2014). reconnaissance, could be used in a non-military en- and nicks to extremities. £275 [108299] vironment” and set about recasting Aids to Scouting as first edition, signed by the author on the the manifesto for his own youth movement. The first half-title. experimental camp was held at Brownsea Island in 1907, and Scouting for Boys published in 1908. Peterson A29a. £650 [111767] £300 [105907]

80 Peter Harrington 128

battle Hardinge described him as “as brave as he was able in every branch of the political and military service”, sentiments which would seem to suggest that Riddick’s glib assessment of him as “a clever climber” is inapt at the very least. Riddick 73. £850 [111984]

212 BULGAKOV, Mikhail. The Master and Margarita. Translated from the Russian by Michael Glenny. London: Collins and Harvill Press, 1967 Octavo. Original green and black boards, titles to spine gilt. With the dust jacket. An excellent, bright copy in the jacket with very minor rubbing to spine ends and a hint of toning to edges. first edition thus. Although the Glenny translation was beaten to the press by Mirra Ginsburg’s translation earlier the same year, Ginsburg had taken as her copy text the heavily bowdlerized Soviet version. This version is complete and remains the standard English translation of one of the 20th century’s 210 dras Army, commissariat department, in 1838 serving literary masterworks. The Russian text was first pub- with distinction during the latter stages of the First lished (albeit in censored form) in two issues of the BOYD, William. A Good Man In Africa. London: journal Moskva in November 1966 and January 1967; Hamish Hamilton, 1981 Afghan War, famously prevailing against the majority to insist on the defence of Jalalabad. “And thus the the full text in Russian was not published until 1969. Octavo. Original yellow boards, titles to spine gilt. With the firmness of one man, and he nearly the junior in the £675 [112068] pictorial dust jacket. An excellent copy in the jacket with council of war, preserved his country’s arms from sunned spine. suffering another deep and disgraceful blow” (Du- 213 first edition of Boyd’s first novel. rand, The First Afghan War, p. 400). After the lifting of CARRINGTON, Noel (ed.) Design in the Home. £475 [112566] the siege, Broadfoot joined the relieving army under London: Country Life Ltd, 1933 Major-General George Pollock “and distinguished 211 himself in the actions at Mamu Khel, Jagdalak, and Quarto. Original grey cloth, titles and decoration to spine Tezin. In October he was promoted brevet major and and front board in orange. With the pictorial dust jacket. Il- BROADFOOT, William. The Career of Major George made a CB” (ODNB). He had caught the eye of the lustrated with over 500 black and white photographs. Faint Broadfoot, C.B., (Governor-General’s Agent N.W. governor-general, Lord Ellenborough, for his inspi- bump to top corner of front board, rear free endpaper slight- Frontier, 1844–5) in Afghanistan and the Punjab. ly creased, occasional mild toning and spotting to contents. rational role as part of “illustrious garrison” at Jalal- Compiled from his Papers and those of Lords An excellent copy in a dust-soiled, chipped and partially abad, and was made commissioner at Tenasserim in Ellenborough and Hardinge. London: John Murray, 1888 toned jacket with short tear to rear panel. Burma, but his health suffered in the climate, and he first edition of this copiously illustrated mono- Octavo. Original purple cloth with the Broadfoot arms gilt requested a transfer. “In 1844 Sir Henry Hardinge, to the front board, neatly rebacked in matching morocco, the new governor-general, appointed him his agent graph on design for the modern 1930s home. Noel title gilt to the second compartment, retains the original for the north-western frontier: an important position Carrington (1895–1989), brother of Dora, published brown surface-paper endpapers. Portrait frontispiece and 2 when war with the Sikhs seemed likely. He reported several books on design and became one of the most full-page maps. Spine a touch sunned, pale toning, but over- on the Punjab situation, negotiated with the Sikhs influential children’s books publishers as the instiga- all a very good copy. and, when war seemed imminent, gathered supplies tor of Puffin Books. Scarce in the dust jacket. first edition of this uncommon memoir of the for the army. In December 1845 the Sikhs invaded £275 [112551] man described by his fellow political officer, Colin British territory. Broadfoot served on Hardinge’s McKenzie, as “the foremost man in India”. Broad- staff and was at the battles of Mudki and Ferozeshahr. foot first served in India in the late 1820s with the At the latter, on 21 December, he was killed, shot 34th Native Infantry Madras Army. After returning to through the heart”. In his despatches following the Britain to study at Addiscombe, he rejoined the Ma-

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

one double-page. Spines very slightly sunned and a touch crumpled head and tail, corners a little bumped, very pale browning and a scatter of foxing front, back and to fore- edges, otherwise an unusually clean and sharp set, the cloth retaining considerable gloss. first edition. Churchill’s biography of his father was published on 2 January 1906 to “almost universal acclaim in the Press”, the Sunday Times remarking on Churchill’s “maturity of judgement, levelheadedness and discretion” and the Spectator praising his style: “He has chosen the grand manner . . . but the general effect is of dignity and ease.” Churchill also received plaudits from a number of well-known political biographers. J. A. Spender, biographer of Campbell-Bannerman and Asquith, called it a “brilliant book”, and W. F. Mon- ypenny, author of the Life of Disraeli, remarked that “alike in style and architecture and for its spirit, grasp and insight the book seems to me truly admirable”. Cohen A17.1; Woods A8(a). £750 [111259]

“Our happy escape from the restrictions of the Eighteenth Amendment (may it rest 214 first edition, first issue, Woods noting a later ver- in peace!) calls for some sudden expert CARTIER-BRESSON, Henri. Henri Cartier-Bresson. sion with red overprinting. “If the invasion comes eve- His Archive of 390 photographs from the Victorial ryone – young or old, men and women – will be eager knowledge” to play their part worthily . . . When the attack begins, and Albert Museum. With an essay by Sir Ernst 217 Gombrich. Edinburgh: Scottish Arts Council, 1978 it will be too late to go . . . for all of you then the order and the duty will be: ‘STAND FIRM’ . . . where there (COCKTAILS.) JAYNE, Dr. D. Jayne’s Bartender’s Octavo. Single quire wire-stitched into original white wrap- is no fighting going on and no close cannon fire or ri- Guide. A Practical Handbook for Professionals and pers printed in black. Housed in a cream solander box. Il- fle fire can be heard, everyone will govern his conduct Amateurs. Philadelphia: Dr. D. Jayne and Son Inc., 1931 lustrated with 18 black and white photographs. A few faint by the second great order and duty, namely ‘CARRY marks to wrappers and front and rear panel of box. An excel- Octavo. Original brown wrappers, title to front cover black. lent copy. ON’.” Churchill’s inspirational message is followed Ownership signature of jack Douglass pencilled to front by detailed instructions on just how to stand firm cover and title page, his ownership stamp to title page and first edition, inscribed by the photogra- and carry on. Print-run details show that over 14 mil- rear cover, and inkstamp to and to rear cover stating, “Re- pher on the inside front wrapper: “pour Pauline lion copies were printed. “The huge print run might ceived Jan. 30, 1934, San Antonio Texas.” Wrappers a little Johnson, cordialement, Henri Cartier-Bresson”. Pub- leave one with the impression that the leaflet would be creased, a little glue to hinges. A very good copy. lished to accompany Cartier-Bresson’s exhibition at commonly found today. It was, however, only a leaflet first edition. Published just after the repeal of Prohi- Fruit Market Gallery in Edinburgh in 1978 and later anticipating an event that never came to pass. In the bition, recipes include the Charlie Chaplin Cocktail, the shown at Side Photographic Gallery in Newcastle-on- event very few copies have survived” (Cohen). Pousse Cafe American, the Klondyke Cocktail, Havana/ Tyne in the same year. Cohen B76; Woods A69. Serpents Tooth, and Stiff Horses Neck, together with £500 [112575] £850 [113483] directions for making ingredients such as Stoughton’s Bitter, Angostura Bitters, and Orange Bitters. 215 216 £300 [110488] CHURCHILL, Winston S. Beating the Invader. A CHURCHILL, Winston S. Lord Randolph Churchill. message from the Prime Minister. London: Issued by the 218 London: Macmillan and Co. Limited, 1906 Ministry of Information in co-operation with the War Office (COOKERY.) The Complete Practical Confectioner. and the Ministry of Home Security, 1941 2 volumes, octavo. Original dark red cloth, titles gilt to the In eight parts. Chicago: J. Thompson Gill, Manager spine with gilt rules, and to upper board with blind rules Quarto single-sheet flyer (280 × 210 mm), text both sides. and the Marlborough crest gilt. Photogravure portrait Confectioner and Baker Publishing Co., 1882 Glazed both sides and framed. Lightly browned as often, frontispiece to each, 6 other photogravures in all, 7 other soft creases from old folds, a few minor nicks at the edges. plates one of them coloured and 3 facsimiles, one folding,

82 Peter Harrington 128

8 parts in one volume, octavo (194 128 mm). Recent quarter calf, morocco label to spine lettered gilt, gilt raised bands, marbled sides. Some faint foxing to edges of text block; an excellent, fresh copy. first edition of this scarce book. It includes chapters on iced confections, syrups, aerated beverages, and ornamental sugar work. Woolston notes that “trade literature often encouraged ordinary bakers to add ornamental sugar work to their repertoires”, as it had greater earning potential and was less onerous than bread bak- ing. Uncommon; no copies located in OCLC and one copy appearing in auction records since 1975. Cagle 176.534; Woolston, Refined Tastes: Sugar, Confectionery, and Consumers in the Nineteenth Century. £300 [111940]

219 (COOKERY.) DWIGHT, Henrietta Latham. The Golden Age Cook-Book. New York: Alliance Publishing, 1898 Octavo. Original green cloth, gilt design blocked to front cover, titles to spine and front cover gilt, green floral endpapers. From the library of one of the author’s relatives, Lav- iena V. Latham Goodwin, with her ownership inscription to cuts, illustrative of trussing, etc. The twelfth edition. and often workable recipes, however, may well account the front pastedown. Small book label to front pastedown, London: for Scatcherd and Letterman [and 11 others,] 1811 for the book’s popularity” (ODNB). small inked number to rear pastedown. Ink stamp to lower Octavo (196 × 124 mm). Later 19th-century marbled boards, Bitting p. 152 for the 1804 edition; Cagle 675–9 and Maclean edge of text block, front hinged repaired, small tear to rear p. 50 for the first edition and others; Oxford 114. pastedown. A very good copy. purple cloth backstrip and tips, spine lettered in gilt. 6 engraved plates showing bills of fare for each month, frequent £375 [112157] first edition of this early vegetarian cookbook. line-drawings to the text. Contemporary ownership inscrip- Dwight (1840–1909) was an early advocate for animal tion to sig. B r. Spine sunned, extremities lightly rubbed, 221 welfare, and in her later years a noted watercolour- variable light toning, foxing and marking, a good copy. ist in California. She produced this cookbook, con- final lifetime edition, twelfth overall, of a work (COOKERY.) FISHER, M. F. K. How to Cook a Wolf. taining over 300 recipes, in the hope of promoting a first published in 1783. A chef at the London Tavern, New York: Duell, Sloan and Pearce, 1942 healthier and more environmentally sustainable diet. “Farley’s claim to fame has rested solely on his cookery Octavo. Original grey cloth boards, titles to spine in white, Bitting p. 138. book, although this is now known to be the work of a pictorial decoration to front board in white. With the dust £300 [109535] hack writer, Richard Johnson. Ninety per cent of The jacket. Minor nicks to the tips, an excellent copy in a very London Art of Cookery was compiled from the two culi- good jacket with small chips to the corners, rubbing along the extremities, a small closed tear at the top of the rear 220 nary best-sellers of the 18th century, without ever ac- knowledging his female sources. These were Hannah panel, and a small perforation to spine panel. (COOKERY.) FARLEY, John, attrib. [JOHNSON, Glasse’s The Art of Cookery Made Plain and Easy (first pub- first edition. This practical and humorous book, Richard.] The London Art of Cookery, and Domestic lished 1747) and Elizabeth Raffald’sThe Experienced Eng- published at the height of food shortages during the Housekeepers’ Complete Assistant. Uniting the lish Housekeeper (first published 1769). The remaining 10 Second World War, offered housewives advice on how principles of elegance, taste, and economy; and per cent of Farley’s book came from several other 18th- to achieve a nutritious diet with limited ingredients, as adapted to the use of servants and families of every century cookery books. Copyright laws did not cover well as other useful advice, such as eating in a black- description. Containing every elegant and plain the field at that time and other contemporary cookery out, and recipes for home-made toothpaste and a preparation in improved modern cookery; pickling, writers borrowed material. Johnson appears not only cheap sherry cocktail. She encouraged her readers to potting, salting, collaring, and sousing; the whole art to have used two-thirds of Glasse’s book and half of find pleasure in cooking balanced meals, and in pre- of confectionary [sic], and making of jellies, jams, Raffald’s to compile Farley’s book, but his copying paring their own bread, rather than buying vitamin- creams, and ices; the preparation of sugars, candying, technique involved changing the first and last lines of enriched bread as advised by the US government. and preserving; made wines, cordial-waters, and each recipe without seemingly improving the original £500 [113782] malt-liquors; bills of fare for each month; wood- text to any marked degree. His selection of excellent

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222 (COOKERY.) LE CLERCQ, Tanaquil. The Ballet Cook Book. New York: Stein and Day, 1966 Octavo. Original gilt lettered white cloth spine, mustard- coloured boards, gilt facsimile of author’s signature on front cover. With the dust jacket. Monochrome photographic portraits throughout by Richard Avedon, Cecil Beaton and others. Jacket spine and head of panels faded to silver, some nicks and short closed-tears, spine a little rubbed, top edge a little discoloured. A very good copy. first edition. Tanaquil Le Clercq was one of the principal dancers of the New York City Ballet. “Her celebrated husband, NYC ballet director George Bal- anchine, who specialises in Russian dishes like blini and vatrushki (and who has rigid notions about cavi- ar), has contributed a great deal to The Ballet Cook Book . . . this highly personal collection of dancers’ favourite recipes [is accompanied by] backstage portraits and anecdotes about the [contributors] themselves” (jacket blurb). £575 [109533]

223 (COOKERY.) RAFFALD, Elizabeth. The Experienced edge of French and an active concern for the poor” first edition, trade issue, of Craig’s “highly influ- English Housekeeper, for the use and ease of ladies, (ODNB), she later opened her own shop in Manches- ential book On the Art of the Theatre, in which he ex- housekeepers, cooks, etc. Written purely from ter, first in Fennell Street, then on Exchange Alley, pounded his visionary ideas”. from where she ran a cookery school and probably practice. Dedicated to the Hon. Lady Elizabeth Fletcher & Rood A13c. the city’s first register office for servants. When Bald- Warburton, whom the author lately served as £275 [106995] win, the London-based publisher of the first edition, housekeeper. Consisting of several hundred receipts, suggested altering certain northern expressions in most of which never appeared in print. A new edition. 225 her work, Raffald is said to have replied, ‘What I have In which are inserted some celebrated receipts by written I proposed to write at the time; it was writ- (CRAIG, Edward Gordon.) SHERINGHAM, George. other modern authors. London: all the booksellers, and ten deliberately, and I cannot admit to any alteration’. Design in the Theatre. Commentary by George Manchester: R. & W. Dean, 1807 Baldwin reportedly paid her £1,400 for the copyright Sheringham and James Laver, together with literary Octavo in half-sheets (200 × 125 mm). Contemporary pol- and printed six more editions within her lifetime. contributions by E. Gordon Craig, Charles B. Cochran ished catspaw calf, recently rebacked, raised bands within Bitting p. 387 for the second edition; Cagle 944–53 for vari- and Nigel Playfair. London: The Studio, 1927 gilt fillets to spine forming compartments, second and ous other editions. fourth gilt-lettered direct, rolled sawtooth border gilt to Quarto. Original pink cloth, titles to spine and front board covers. Engraved portrait frontispiece and 3 plates of which £475 [111308] gilt, front board decorated in blind, bevelled edges, top 2 folding. Board-edges rubbed, tips bumped, variable light edge gilt. With the dust jacket. Illustrated with 120 plates browning, very small tide-mark to fore edge of prelims not 224 incuding one in colour. A few small spots to p. 1. A bright affecting text, a few splashes and spots to pp. 160–70 mainly copy in a lightly rubbed jacket. CRAIG, Edward Gordon. On the Art of the Theatre. restricted to margins. A very good copy. first edition of this beautiful monograph on Brit- London: William Heinemann, 1911 A later London edition of this popular Georgian-era ish theatre design. cookery book, first published in Manchester in 1769; Square octavo. Original black cloth spine lettered in gilt, £275 [107452] there were some 20 further editions before the turn drab boards, Gordon Craig’s monogram on front cover, un- of the 19th century, of which only 12 were authorised. trimmed. With the dust jacket. Monochrome frontispiece, 15 plates after designs by Craig. Armorial bookplate of Joan Raffald (née Whitaker, 1733–1781) was born in Don- Gladstone, possibly the bibliographer: co-author of Russian caster and spent some 15 years in the service of Lady Literature, Theatre and Art (1946); on verso of title the neat Elizabeth Warburton at Arley Hall, Cheshire, before library stamp of The Mander & Mitchenson Theatre Collec- marrying her employer’s gardener. “A shrewd, tact- tion; a few small tears to jacket, spine slightly rolled. A very ful, and strong-willed woman, with a good knowl- good copy, scarce in the dust jacket.

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230 DAWKINS, Richard. The Selfish Gene. Oxford: Oxford University Press, 1976 Octavo. Original black boards, titles to spine gilt. With the dust jacket. first edition of the author’s first book. An examination of the ways that evolution acts on individual genes rather than on species, it was an immediate best-seller and revolutionised the way that the public viewed evolution. £575 [111014]

231 DICKENS, Charles. A Christmas Carol in Prose. Being a Ghost Story of Christmas. With four illustrations in colour and four woodcuts by John Leech. A facsimile of the original edition with an introduction by G. K. Chesterton and a preface by B. W. Matz. Boston: Charles E. Lauriat Co, [1924] Octavo (160 × 98 mm). Contemporary red calf by Zaehnsdorf, twin morocco labels to spine gilt, title and wreath to front cover gilt, turn-ins and all edges gilt, marbled endpapers. 3 226 228 facsimiles of Dickens’s handwritten pages, 4 colour plates, CROFTS, Freeman Wills. Death of a Train. London: DAHL, Roald. The Twits. London: Jonathan Cape, 1980 black and white engravings throughout. A little wear to Hodder & Stoughton, 1946 board edges and tips,head of front joint starting, but text Octavo. Original red boards, titles to spine gilt. With the block sound, short split to head of front free endpaper, light Octavo. Original dark red cloth, titles to front board and pictorial dust jacket. Illustrated by Quentin Blake. An excel- spray of foxing to endpapers, otherwise internally clean. A spine in white. With the dust jacket. Colour frontispiece. lent, bright copy in the jacket with slightly faded spine. very good copy. Bookplate of Adrian Homer Goldstone to front pastedown. first edition. Extremities very lightly rubbed and bumped, mild spotting A facsimile reprint of the first edition of Dickens’s to edges. An excellent copy in a slightly rubbed jacket with £450 [113758] first and most enduring Christmas gift book. minor nicks to extremities, a few light creases and short £450 [114300] tears to spine ends, spine ends with tape repairs to verso. 229 first edition. DAVIES, Valentine. Miracle on 34th Street. New York: 232 £275 [106693] Harcourt, Brace and Company, 1947 DICKENS, Charles. David Copperfield. London: Octavo. Original brown cloth, titles to spine in silver, Santa Chapman and Hall, [n.d.] 227 Claus design to front board in blind. With the dust jacket. Octavo (210 × 135 mm). Near-contemporary tan calf, twin Foot of boards a little rubbed, edges of text block lightly DAHL, Roald. George’s Marvellous Medicine. morocco labels to spine lettered gilt, spine decorated gilt, spotted. A very good copy in the toned dust jacket with spine London: Jonathan Cape, 1981 gilt rules to boards, marbled endpapers, all edges gilt. ends a little chipped and tips nicked. Etched vignette title page, frontispiece, 41 plates by Robert Octavo. Original light blue cloth, titles to spine gilt. With first edition. The novella was written by screen- Seymour, R. W. Buss, and H. K. Browne. Boards edges light- the dust jacket. Illustrated throughout by Quentin Blake. A writer Valentine Davies to accompany the release of ly rubbed, contents mildly foxed; an excellent copy. fine copy. the film version, which starred Maureen O’Hara and An attractively bound copy of David Copperfield, which first edition. won Academy Awards for best writing for an original was first published in 1850. £600 [113751] story, and best screenplay. £300 [107029] £275 [110287]

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236 DOYLE, Arthur Conan. [Two Plays:] The Field Bazaar: A Sherlock Holmes Pastiche. New Jersey: Baskerette Press, 1947; [together with] The Crown Diamond: An Evening with Sherlock Holmes. New York: Summit, 1958 2 works, octavo. The Field Bazaar: pp. 20, original green boards, printed paper label to front board. The Crown Dia- mond: original pink paper-covered black boards, printed paper label to spine. Housed in a custom green solander box. The Field Bazaar: rubricated title page and illustration of Sherlock Holmes in red; The Crown Diamond: 2 full-page illustrations. The Field Bazaar: short marginal tear to pp. 11–16, with tape repair, a little light spotting. The Crown Diamond: a touch of fading to board edges, contents faintly toned. An excellent set, from the library of the bibliophile Lawrence M. Solomon (1931–2014), with his bookplate to the inside cover of the solander box. Limited issue of The Field Bazaar. Number 227 of 250 copies; it was first published in 1896 for The Student, an Edinburgh University undergraduate magazine, as part of a fundraising event for which Doyle had been asked to contribute a short piece of literature. It was reprinted by Atheneum Press in 1934 on a sin- 233 the Arthurian Legends that has yet been prepared gle sheet, and appears here in pamphlet form for the DISNEY, Walt. The Nutcracker Suite. From Walt for the use of young readers”, Hanson boasts in his first time. Preface. Doré’s famous illustrations were praised by Disney’s Fantasia, with an introduction by Leopold Together with the first edition, limited issue of The the French critic Jules Claretie for their “powerful Stokowski. Boston: Little, Brown and Co., 1940 Crown Diamond. This is number 8 of 59 registered poetry . . . [that] evoked . . . the pale visions of the copies; this copy done for Ernest Bloomfield Zeisler, Quarto. Original yellow cloth-backed illustrated boards, ti- enchanted past”. tle to spine black, illustrated endpapers. With the dust jack- marked as such on the limitation page and with his et. Illustrated throghout. Foot of boards a little rubbed; an £275 [112470] ownership signature to the front free endpaper. excellent, fresh copy, in the jacket with minor loss to spine Zeisler published a Baker Street Chronology in 1953. ends, a couple of short closed tears to head of rear panel, 235 The play premiered at the Bristol Hippodrome on 2 and some creasing and rubbing to extremities. May 1921, and was adapted into the short story, “The (DOYLE, Arthur Conan.) ERNST, Bernard M. L., & first edition of this storybook with six piano ar- Mazarin Stone”, appearing in the Strand Magazine in Hereward Carrington. Houdini and Conan Doyle. rangements by Frederick Stark, incorporated into the October the same year. The Story of a Strange Friendship. New York: Albert and story as used in Fantasia. Charles Boni, Inc., 1932 £675 [108322] £300 [112758] Octavo. Original red-brown cloth, spine and front board 237 lettered in gilt, top edge green, fore edge untrimmed. With 234 the dust jacket. Photographic frontispiece. Contempo- (DULAC, Edmund.) STEVENSON, Robert Louis. (DORÉ, Gustave.) HANSON, Charles Henry. Stories rary newspaper clipping and publisher’s advertisement for Treasure Island. London: Ernest Benn Limited, 1927 of the Days of King Arthur. London: T. Nelson and Sons, Spook Crooks by Julien Proskauer (“The first and only book Quarto. Original light brown cloth, titles to spine gilt . Co- 1882 exposing the rackets of the false prophets”) laid in. Spine gently rolled, top edge faded to yellow. An excellent copy in lour frontispiece and 11 colour plates, black-and-white text Octavo. Original yellow diagonal-grain cloth over bevelled the slightly faded dust jacket chipped at head of spine and illustrations, all by Dulac. A touch of rubbing to ends of boards, spine and front cover elaborately lettered and decorat- with a couple of small markings to rear panel. spine, corners lightly bumped. An excellent copy. ed in gilt, red & black, pale brown floriate patterned endpapers. first edition. Houdini and Conan Doyle were close first dulac edition. Frontispiece and 7 sepia plates after Gustave Doré. Spine a little rolled, inner joints cracked but sound. A very good copy of a friends until falling out over the escapist’s openly £750 [112023] book usually found in less than attractive condition. professed disdain for spiritualism. Uncommon in the dust jacket. first edition of this attractive compilation of Arthurian stories: “the most complete epitome of £350 [107597]

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238 [EASTON, Simon.] PunkPistol. Sex and Seditionaries. Introduction by Malcolm McLaren. Afterwords by Jon Savage, Steve Severin, John Ingham, Glen Matlock, Ted Polhemus. London: First Edition Publishing, 2006 Quarto. Original illustrated boards, all edges silver, pink patterned endpapers. With the CD laid-in, as issued. Illus- trated throughout. A fine copy. first edition. Signed by PunkPistol (aka Simon Easton) on the front free endpaper and the slip ac- companying the CD. Easton’s volume examines the clothes of Vivienne Westwood and Malcolm McLaren from the punk period and all that encompassed it, including Jamie Reid and the Sex Pistols. In 2008 McLaren tried to halt publication of the volume in the US after he became embroiled in a controversy with Easton, who had sold a collection of clothing to Damien Hirst for $160,000, purportedly from McLar- en and Westwood’s boutique Sex (renamed Sedition- aries in 1976). McLaren declared the collection to be counterfeit. £500 [111561] damage to bottom edges of boards and rear board of Volume 242 1, internally clean and bright. An excellent set. 239 (ESSEX HOUSE PRESS.) [CASTIGLIONE, first edition. Baldessare.] [Il Cortegiano.] The Courtyer of Count EGGLESTON, William. William Eggleston’s Guide. Sadleir 817. Essay by John Szarkowski. New York: The Museum of Baldessar Castilio, divided into foure bookes. Very Modern Art, 1976 £575 [107755] necessary and profitable for yonge gentilmen & gentilwomen abiding in court, palaice or place, don Small quarto. Original black morocco-grained boards, titles 241 into Englyshe by Thomas Hoby. London: The Essex to spine and front board gilt, colour photograph inlay to House Press, published by Edward Arnold, 1900 front board, black endpapers. With 48 colour photographs ELIOT, George. Felix Holt the Radical. Edinburgh and by the artist. Small crease to lower left-hand corner of pho- London: William Blackwood and Sons, 1866 Square octavo. Original full limp vellum, titles gilt to spine, tograph inlay, minor foxing to top edge. An excellent copy. 3 volumes, octavo (192 × 125 mm). Finely bound by Riviere green silk ties. Woodcut floral initials by C. R. Ashbee first edition. Published in conjunction with Egg- & Son in polished tan calf, dark red and green morocco la- throughout. A fine copy. leston’s landmark exhibition at the MoMA in 1976, bels, spines richly gilt, covers with triple gilt rules, gilt inner first edition thus, number 126 of 200 copies the first solo exhibition of colour photography held at dentelles, dark blue coated endpapers, top edges gilt. With printed at the Essex House Press reprinting the first a major Western art institution. the half-titles; bound without publisher’s ads. Contempo- English translation of Castiglione’s Il Cortegiano by rary armorial bookplate and bookseller’s ticket to front and Thomas Hoby “in honour of the great Elizabethans Parr and Badger I, p. 265. rear pastedowns. Joints slightly tender, faint damptaining . . . The work has been edited from the Cambridge £500 [110107] to bottom edges of boards. A handsomely bound set in excellent condition. University Library copy of the editio princeps of 1561, by Janet E. Ashbee, and carried out under the super- 240 first edition. Set in the familiar midland country- vision of C. R. Ashbee, from whose hand is also the side of Eliot’s early novels, Felix Holt deals with the up- ELIOT, George. Romola. London: Smith, Elder and Co, alphabet of bloomers” (rear colophon). 1863 heavals of society at the time of the first Reform Act of 1832, anticipating the election scenes in her next £475 [113823] 3 volumes, octavo (186 × 118 mm). Finely bound by Riviere novel, Middlemarch. & Son in late 19th-century polished tan calf, dark red and green morocco labels, spines richly gilt, covers with triple Sadleir 814. gilt rules, gilt inner dentelles, dark blue coated endpapers, £500 [107689] top edges gilt. Bound without the publisher’s advertisements. Contemporary bookseller’s ticket to rear pastedowns. Small chip to foot of spine of Volume 1, faint water

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243 (ETON COLLEGE.) Eton College Chronicle. Eton: Spottiswoode, Ballantyne & Co. Ltd, 1914–27 4 volumes, tall quarto (332 × 208 mm). Contemporary pale blue cloth, title gilt to spines, college badge gilt to the front boards, edges sprinkled red. Cloth somewhat rubbed and a little soiled, with a touch of damping at the lower fore-corners, pale toning to the text. first editions. A decidedly uncommon and useful source of reference. The volumes comprise of an unbroken run of the chronicles from 24 September 1914 to 25 June 1927 covering the years of the First World War and its immediate aftermath, and offering an invaluable resource for detailed biographies of fallen OEs. A photocopy of a typed index for these obituar- ies is loosely inserted into the first volume. “During the four-odd years of what is still referred to as the Great War, an entire year of Etonians died, mostly . . . in the Flanders mud; and another year were wounded – figures which bring their death rate to the levels endured by Highland Regiments, or by the hapless imperial contingents drafted from India for death near Ypres. Old Etonians won 13 VCs, 548 DSOs, and a heart-stopping 744 Military Crosses. There were no 245 With an original drawing by Feiffer less than 31 Old Etonian generals” (Fraser, The Impor- FAULKS, Sebastian. Birdsong. London: Hutchinson, 247 tance of Being Eton). 1993 £650 [112288] FEIFFER, Jules. Feiffer’s Marriage Manual. New York: Octavo. Original green boards, spine lettered in silver, grey Random House, 1967 endpapers. With the pictorial dust jacket. Tiny spot to ti- Signed by Ewart in both volumes tle and copyright pages due to production flaw, with slight Octavo. Original light card pictorial wraps. Wraps toned, abrasion on title page, else a superb copy in a bright jacket. a couple of minor markings to front panel verso and title- 244 Excellent. page. A very good copy. EWART, Gavin. Or Where a Young Penguin Lies first edition. first edition, presentation copy, inscribed “To Screaming [together with a proof copy bearing the £375 [107646] George, leader of the free world – God bless! Jules, 10 author’s extensive holograph corrections]. London: - 10 - 68” on the title page, above an original pen-and- Victor Gollancz Ltd, 1977 246 ink caricature by the artist. 2 volumes, octavo. Original light card printed wraps in FAULKS, Sebastian (writing as Ian Fleming). Devil £275 [107006] cream and grey. Housed in a custom black morocco-backed May Care. London: Michael Joseph in association with cloth-lined solander box. Bookplate of historian and auc- 248 tioneer Anthony Hobson to the verso of the front panel in Waterstones and Penguin, May 2008 (FERRARI.) LOUCHE, Maurice. Emotion Ferrari. both volumes. Proof copy creased along spine as usual. Ex- Octavo. Original glossy pictorial boards, all edges silver, cellent condition. pictorial endpapers. Housed in a crimson flock presenta- (Europe 1947–1972). Paris: Amigon and Rimbaud, 2005 first edition of Ewart’s fifth volume of poetry, to- tion box with a faux satin lining and titles to front cover in Quarto. Original black cloth, titles to spine gilt. With the gether with the publisher’s proof, extensively copy- silver. A fine copy. dust jacket. Lavishly illustrated throughout with photo- edited in blue ink with Ewart’s holograph emenda- signed limited edition, no. 314 of 500 copies of graphs by Maurice Louche. A fine copy. tions to orthography and typesetting (or at the very the first edition signed by the author and specially limited edition, presentation copy, inscribed least, emendations of the kind that could be made bound. An exclusive limited edition of Faulks’s first by the author on the verso of the first blank, “A Adrian only at a poet’s direct behest), all followed through James Bond novel, published to celebrate the cente- Hall, avec les meilleurs sentiments de l’auteur, Mau- for the first edition. Signed by Ewart on the title-page nary of the birth of Ian Fleming. rice Louche. Rétromobile [an international rally car in both volumes. £425 [107746] expo] 2006.” Number 1,108 of an unspecified number £275 [106748] of copies. The book, with text in French and English, features Louche’s photographs of Ferraris in compe-

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252 HASE, Johann Matthias. Regni Davidici et Salomonaei descriptio geographica et historica. Una cum delineatione Syriae et Aegypti pro statu temporum sub Seleucidis et Lagidis regibus mappis luculentis exhibita, et probationibus idoneis instructa. Juncta est huic operi consideratio urbium maximarum veterum et recentiorum, ac operum quorundam apud antiquos celebrium. Nuremberg: Homann, 1739 Folio in fours (355 × 220 mm). Contemporary pink paper boards, foliate rolls gilt to spine forming compartments, red paper label lettered in gilt to second, edges speckled red. Title-page printed in red and black, engraved armorial headpiece, 10 floral woodcut head- and tailpieces, 1 woodcut initial figure, 13 engraved plates in contemporary hand-colour of which 3 folding, and 1 further plate depicting geographical scales. Additional hand-colour to pp. 320–21. Bound without the 6 large folding maps of the Near East. Head of spine judiciously restored, covers sunned and marked, occasional foxing to the text, the plates spared and in excellent condition, two very small worm-tracks to the gutter, a third appearing towards the rear but the text or images never affected. tition, beginning in 1847, the year Ferrari became In- 250 first and only edition of this scarce historical ge- ternational Constructor’s Sportscar Champion. With FOWLES, John. The French Lieutenant’s Woman. ography of the kingdoms of David, Solomon and the a printed letter laid-in from the author, apologising London: Jonathan Cape, 1969 Seleucids. The hand-coloured plates depict plans of for excess powder on the photos remaining from the ancient cities including Babylon, Syracuse, London, printing process. Octavo. Original brown boards, titles to spine gilt, picto- Constantinople and Rome; four plates, three folding, rial endpapers, top edge brown. With the dust jacket. A fine trace the construction of the Tower of Babel. Hase £500 [111992] copy in the price-clipped jacket with slightly faded spine. (1684–1742) was professor of mathematics at the Uni- first edition, signed by the author on the 249 versity of Wittenberg, as well as a skilled astronomer half-title. From the library of Irish book collector Dr and cartographer. Copac traces five copies in British [FORBES, Alexander.] The Radio Gunner. Boston & Philip Murray, author of The Adventures of a Book Collec- and Irish institutional libaries: Oxford, Cambridge, New York: Houghton Mifflin Company, 1924 tor (2011). Glasgow, Aberdeen and the British Library. Octavo. Original blue cloth, titles to spine and front board £750 [113663] Furst I, 365; Tobler 214. red. With the dust jacket. Frontispiece and 3 plates by Heman £300 [107971] Fay, Jr. Faint scattered spotting to top edge; an exceptional 251 copy in the superb jacket with a nick to head of front panel. (GOREY, Edward.) NEUMAYER, Peter F. Why we 253 first edition of this boys’ science fiction adventure have day and night. New York: Young Scott Books, 1970 novel. HEMINGWAY, Ernest. Islands in the Stream. New Bleiler (1978), p. 75. Oblong octavo. Original pictorial cloth, titles to spine and York: Charles Scribner’s Sons, 1970 front board in black and white. With the pictorial dust jack- £275 [105899] et. Illustrated throughout in black, white and orange by Ed- Octavo. Original green cloth, spine lettered gilt, facsimile ward Gorey. A fine copy in the jacket. Hemingway signature to front board gilt, yellow map endpapers. With the dust jacket. Board edges slightly faded, first edition, signed by gorey on the title page. an excellent copy in the bright jacket, with nick to head of Toledano A37a. rear panel. £300 [106291] first edition. £275 [106794]

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first edition in english, originally published in Italy by Feltrinelli in 1958 after the author’s death in the preceding year. £475 [109813]

257 LANG, Andrew (ed.) The Red Book of Animal Stories. London, New York and Bombay: Longmans, Green and Co., 1899 Octavo. Original red cloth, spine lettered and decorated in gilt, front cover with large pictorial gilt stamp, all edges gilt, black coated endpapers. Frontispiece (tissue guard intact) and 31 plates from line drawings, illustrations in the text throughout, by H. J. Ford. Neat clipping from an old bookseller’s catalogue pasted in. Spine lightly sunned, scattered foxing. A very good copy, particularly sharp-cornered and bright and with the front panel and spine of the rare dust jacket neatly pasted to a preliminary blank and the half-title. first edition. This collection includes chapters on such mythical beasts as the phoenix, griffins and unicorns, dragons, and vampires; there are also some striking plates by H. J. Ford depicting the story of Beowulf, in particular one of the Geatish hero bat- 254 ing seemed such a good model for Polite Rejection” tling Grendel’s mother. HOCKNEY, David; Stephen Spender (eds.) Hockney’s that it was nonetheless published as his contribution £325 [112321] Alphabet. London: Faber and Faber for the Aids Crisis Trust, (Preface). 1991 £600 [113597] 258 Folio. Original yellow cloth, titles to spine in blue and LANG, Andrew (ed.) The Crimson Fairy Book. With gilt. Housed in the publisher’s grey cloth slipcase. 26 col- 255 eight coloured plates and numerous illustrations by our drawings, one for each letter of the alphabet by David JANSSON, Tove. Sculptor’s Daughter. Translated by H. J. Ford. London, New York and Bombay: Longmans, Hockney. Written contributions by: Douglas Adams, Mar- Kingsley Hart. London: Ernest Benn Limited, 1969 Green, and Co., 1903 tin Amis, Julian Barnes, William Boyd, Margaret Drabble, Patrick Leigh Fermor, William Golding, Seamus Heaney, Octavo. Original red boards backed in brown, title to spine Octavo. Original crimson cloth, illustration to front cover David Hockney, Kazuo Ishiguro, Erica Jong, Doris Lessing, gilt, top edge pink. With the pictorial dust jacket. An ex- and spine gilt, titles to spine gilt, all edges gilt, pictorial Norman Mailer, Ian McEwan, Arthur Miller, Iris Murdoch, cellent copy in the dust jacket with sunned spine, nicks to endpapers (pink at the front, pale blue at the back). Colour Nigel Nicolsen, John Julius Norwich, Joyce Carol Oates, V.S. head spine, and foot of front panel, and some rubbing to frontispiece, 7 colour plates (with tissue guards), 35 plates Pritchett, Craig Raine, Susan Sontag, Stephen Spender, extremities. from line drawings, illustrations in the text throughout. Spine dulled, front hinge cracked but sound, binding a little John Updike, Anthony Burgess, Ted Hughes, Paul Theroux, first edition in english of Jansson’s childhood rubed at extremities. A very good copy. Gore Vidal, and T.S. Eliot. A fine copy. memoir. It was originally published in Swedish in first edition, signed limited edition, special- 1968 as Bildhuggarens Dotter. first edition of the eighth of Lang’s Fairy Books, gathering together stories from Hungary, Russia, Fin- ly bound in yellow buckram and signed by Hockney £275 [111159] and Spender. It was a collaborative effort, created land, Iceland, the Baltic, Tunisia and further afield. to raise money for the AIDS Crisis Trust. Spender “The series became a landmark in the presentation of 256 invited several British and American writers to con- traditional tales, for it introduced children to selec- tribute with texts that could accompany Hockney’s LAMPEDUSA, Giuseppe di. The Leopard. Translated tions of old and new tales of every kind, known and specially drawn alphabet. Writers who contributed from the Italian by Archibald Colquhoun. London: unknown, and from many different sources, at a time include several Faber authors such as William Gold- Collins and Harvill Press, 1960 when interest in fairy tales was beginning to decline” (Whalley & Chester, A History of Children’s Book Illustra- ing, Seamus Heaney, Ted Hughes, and Kazuo Ishig- Octavo. Original green cloth, titles to spine gilt. With the uro, as well as Ian McEwan, Iris Murdoch, and Gore dust jacket. Front board a touch bowed, edges lightly toned. tion, 1988, p. 141). Vidal; Norman Mailer declined, but his “letter refus- An excellent copy in a gently spine-tanned jacket with slight- £425 [112247] ly nicked and chipped extremities and a couple of short closed tears.

90 Peter Harrington 128

259 LANG, Andrew (ed.) The Brown Fairy Book. London: Longmans, Green, and Co, 1904 Octavo. Original brown cloth, titles to spine gilt, elaborate pictorial decorations to spine and front board gilt, all edges gilt, pictorial endpapers. Colour frontispiece, 7 similar plates, 22 black and white plates, and numerous illustrations in the text. Gift inscription to first blank. Spine rolled and slightly faded with some minor fraying to ends, extremities lightly rubbed, tips a little worn, occasional foxing to contents. A very good copy. first edition of the ninth instalment in Lang’s Fairy Books series, gathering exotic tales from North Amer- ica, Brazil, Australia, Africa, Persia, India, Lappland and the Pacific Islands. £300 [110632]

260 LANG, Andrew (ed.) The Red Romance Book. London, New York and Bombay: Longmans, Green, and Co., 1905 Octavo. Original red cloth, gilt lettered and decorated spine, large pictorial gilt block to front cover, all edges gilt, pink pictorial endpapers. Colour frontispiece (with tissue guard), 7 colour plates, 28 plates from line drawings, illustrations in first edition of the tenth of Lang’s Fairy Books, persistence and a fulfilment of his desire to write an the text throughout, by H. J. Ford. Neat clipping from an old gathering folk stories from Africa to Jutland. epic which might stand comparison in scale and lin- bookseller’s catalogue pasted in. Spine lightly sunned, short £300 [112029] guistic elegance with his beloved Morte d’Arthur and nick at foot of spine, only slight rubbing to corners. A very C. M. Doughty’s Arabia deserta. Subtitled ‘A triumph’, good copy, sharp-cornered and bright, with the front panel 262 its climax is the Arab liberation of Damascus, a vic- and spine of the rare dust jacket neatly pasted to the half- tory which successfully concludes a gruelling cam- title and verso of frontispiece. LAWRENCE, T. E. Seven Pillars of Wisdom. A paign and vindicates Lawrence’s faith in the Arabs. first edition. Included here, among stories from Triumph. London: Jonathan Cape, 1935 In a way Seven Pillars is a sort of Pilgrim’s Progress, with the sagas and chivalric romance, The Faerie Queen, Don Quarto. Original brown cloth, gilt lettered spine, front cover Lawrence as Christian, a figure sustained by his faith Quixote and Orlando Furioso, is the story of William of with gilt motif of crossed scimitars enclosing the inscrip- in the Arabs, successively overcoming physical and Palermo and the werewolf (accompanied by both col- tion “the sword also means clean-ness + death”, top edge moral obstacles” (ODNB). our and monochrome plates). brown, others untrimmed. With the dust jacket. Photogra- O’Brien A042. vure portrait frontispiece of Lawrence (from the plaster bust £350 [112318] by Eric Kennington), 53 plates and 4 folding maps. Jacket £750 [112419] with short closed-tear at fore-edge of back panel, very slight 261 sunning to spine and portion of back panel, light sign sof LANG, Andrew (ed.) The Orange Fairy Book. With handling. An excellent copy, largely unopened. eight coloured plates and numerous illustrations by first uk trade edition, O’Brien’s so-called “Third H. J. Ford. London, New York and Bombay: Longmans, English Edition,” following the unprocurable Oxford Green, and Co., 1906 Times edition of 1922 (of which there were just eight copies printed), and the sumptuous 1926 Cranwell Octavo. Original orange cloth, titles gilt to spine, fairy de- edition (limited to 211 copies, 170 of them complete). sign to front board and spine gilt, all edges gilt. Colour fron- “Lawrence had taken part in the preliminary plan- tispiece, 6 colour plates (with tissue guards), 17 plates from line drawings, illustrations in the text throughout. Neat ning of the Arab uprising and, in October 1916, was book label of Sarah Josephine Firestone. Spine rolled and a ordered to Jiddah to assess the military situation. little toned, light signs of handling to covers, slight bump to What followed is recorded in Seven Pillars of Wisdom, one corner. A very good copy. a personal, emotional narrative of the Arab revolt in which Lawrence reveals how by sheer willpower he made history. It was a testimony to his vision and

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263 (LAWRENCE, T. E.) DOUGHTY, Charles M. Travels in Arabia Deserta. With an Introduction by T. E. Lawrence. New and definitive edition.London: Jonathan Cape, 1936 2 volumes, large octavo. Original brown cloth, gilt lettered spines, top edge brown, others untrimmed. With the dust jackets. Title pages printed in red & black, half-tone portrait frontispiece of Doughty, illustrations throughout, 2 folding coloured maps showing Doughty’s routes. Dust jacket of volume II with small tear to front panel (with a little loss), only very light soiling to jackets. An excellent set, largely unopened. new and definitive edition. Doughty’s masterpiece was first published in 1888, “an unrivalled encyclopaedia of knowledge about all aspects of 19th- century and earlier Arabia” (ODNB). Lawrence was instrumental in getting the second English edition published and his introduction first appeared in that edition (1921). O’Brien A017. £850 [112416]

264 265 a Journey from the Cape of Good Hope to Loanda on the West Coast; thence across the Continent, down LAWRENCE, T. E. Secret Despatches from Arabia. LAWSON, Robert. Rabbit Hill. New York: The Viking the River Zambezi, to the Eastern Ocean. London: John Published by permission of the Foreign Office. Press, 1944 Murray, 1857 Foreword by A. W. Lawrence. [Waltham St Lawrence:] Octavo. Original olive coloured pictorial boards, lettering to Golden Cockerel Press, 1939 spine green, pictorial endpapers, with the dust jacket. Illus- Octavo (213 × 137 mm). Near-contemporary red morocco, trations throughout by the author. An excellent copy. title and decoration to spine gilt, marbled sides and end- Octavo. Original black quarter niger by Sangorski and Sut- papers, all edges gilt. Folding frontispiece, 22 plates, illus- cliffe (their ink-stamp to front pastedown), raised bands, first edition of the winner of the 1944 Newbery trations to the text, 1 folding diagram, 2 folding maps to second and third compartments gilt-lettered direct, cream Medal, distinguishing it as a top children’s book for rear. Armorial bookplates to front endpaper of Edgar March cloth sides, top edge gilt, the others uncut. Collotype fron- that year. Story of a family of rabbits cohabiting the Crookshank (1858–1928), English physician and microbi- tispiece portrait of Lawrence. Sides slightly marked, mild land with their human counterparts. ologist, and Caesar Litton Falkiner (1863–1908), historian, spotting to deckle edges as usual, crisp and fresh internally. £275 [106201] Irish Unionist Party politician, and barrister. Covers a little A very good copy. scuffed, minor wear to board edges, a little light foxing to limited edition, number 663 of 1,000 numbered contents. An excellent copy. 266 copies, printed in Eric Gill’s Perpetua type on hand- first edition. The book covers the first of Living- made paper. “The majority of Lawrence’s contribu- LE CARRÉ, John. The Looking-Glass War. London: stone’s three major expeditions “in which he fol- tions to the Arab Bulletin are published in this volume. Heinemann, 1965 lowed the Zambezi, discovering Victoria Falls in the In addition to these items, ‘Syrian Cross Currents’, Octavo. Original black cloth boards, titles to spine in silver. process, as well as the Shire and Ruyuma rivers, rang- previously unpublished, is included; this was taken With the dust jacket. Spine rolled, top edge lightly foxed; an ing from Angola in the west to Mozambique in the from a manuscript on Arab Bureau paper” (O’Brien). excellent copy in the jacket with sunned spine. east . . . During these years he explored vast regions The Arab Bureau’s secret bulletin was first issued in first edition, signed by the author on the title of central Africa, many of which had never been seen June 1916 with a circulation of 26 copies only. page. by white men before” (PMM). This copy conforms to O’Brien A226. Bradlow’s Variant No. 2: the frontispiece and plates 8 £675 [107589] £600 [113841] and 16 are tinted lithographs by T. Picken. 267 Abbey Travel 347; Bradlow, “The Variants of the 1857 edition . . . ” in Lloyd ed. Livingstone 1873–1973; Howgego L39; Men- LIVINGSTONE, David. Missionary Travels and delssohn I, p. 908; Printing and the Mind of Man 341. Researches in South Africa; including a Sketch of £750 [111342] Sixteen Years’ Residence in the Interior of Africa, and

92 Peter Harrington 128

Unitarian Association, with her bookplate to the initial blank. £275 [111672]

270 MASEFIELD, John. The Box of Delights. or, When the Wolves Were Running. London: William Heinemann Ltd. , 1935 Octavo. Recent dark blue morocco, titles and decoration to spine gilt, raised bands, single rule to boards, marbled endpapers, gilt edges. With black and white illustrations. Gift inscription to half-title along with a small amount of glue residue otherwise an excellent copy. first edition. £275 [107378]

271 MATISSE, Henri. Jazz. New York: George Braziller, 1983 Folio. Original black cloth, titles to spine in white and red and to front board in red. With the pictorial dust jacket and original grey card slipcase. All housed in the publisher’s packing box. Illustrated in colour. An excellent copy in a 268 the Charge of the Light Brigade, for which he blamed jacket with very light rubbing at extremities. MALCOLM, Sir John. The Life of Robert, Lord Clive: Lord Lucan, and the disastrous Siege of Sevastopol. first facsimile edition of this landmark publica- Collected from the Family Papers communicated by Already suffering from dysentery, he was greatly dis- tion in the history of modern art, which was original- the Earl of Powis. London: John Murray, 1836 appointed by the defeat and died a few days later – “in ly published in 1947 in an edition of 250 copies. Jazz, Victorian terms, of a broken heart” (ODNB). Cefntilla “known for its brightly colored pochoirs, is widely 3 volumes, octavo (218 × 135 mm). Contemporary dark Court was presented by the public to Richard Somer- considered as one of the most important illustrated green morocco presentation binding by Hering, ink-stamp set, second Baron Raglan, as a memorial to his father verso pf the front free endpaper of volume I, low flat bands book of the modern period” (Deborah Wye, Artists and in 1858. with paired single gilt fillets, compartments with attractive Prints: Masterworks from the Museum of Modern Art, New panel, concentric gilt panels to the boards with fleurons and £850 [112658] York). scrolled foliate tools, double fillet gilt edge-roll, all edges £300 [110181] gilt, wide turn-ins with the board panelling repeated, chest- 269 nut silk page-markers still present. Engraved portrait frontispiece after Reynolds to volume I, and a folding map at the MALORY, Sir Thomas. Le Morte Darthur. The 272 rear of volume III. Half-titles to volumes I and II retained. History of King Arthur and of his Noble Knights of MAUGHAM, W. Somerset. Cosmopolitans. London: Bookplates of Lord Raglan and the later armorial bookplate the Round Table. London: Jonathan Cape and the Medici Heinemann, 1936 of Cefntilla, the Raglan seat.A little rubbed at the extremi- Society Ltd, 1929 ties, particularly in the spines, minor stripping, corners Octavo. Original blue cloth, titles to front board and spine bumped, off-set from the turn-ins to the free endpapers, Octavo (212 × 140 mm). Contemporary blue full calf by gilt. With the dust jacket. Ownership inscription to front pale browning, but remains very good. Riviere & Son, twin red morocco labels, raised bands, com- free endpaper. Spine slightly faded, an excellent copy in partments elaborately decorated in gilt with letter A and the jacket with toned spine, extremities a little nicked and first edition, presentation copy of the official knight as central tools, triple fillet to boards with roundel rubbed. life of Clive of India by Sir John Malcolm, another cornerpieces gilt, gilt roll tool turn-ins, marbled endpa- first uk edition, third issue, with the pp. 5–6 ap- great Indian administrator. Inscribed on the half-title pers, all edges gilt. Housed in a blue cloth slipcase. Title of the first volume by the author’s widow, who had page printed in blue & black, colour frontispiece & 23 col- pearing as a cancel leaf, and 19 non-dramatic works overseen the work’s completion: “The Lord Fitzroy our plates by Sir William Russell Flint. Spine evenly faded to listed on the verso of the half-title. The US edition Somerset with the grateful regards of Charlotte Mal- pale brown. An excellent copy. preceded the UK edition by a month. colm Sept. 1836”. Lord FitzRoy Somerset, first Baron A finely bound copy of one of the best illustrated edi- Stott A50n. Raglan (1788–1855) is best remembered as command- tions of Malory. From the library of American pacifist £275 [109756] er of the British forces in the Crimea. He oversaw and academic Aurelia Henry Reinhardt (1877–1948), important victories at Alma and Inkerman as well as who was the first female moderator of the American

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

276 MULAS, Ugo, & Alan Solomon. New York: The New Art Scene. Photographs by Ugo Mulas, text by Alan Solomon, design by Michele Provinciali. New York: Holt, Rinehart, Winston, 1967 Tall quarto. Original beige cloth, titles to spine in black, pictorial endpapers. With the dust jacket. Illustrations throughout from photographs by Ugo Mulas. An excellent copy in a jacket with slightly toned spine panel. first edition. £750 [112577]

277 PERELMAN, S. J. Westward Ha! Or, around the World in Eighty Clichés. Drawings by Hirschfeld. New York: Simon and Schuster, 1948 Octavo. Original yellow cloth, pink title panel to spine, illustration to front cover, top edge green. With the pictorial dust jacket. Illustrated throughout. An excellent copy in a rubbed and chipped jacket. first edition, inscribed by the author on the front free endpaper, “For John McFadden with cordial 273 275 best wishes, S. J. Perelman, 26 March 1966”. MAUGHAM, W. Somerset. Strictly Personal. London: MORRIS, William. Some Hints on Pattern- £475 [112119] William Heinemann Ltd, 1942 Designing. A Lecture Delivered at the Working Men’s College, London, on December 10, 1881. London: Octavo. Original blue cloth, titles to spine gilt. With the dust 278 Printed at the Chiswick Press for Longmans & Co., 1899 jacket. Spine faded, some rubbing to board edges; jacket PLATH, Sylvia. Million Dollar Month. Frensham, with folds and spine ends restored. A very good copy. Octavo. Original blue cloth backed grey boards, titles to Surrey: The Sceptre Press, 1971 first uk edition. It was first published in the US front board in black. With a florally patterned silk jacket Octavo, pp. 12. Original white card wrappers, title to front the preceding year. custom-sewn over the covers. Text printed with the Golden Type designed for the Kelmscott Press. Offset marks from cover black. A few marks to covers, an excellent copy. Stott A60d. the silk covers to free endpapers, very slight weakness to first edition, limited issue. Number 2 of 150 £275 [109930] one of the hinges, but an excellent copy. The silk jacket copies printed on laid paper; five copies in presen- somewhat faded to spine and very lightly rubbed around the tation bindings were also produced. The poem was 274 extremities, but also in excellent condition. written while Plath was a student at Smith College. first edition, with a unique jacket of florally pat- MAY, Robert L. Benny the Bunny Liked Bean. New £275 [109615] York: Alfred A. Knopf, 1940 terned silk custom-sewn around the binding, of this important essay which “summarises succinctly views 279 Octavo. Original printed pictorial boards, illustrated endpa- which would apply equally well to any branch of ap- pers. With the dust jacket. Illustrations throughout by Har- plied art” (PMM). As Walter Crane wrote of Mor- (RACKHAM, Arthur.) HENTY, G. A., & others. riet Weed Hubbell. Boards lightly bowed in the the toned ris’s far-reaching aesthetic philosophy, “if it has not Brains and Bravery. London: W. & R. Chambers, Ltd. 1903 dust jacket with light soiling to panels, short closed tears along edges. A very good copy. turned all British craftsmen into artists or all British Octavo. Original red cloth, titles to spine and front board artists into craftsmen, it has done not little to expand in blind to gilt background, pictorial image stamped to first edition. A very scarce picture book by the au- and socialise the idea of art, and (perhaps it is not front board, brown endpapers. Frontispiece and 7 half- thor of Rudolph, The Red-Nosed Reindeer. too much to say) has made the tasteful English house tone plates by Arthur Rackham. Large prize bookplate to £675 [112429] with its furniture and decorations a model for the front pastedown, embossed stamp to front free endpaper, civilised world” (op. cit.) occasional spotting to pages, spine rolled, rubbing to gilt at spine and front cover, fading to spine, light soiling to Printing and the Mind of Man 367b. boards. A very good copy. £275 [112509] first edition. A collection of 14 tales in which young men exhibit “brains and bravery”. The tales are 94 Peter Harrington 128 by G. A. Henty, Guy Boothby, L. T. Meade & Prof. Rob- ert K. Douglas, John Arthur Barry, Katharine Tynan, H. A. Bryden, W. H. Williamson, Walter Wood, F. B. Forester, Hemingford Grey, and T. R. Threlfall. Latimore & Haskell p. 20; Riall p. 49. £500 [113027]

280 (RACKHAM, Arthur.) BARRIE, J. M. Peter Pan in Kensington Gardens. London: Hodder and Stoughton, [c.1910] Octavo. Original red leather, titles and pictorial decoration to spine and front board of Peter playing the pipes gilt, green illustrated map endpapers, top edge gilt. In the original box, lettered on the lid “H&S Leather Books” within a wreath, all in gilt. Colour frontispiece and 23 colour plates with captioned tissue guards, by Rackham. Box with tears to corners (two with tape repairs), light soiling, having preserved the book in fine condition. second trade edition in a deluxe leather binding not mentioned by Riall, who describes a limp green suede binding. The text is from the same setting of type as the 1906 first edition, but with the plates printed directly onto plain paper and distributed 282 Rackham. Light spotting to pages, tiny spots of discoloura- tion to front board, in the dust jacket with a touch of soiling. through the text, rather than gathered at the end. The (RACKHAM, Arthur.) HAWTHORNE, Nathaniel. A An excellent copy. title page is reset and has “From The Little White Bird” Wonder Book. London: Hodder & Stoughton Ltd, [1922] on the verso. There are separate lists for both contents tercentenary edition; a reissue of the 1908 edi- and for the illustrations; according to Riall, later issues Quarto. Original red cloth, titles to spine in gilt, title to tion. front board in blind, pictorial image to front board blocked Latimore & Haskell p. 32; Riall p. 86. of this edition do not have the list of illustrations. in gilt, pictorial endpapers, top edge blue. With the dust Riall p. 105. jacket. Housed in a dark red folding box. Tipped-in colour £500 [113069] £475 [112961] frontispiece and 15 colour plates tipped in on cream paper with captioned tissue guards, 8 further colour plates and 284 black and white illustrations in the text, by Rackham. Gift 281 inscription plate to front blank, occasional spotting to pag- (RACKHAM, Arthur.) ANDERSEN, Hans Christian. (RACKHAM, Arthur.) EVANS, C. S. The Sleeping es, spine faded, a touch of rubbing to corners, ends of spine Fairy Tales. Philadelphia: David McKay, 1932 Beauty. London: William Heinemann, [1920] bumped, top edge faded, in the toned and lightly soiled dust jacket with shallow chips to ends of spine with tape at verso Quarto. Original red cloth, titles and pictorial decoration to Quarto. Original pictorial paper-covered red cloth, titles to and to along the verso top edge, small chip to rear flap fold, spine and front board gilt, pink and white pictorial endpa- spine in black, green illustrated endpapers. With the dust faint cloth bleed mark to front flap. A very good copy. pers, gilt top edge. With the dust jacket, in a pictorial box. jacket. Mounted colour plate, 3 double-page silhouette Colour frontispiece and 11 colour plates with captioned first trade edition. drawings with colour, full-page silhouette drawing with co- tissue guards, black and white illustrations in the text, by lour, 8 single-page silhouette drawings in black and white Latimore & Haskell, p. 5; Riall p. 146. Rackham. In the dust jacket with closed tear to front top and drawings in the text by Rackham. Occasional spotting £750 [113001] edge extending to spine, closed tear and chip to rear top to pages, a touch of rubbing to boards at lower edges, spine edge corner, in the reconstructed original box with cloth cloth gently faded, in the evenly toned dust jacket with a reinforcement cloth tape inside the lid. A very good copy. 283 touch of wear to extremities, small chip to top end of spine first u.s. trade edition. with mild spotting to spine. An excellent copy. (RACKHAM, Arthur.) SHAKESPEARE, William. Latimore & Haskell p.68., Riall, p.177. first trade edition, in the variant binding with the A Midsummer-Night’s Dream. London, William pink dust jacket with blue silhouette to front panel. Heinemann; Doubleday, Page and Co., New York, 1925 £600 [113266] Latimore and Haskell p. 52.; Riall p. 141. Quarto. Original blue cloth, titles to spine in gilt, pictorial £600 [112987] image blocked to front board in gilt, top edge blue. With the dust jacket. Colour frontispiece and 39 colour plates mounted on brown paper, black and white drawings in the text, by

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

Quintessentially Sendak 285 SENDAK, Maurice. The Nutshell Library: Pierre, a cautionary tale in five chapters and a prologue; Alligators All Around, an alphabet; One Was Johnny, a counting book; Chicken Soup with Rice, a book of months. New York: Harper & Row, 1962 4 works, miniature octavo (95 × 63 mm). Original pink cloth, spines lettered in dark brown, nutshell motif on covers. With the dust jackets and original slipcase. Colour illustrations throughout by Sendak. Slipcase only a little rubbed at extremities, small portion of jacket spine torn away at head. An excellent set, slipcase without the gold price sticker affixed to front but in the preferred pink cloth first state binding. first edition. “Sendak’s next work, published in 1962, was a highly polished quartet, the perennially popular miniature volumes in the Nutshell Library . . . These small works . . . allowed Sendak to show just how much a gifted artist could fit felicitously into a confining format, breathing fresh life into subject matter already done to a fare-thee-well in the literature of childhood” (Selma G. Lanes, The Art of Maurice Sendak, 1980, p. 69). we work on together. Noel 1949”. This book comes Cairo’s Khediviah (Khedival) school and translated a £300 [112435] from the library of June Allen, Streatfeild’s amanuen- number of early Arabic texts into English, including sis and proof-reader; a nice association. Avicenna’s Compendium on the Soul. He was the son of 286 £275 [111048] Cornelius van Dyck, a missionary best remembered STREATFEILD, Noel. Parson’s Nine. London: William for his Arabic translation of the Bible. The presence of numerous editorial corrections to the text as rec- Heinemann Ltd, 1932 288 ommended by the laid-in facsimile leaf suggest an Octavo. Original black cloth, titles to spine gilt. With the VAN DYCK, Edward A. History of the Arabs and their editorial provenance. dust jacket. Spine gently rolled, light spotting to edges of Literature before and after the rise of Islâm, within For the author see Ruth Kark, American Consuls in the Holy Land text block; an excellent, fresh copy in the bright jacket with the limits of their peninsula and beyond it. An outline minor loss to spine ends, and some shallow chips and tears 1832–1914, p. 62. for the use of the pupils of the Khediviah School, to extremities. £750 [108188] compiled from Arab and European sources. Ljubljana: first edition in the second issue dust jacket with Ig. v. Kleinmayr & Fed. Bamberg, 1894 reviews on the front flap. The author’s second book, 289 it is extremely scarce, with no copies at auction since Octavo (220 × 146 mm). Original brown morocco-grain half VONNEGUT, Kurt. Breakfast of Champions or, 1975, and just one copy located worldwide on OCLC. cloth, blue boards printed in black. Laid-in fascimile leaf (foolscap, 345 × 210 mm) headed “In v. Dyck’s Hist. of the Goodbye Blue Monday! With drawings by the author. £300 [108100] Arabs and Their Literature correct the following” and recom- [New York:] Delacorte Press/Seymour Lawrence, 1973 mending 23 emendations, all supplied in the present copy Octavo. Original orange cloth, spine lettered in dark blue 287 in red ink. Contemporary bookseller’s ticket to front past- and gilt, front cover with facsimile of Vonnegut’s signature edown, ownership inscription of Alexander Russell, dated STREATFEILD, Noel. The Painted Garden. The Story in gilt, top edge yellow, black endpapers. With the dust Glasgow, 11 Oct. 1900 to front free endpaper. Boards slightly jacket. Illustrations throughout by the author. Jacket spine of a Holiday in Hollywood. Illustrated by Ley Kenyon. marked and sunned, extremities lightly bumped, contents London: Collins, 1949 lightly sunned, a few nicks and chips, three old tape repairs toned. A very good copy. on verso, binding spine inwardly bowed. touch of foxing to Octavo. Original red cloth, titles gilt. With the dust jacket. first and only edition in english of this un- fore-edge. A very good copy. Illustrations in the text. A very good copy with the jacket common late Khedival-period course-book for first edition, inscribed by the author on the spine-tanned and spotted, and the tail portion of spine Cairene students; originally published in Arabic the title page: “Happy Birthday – Kurt Vonnegut.” panel split. previous year as Ta’rikh al-’Arab wa-adabihim. Van Dyck £850 [112255] first edition, presentation copy inscribed “To was an American diplomat who served as consular June. The first of what I hope will be quite a library clerk and vice-consul in Beirut and Cairo, taught at

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293 WINOGRAND, Garry. Women are Beautiful. With an essay by Helen Gary Bishop. New York: Farrar, Strauss & Giroux, 1975 Oblong octavo. Original grey cloth, spine and front cover lettered in gilt. With the dust jacket. Full-page half-tone photographs throughout. A fine copy in the bright dust jacket. first edition. The scarcer cloth issue of this classic collection of street scenes with women (the book was also issued in wrappers). £750 [112547]

294 (WYETH, N. C.) STEVENSON, Robert Louis. Treasure Island. New York: Charles Scribner’s Sons, 1911 Large octavo. Original black cloth, titles to spine gilt, full colour illustration mounted on front cover, top edge gilt, others untrimmed, pictorial endpapers. Colour pictorial title page and 14 colour plates (with captioned tissue guards), coloured map. Bookplate of Alexander L. Robinson on a preliminary blank; spine lightly sunned and creased verti- cally, light rubbing to extremities, front inner hinge par- 290 first edition of the author’s fourth book, and tially cracked but sound, a touch of foxing to title page. A WATERHOUSE, Keith. Billy Liar on the Moon. the second that he published under the pseudonym very good copy. James Aston. London: Michael Joseph, 1975 first wyeth edition, one of the most famous edi- £650 [111408] Octavo. Original blue boards, titles to spine gilt. With tions of Steveson’s timeless adventure story. This was the dust jacket. Strip of cockling across spine and slightly the first of Wyeth’s books for Scribner’s and it estab- bowed front board, tips very lightly bumped, free endpapers 292 lished his reputation. tanned. A good copy in the bright dust jacket with faintly WHITE, T. H. The Once and Future King. London: £425 [112252] toned flaps and a few small spots to verso. Collins, 1958 first edition, inscribed by the author “To Octavo. Original blue cloth, titles to spine gilt. With the 295 Philip Murray, with best wishes, Keith Waterhouse” dust jacket. Bookseller’s ticket to front pastedown. Partial on the title page, and signed by him upside-down on (WYETH, N. C.) STEVENSON, Robert Louis. erasure of red mark and abrasion to front free endpaper; an Kidnapped. The Adventures of David Balfour. New the rear free endpaper. Dr Philip Murray is an Irish excellent copy in the jacket with some nicks and rubbing to York: Charles Scribner’s Sons, 1913 bibliophile and author of Adventures of a Book Collector extremities and short closed tear to head of rear panel. (2011); the sale of his library was Ireland’s largest ever first edition. This is the first collected edition of Large octavo. Original black cloth, titles to spine gilt, full single sale of first edition books. White’s Arthurian epic containing “The Sword in the colour illustration mounted on front cover, top edge gilt, others untrimmed, pictorial endpapers. Colour pictorial £275 [113972] Stone”, and includes significant textual changes. The title page and 14 colour plates (with tissue guards), folding second chapter, “The Witch in the Wood”, is com- map. Spine lightly sunned, extremities slightly rubbed. A 291 pletely revised and re-titled “The Queen of Air and very good copy. Darkness”, and the final chapter, “The Candle in the [WHITE, T. H.] James Aston. First Lesson. A Novel. first wyeth edition. London: Chatto & Windus, 1932 Wind”, is here published for the first time. £375 [112251] £400 [113765] Octavo. Original yellow cloth, red label to spine lettered gilt, top edge red. With the dust jacket. Spine slightly rolled, a little darkening to spine ends, some light scattered foxing to contents. An excellent copy in the jacket with some minor loss to spine ends, and a few shallow chips to extremities, a couple of small tape repairs to verso.

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