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Home , Bound in Morocco, Marcus Paus, Ole Paus (businessman), Ole Paus (general), Peter Duck, Tom Mitford

PETER HARRINGTON DOVER STREET FULHAM ROAD

SPRINGAll items are fully described MISCELLANY and photographed at peterharrington.co.uk 1 We are exhibiting at these fairs 25 April–1 May 2018 abu dhabi Abu Dhabi International Book Fair Abu Dhabi National Exhibition Centre Abu Dhabi www.adbookfair.com

24–26 May london The ABA Rare Book Fair Battersea Evolution Queenstown Road, London SW11 www.rarebookfairlondon.com

28 June – 4 July masterpiece The Royal Hospital Chelsea, London SW3 www.masterpiecefair.com

6–8 July melbourne Melbourne Rare Book Fair Wilson Hall, The University of Melbourne www.rarebookfair.com

Front cover image adapted from Leslie MacDonald’s VAT no. gb 701 5578 50

Wonderground map of London, item 71; item above from Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, Man Ray’s Électricité, item 137. 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Design: Nigel Bents; Photography: Ruth Segarra Registered in England and Wales No: 3609982

Peter Harrington london

catalogue 144

SPRING MISCELLANY

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

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1 supported by a lengthy list of subscribers, who in- and pictorial jacket. Illustrated throughout with Araki’s artwork. Jacket just very mildly bumped at corners. An (ACKERMANN, Rudolph.) The History of cluded Queen Charlotte, Prince George, the Prince Regent, Prince Augustus Frederick, Duke of Sus- excellent copy. the Abbey Church of St. Peter’s Westmin- sex, and Ernest Augustus, Duke of Cumberland. ster, Its Antiquities and Monuments. London: “As a publisher he [Ackermann] was both creative Printed for R. Ackermann by L. Harrison and J. C. and efficient, bringing to the commercial produc- Leigh, 1812 tion of colour plate books innovative techniques 2 volumes, quarto (350 × 293 mm). 20th-century red half and an uncompromising attention to detail which morocco to style, raised bands to spine ruled in gilt, ensured uniform high quality” (ODNB). spine lettered and decorated in gilt, single gilt rule to £1,500 [123613] covers, red cloth sides, marbled endpapers, edges gilt. Engraved portrait and architectural plan frontispiece in vol. 1, 81 coloured aquatints, illustrations in the text. A 2 little rubbing to tips, pale foxing to endpapers in vol. 2, ARAKI, Nobuyoshi. Kaori: Love. Tokyo: Eyes- two small purple marks to leaves P3 and 4 of vol. 2, affecting 3 letters, otherwise an excellent copy. encia, 2007 first edition of this comprehensive survey of Quarto. Original yellow paper boards, titles to spine and front board pink. With the original photographic Westminster Abbey. This lavish publication was 2

2 Spring Miscellany: Peter Harrington 3 first edition, limited issue, this copy with an original signed self-portrait by the artist, done in silver paint on the front endpapers, signed “Nobuyoshi Arakiss”. One of 400 copies, the book features a series of full-page portraits of Araki’s model and muse Kaori in black and white, heightened with acrylic. £600 [123260]

Zest and readability 3 ARIOSTO, Ludovico. Orlando Furioso: Translated from the Italian . . . with notes: by John Hoole. London: Printed for the Author: sold by C. Bathurst; T. Payne and Son; J. Dodsley [& 9 3 others, all London], 1783 Sneyd Kynnersley (1774–1844) of Loxley Park, Staffs. Vol. acknowledged in his postscript to volume V where 5 volumes, octavo (216 × 134 mm). Contemporary tree IV chipped at head of spine, vol. I with touch of worming he mentions the generous support of members of calf, raised bands with gilt rules either side, red mo- at foot of back joint, shallow scratches to covers of vols. rocco labels and numbering ovals, single-line gilt border the East India Company. “Hoole’s most striking II and III. An attractive set, with the errata leaf at the end liberty was, uniquely among English translators on sides, yellow edges. Engraved portrait frontispiece of vol. V. of Hoole by Anker Smith after Frances Reynolds (sister of Ariosto, to abandon the verse form of the origi- of Sir Joshua), vignette arms of Harry Verelst at head of first hoole edition in a very appealing pro- nal for a ‘native’ one, in this case the heroic cou- dedication (Verelst was an administrator in India whom vincial binding. The plate in volume III is signed plet . . . The popularity this translation enjoyed Hoole knew through the East India Office) and 7 -en by William Blake as engraver and shows “Orlando in its day is . . . tribute to its zest and readability” graved plates (fine profile portrait of Ariosto by Hall, “Ar- in a fury tearing up trees” (Keynes). John Hoole (Peter France (ed.), The Oxford Guide to Literature in iosto’s Chair and Inkstandish”, 5 plates of scenes (by Bar- (1727–1803) “enjoyed languages and studied Ital- English Translation, 2001, p. 481). tolozzi after Angelica Kauffman, Collyer after Stothard, ian for pleasure” (ODNB) and his version of Ari- Keynes, Blake, 96; Lowndes I, p. 64. Blake after Stothard, Heath after Metz, Caldwall after osto’s masterpiece was published by subscription, Hamilton). Engraved armorial bookplates of Thomas £875 [123638]

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4 Arnold. Upon his death in June 1930 the project was ARNOLD, Thomas W., & J. V. S. Wilkinson delayed, until James Vere Stuart Wilkinson resumed the process, including new additions to the collec- (eds.) The Library of A. Chester Beatty. A tion. The manuscripts and miniatures detailed rep- Catalogue of the Indian Miniatures. Oxford: resent some of the finest products of the Mughal Privately printed by John Johnson at the Oxford Uni- court painters from the 16th century onwards, versity Press and published by Emery Walker, 1936 alongside some of the work of artists from the prov- 3 volumes, large folio. Original green cloth, spines let- inces of the Mughal empire. tered in gilt, top edges trimmed, others untrimmed. £2,950 [123495] With 19 plates in colour and 84 in monochrome. Spine ends a little bumped, some markings to covers, discolouration to front cover of vol. I. A very good set. 5 first edition. An enormous and finely illustrated (ART DECO.) Catalogue général officiel. -Ex production detailing the collection of Indian minia- position internationale des arts décoratifs et tures of Alfred Beatty (1875–1968), a copper mining industriels modernes. Paris: Concessionnaire ex- tycoon who built up one of the world’s greatest col- clusif imprimerie de Vaugirard, 1925 lections of western and oriental manuscripts. The cataloguing of Beatty’s collection of Indian minia- Octavo. Pictorial grey card wrappers, design in red and black by Robert Bonfils to the front panel, floral pat- tures was originally undertaken by Thomas Walker 5

4 Spring Miscellany: Peter Harrington 6 7 terned endpapers with advertisements, 24-page advert area between the esplanade of Les Invalides and 7 section with illustrations. 7 double-page Exposition maps the entrances of the Grand Palais and Petit Palais, AUSTEN, Jane. The Novels. Edinburgh: John printed in blue ink, a transportation map printed in red and along both banks of the Seine. Over 15,000 ex- and blue, 16 blue-tinted half-tone plates from photo- hibitors from 20 countries and close to 16 million Grant, 1911–12 graphs each with 2 images, mounted sample of “Tekko” 12 volumes, octavo (205 × 135 mm). Contemporary crim- simulated silk brocade upholstery fabric, loosely in- visitors attended. son half calf, titles and centre tool to spines gilt, raised serted flyers all printed by Vaugirard, for their own series £1,250 [124377] bands, red cloth boards, marbled endpapers, top edges of photogravure views of the exposition, Élie Richard’s gilt, others untrimmed. Portrait frontispiece by James Le Guide des Grands Ducs, and an offer to be reclaimed at Andrews after the drawing by Cassandra Austen with tis- the Pavillon de Provence. A little rubbed, particularly on 6 sue guard to vol. I. Title pages printed in red and black. the joints, some creasing on the spine, corners a touch ATWOOD, Margaret. The Circle Game. To- Spines a little faded and rubbed, an excellent set. bumped, but overall a very good copy. ronto: Contact Press, 1966 first edition of this exhaustive guide to the ex- the winchester edition, enlarged issue. Octavo. Original wrappers, printed in red and black. hibitors at the 1925 international fair, representing Considered the most attractive of the unillustrated Light toning to wrappers, splash mark to front some- the zenith of the style moderne, or Art Deco, as it editions of Austen’s works produced around this what showing through on front endpaper, but otherwise time, it was first published by Grant Richards in was later known. It was instigated by the Societé very nice, overall a very good copy. des Artistes Décorateurs in their desire to achieve 1898 in ten volumes. This issue has two additional first edition, signed by the author on the equal status with practitioners of the fine arts, and volumes, comprising Lady Susan and The Watsons, title page, one of 200 copies issued in wrappers supported by the French government to provide taken from the 1871 Memoir, and Jane Austen’s let- in addition to a “Library edition” of 50 hardback a showcase for the style moderne – “modernism ters. copies. The Circle Game was Atwood’s first regularly turned into fashion” (Encyclopaedia Britannica) – in Gilson E91. published book, preceded only by a self-published architecture, interior decoration, furniture, glass, poetry collection, Double Persephone, in 1961. It won £3,750 [123405] jewellery and other decorative arts. As one of the her the first of her many awards, the Governor- founders of the group, Belgian architect Frantz General’s Award. This copy has the contemporary Jourdain, expressed it: “We . . . resolved to return ownership inscription on the half-title of Patrick Decorative Art, inconsiderately treated as a Cin- Lane (b. 1939), an important Canadian poet of At- derella or poor relation, only permitted to eat with wood’s generation, who also won the same award the servants, to the important, almost preponder- in 1978. A laid-in ticket for a more recent literary ant place it occupied in the past, of all times and in festival provides the provenance for the signature. all of the countries of the globe”. Staged between April and October 1925, the event occupied the £1,750 [124183]

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8 AVEDON, Richard, & Truman Capote. Ob- servations. London: Weidenfeld and Nicolson, 1959 Quarto. Original white boards, titles to front cover and spine in grey. Housed in the original card slipcase. Illus- trated throughout with photographs by Richard Avedon. 9 A fine copy. first uk edition of Avedon’s first book, a striking Folio (304 × 214 mm). Contemporary vellum, flat spine let- collection of portraits of artists and performers. system, focusing on the economic role of the Bank of England. Bagehot’s recommendation that the tered in ink and with double gilt fillets, sides with double Roth p. 148. Bank alter gold reserves based on economic cy- gilt fillet frame with corner- and centrepieces, gilt edges. Al- £750 [122720] cles was highly influential, and the book was con- legorical engraved frontispiece by Johann Frederich Greu- ter depicting Vespucci reaching the Americas, engraved sidered authoritative into the 20th century. “The portrait of the author, section headings within elaborate ty- 9 wonderful clearness of Bagehot’s power of state- pographical border, woodcut initials and tailpieces, text in ment, his exact knowledge of the subject treated BAGEHOT, Walter. Lombard Street: A De- two columns. Early printed bookplate (Federighi) to front on, together with his firm grasp of economic the- pastedown. Vellum a little stained, light marginal water- scription of the Money Market. London: Henry ory, have caused this volume to exert an influence staining in places, a few quires lightly foxed or browned due S. King & Co., 1873 which few books on a subject naturally so dry have to paper stock, still a very good copy. Octavo. Original brown cloth, spine and boards lettered possessed” (Palgrave I, p. 81). first edition of this “magnificent” (Gamba) cel- and ruled in gilt and black, dark green endpapers. Own- See Blaug, Great Economists before Keynes, pp. 5–7; Masui, ebration of the discovery of America, an allegori- ership inscription to front free endpaper and to half-title p. 113. cal epic in ottava rima, forty cantos each of a hun- of C. J. Barclay, with occasional pencil underlining and £6,000 [123366] dred stanzas, “a sort of Pilgrim’s Progress in verse” marginalia; spine ends very lightly rubbed, inner hinges (Rich). The work celebrates the heroic wanderings cracked but still very firm, sewing strained in places; a and adventures of Amerigo Vespucci, in avowed very good copy in unrestored condition. 10 imitation of Homer’s Odyssey. In his introduction first edition, scarce in commerce. Described BARTOLOMMEI SMEDUCCI, Girolamo. the Florentine author explains that the Odyssey is by J. M. Keynes as “an undying classic”, Lombard L’America poema eroico. Rome: nella stamperia the more “complex”, according to Aristotle’s defi- Street analyses the operation of the British financial di L. Grignani, 1650 nition, of the two Homeric archetypes.

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Significantly, in his own reports Vespucci had cit- 2 volumes, octavo (232 × 146 mm). Contemporary black prefixed to the second edition of The Principles of ed the wanderings of Ulysses as described by his straight-grain morocco, spines divided in six compart- Political Economy (1836), is an important source for fellow Florentine Dante as a key inspiration for his ments by low bands with decorative gilt rolls, gilt-let- Malthus’s life. In the same year Sophia united the voyages of discovery. “As expansion into the New tered direct in two compartments, others gilt, sides with two families when she married Henry Malthus, wide gilt borders enclosing a thinner border in blind, gilt World escalated, the irony was not lost on Ital- centrepieces incorporating a dove and the Tetragramma- only son and heir of the economist. ians that while Italy had no national presence in ton, decorative gilt roll to turn-ins, drab olive endpapers, The illustrations, dated “April 1 1802” or “June 1 the New World, it was an Italian [i.e. Dante] who gilt edges. Frontispiece and 5 plates engraved by Daniel 1802” at the foot, are by Henry James Richter had inspired those journeys and Italians such as Taylor after H. Richter, all on thin paper mounted on (1772–1857), friend of Thomas Stothard and Wil- Columbus, Vespucci, Caboto, and Verrazzano who thicker wove paper; engraved title pages. Corners lightly liam Blake. This appears to be the first edition bumped, marginal browning to titles, very occasional had assumed the roles of captains and navigators under this title, and is the only such copy we can light foxing (chiefly marginal), small ink stain affecting in the return to paradise” (Mary Watt, “Dante and trace. Copac lists two copies of a later edition of the New World”, in The New World in Early Modern a few leaves towards upper outer corner at end of vol. I but not the text, overall a very good copy in an attractive the same title, both dated May 1st 1809 at the foot Italy, eds. Elizabeth Horodowich & Lia Markey). contemporary binding. of the frontispiece, and notes that BLC and Her- Gamba 1513; Rich 278. first edition thus, from the library of Mal- bert also give 1809 as date of publication. OCLC £2,750 [123372] thus’s daughter-in-law, with gift inscriptions at gives six locations, again all dated 1809. In this the head of the titles “Sophia M. F. Otter from her edition some plates have the imprint of E. Hard- 11 Grandfather 1823”. Sophia Marian Frances Otter ing, 98 Pall Mall, the year before his appointment as librarian to Queen Charlotte. The advertise- (BIBLE.) The Holy Bible for the use of fami- was daughter of William Otter, bishop of Chich- ester. As an undergraduate Otter befriended Mal- ment at the front of volume 1 has at its foot the in- lies, Illustrated From the Works of the most thus and accompanied him on a tour of northern struction: “The bookbinder is desired to press the approved Commentators. London: Printed for Europe as he gathered supporting evidence for book well, but not to beat it.” Robert Scholey, and Scatcherd & Letterman, By his Essay on Population, while Otter occupied him- £2,000 [123382] Thomas Davison, 1802 self with botanizing (he was later a fellow of the Linnean Society). Otter’s memoir of Malthus,

All items are fully described and photographed at peterharrington.co.uk 7 12

12 BISHOP, Elizabeth. North & South. Boston: Houghton Mifflin Company, 1946 Octavo. Original blue cloth, spine and front board lettered in silver. With the dust jacket. Title page printed in blue and black. Ends and corners a little rubbed, an excellent copy with the jacket rubbed at the extremities, small crease and closed tear to lower edge of front panel, small section of tape residue inside spine panel with 13 some abrasion but not showing externally. first edition of the author’s first book, of which which, at any time of the day or night here in gin at N4 (not affecting text), touch of worming to gutter 1,000 copies were published. England, you may know what hour it is in any of gatherings B and C, two maps neatly strengthened at fore edge (short closed-tear into map of Jamaica subtly £1,250 [123056] of those parts. And how to make sun-dials fit- repaired), overall a very good copy, clean, sound and ting for all those places. London: Printed by H. complete with the three terminal leaves carrying Dor- 13 Clark, for Dorman Newman, 1687 man Newman’s list of books, engravings and medicines. BLOME, Richard. The Present State of His Octavo (183 × 114 mm). Contemporary sheep sometime first edition, a key text in the promotion of the Majesties Isles and Territories in America, neatly rebacked with the original spine laid down, red British colonization of North America, providing a detailed review of the climate and economic con- viz. Jamaica, Barbadoes, St. Christophers, morocco label (“State of America”), gilt library number (“139”), two-line blind border on sides, corners restored, ditions prevailing in each colony from Newfound- Nevis, Antego, S. Vincent, Dominica, New- red speckled edges. Housed in a brown cloth flat-back land to the Carolinas, also taking in the Carib- Jersey, Pensilvania, Monserat, Anguilla, Ber- box by the Chelsea Bindery. Engraved portrait frontis- bean islands, accompanied by a fine suite of maps mudas, Carolina, Virginia, New-England, piece of James II by F. H. van Hove, large folding map by the celebrated Robert Morden, known for his of Jamaica, 6 other maps (The North West Part of Amer- Tobago, New-Found-Land, Mary-Land, New- “important early maps of the American colonies” ica; Barbados; Bermuda; Carolina; Virginia, Maryland, York. With New Maps of every Place. Togeth- Pennsylvania, New Jersey; New England & New York) all (ODNB). er with Astronomical Tables, which will serve by Robert Morden, plate of sundials. Neat library stamp provenance: title page, contemporary owner- as a constant diary or calendar, for the use at foot of title page (St. Patrick’s College, Thurles, Coun- ship inscription of “Rob: Dillon”; recto of fron- of the English inhabitants in those islands; ty Tipperrary, Ireland), pencilled accession numbers at tispiece, contemporary holograph inscription: head. A few scrapes and abrasions, free endpapers ab- “present next door to ye Dr. Buttler’s Head in Red from the year 1686, to 1700. Also a table by sent (verso of last leaf a little dusty), paper flaw in mar-

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Lyon Square”. Red Lion Square, Holborn, had only Pilkington is recorded as the son of Seth Pilking- Church 699 (“The book was popular in its day, and was recently been laid out (1684) by Nicolas Barbon; ton, the Bath, North Carolina, planter-merchant translated into French and German”); Goldsmiths’ “Doctor Butler’s Head” was a popular name for who had connections to the sugar trade on St 2655.7; Howes 546; Kress 1647; Sabin 5972; Wing B3215; taverns – one survives in the City – named after Kitts; in 1723 a John Dunston received his com- P is for Port: True Tales about Port Bath’s Colonial Children, Young People, and Early Maritime Commerce, online, retrieved James I’s eccentric physician William Butler, best mission as naval officer for North Carolina. An 03.01.17 known at the time for his renowned medicinal appealing copy with an intriguing provenance, ale; below this, ownership inscriptions of Thomas which may link the book to early English settle- £15,000 [123980] Pilkington and John Dunston, dating to the first ment in North Carolina. half of the 18th-century. During the 1730s Thomas

All items are fully described and photographed at peterharrington.co.uk 9 14, 15, 16, 17

14 antología personal (1968), El informe de Brodie (1970), to me that a proof copy of the work had been sent to BORGES, Jorge Luis. Historia universal de la El Congresso (1971), Nuevos cuentos de Bustos Domecq him and that ‘It seemed to me like a new translation (1972), and El libro de arena (1975), and a great deal of the Bible. It simply doesn’t work. It is not Borges. infamia. Buenos Aires: Editorial Tor, 1935 of original poetry. Di Giovanni’s English-language You are Borges.’” Octavo. Original white wrappers, lettered in black and edition of this work was published in 1972 under Di Giovanni died in 2017 and the book comes, as blue. Spine creased, extremities worn, foxing and toning the title A Universal History of Infamy. part of a collection of other Borges books, direct to wrappers and text block. A very good copy. So close was their collaboration that, at Borges’s in- from his estate. first edition of this key collection of Borges’s sistence, di Giovanni received creative credit for the £1,250 [123917] early short stories, the fabricated records of im- translations and a share of the royalties. However, aginary crimes. The critic Ángel Flores considered on Borges’s death his recently married second wife, the publication of this collection to be the begin- Maria Kodama, the sole executrix of his estate, had 15 ning of the Magical Realist movement in literature. di Giovanni’s rights cancelled and new translations BORGES, Jorge Luis. El Aleph. Buenos Aires: This copy is from the library of Jorge Luis Borges’s commissioned. Finding himself cold-shouldered Editorial Losada, 1966 controversial English-language translator, Nor- by both the academic and publishing world, di Octavo. Original grey wrappers, spine and front wrapper man Thomas di Giovanni (1933–2017), though Giovanni wrote his own memoir of the collabora- unmarked as such. Di Giovanni met Borges at lettered in black and red. Wrappers and text block toned, tion with Borges, The Lesson of the Master (2003), spine faded. A very good copy. Harvard in late 1967, and moved to Buenos Aires and took to the internet to tell his side of the story association copy, signed by the author on to set about translating his works into English. (see http://www.digiovanni.co.uk/borges.htm). He the half-title, from the library of Norman Thomas Produced in close creative collaboration at a time complained of being “airbrushed out of history, out di Giovanni, though unmarked as such. The short when Borges was completely blind, these were of Borges’s existence. All of my volumes of his work story “El Aleph”, first published in the literary the first concentrated efforts made to translate – work to which he contributed and gave a unique magazine Sur in 1945, lent its name to this collec- the majority of his works into English, and were voice – were deliberately allowed to go out of print. tion of short stories, which was first published in executed in tandem with Borges’s composition, No publisher, no editor, no agent, no executor of book form in 1949. This edition, the sixth impres- under di Giovanni’s encouragement, of new works any estate ever wrote to me to explain any of this. such as El libro de los seres imaginarios (1967), Nueva New translations appeared . . . Paul Theroux wrote

10 Spring Miscellany: Peter Harrington sion of the 1957 Obras Completas edition, includes the previously unpublished story “La intrusa”. Di Giovanni’s English-language edition of El Aleph was published in 1970 under the title The Aleph and Other Stories 1933–1969.For provenance, see item 15. £750 [123927]

16 BORGES, Jorge Luis. Otras inquisiciones. Buenos Aires: Emecé Editores, 1966 Octavo. Original grey wrappers, spine and front wrapper lettered in black and red. Wrappers a little toned, text block toned, some pages unopened. A very good copy. first edition, third impression, signed by the author on the half-title, from the library of Norman Thomas di Giovanni, though unmarked 18 19 as such. Nine of the 39 short essays in this collection were first published as individual works in the Folio. Original red imitation morocco backed, padded 19 literary magazine Sur between 1939 and 1950, and buckram sides, titles in gilt to spine and in brown to silk collected into book form in 1952. For provenance, label to front cover, illustrated endpapers, edges gilt. BOWLES, Paul. A Little Stone. London: John see item 15. Housed in the publisher’s magnetic slipcase. Richly il- Lehmann, 1950 lustrated throughout with numerous photographic re- Octavo. Original green cloth, title to spine in gilt on dark £675 [123928] productions. A fine copy. green background. With the dust jacket. Spine ends very signed limited edition, number 449 of 2,000 slightly faded, top edge foxed. An excellent copy in the 17 copies signed by Bowie and the author. This richly bright jacket, spine ends nicked. BORGES, Jorge Luis. El hacedor. Buenos Aires: illustrated work documents the three years MacCor- first edition, with the ownership inscription Emecé Editores, S.A., 1967 mack spent writing, recording, performing, living of Winston Leyland (b. 1940), a leading figure in and travelling with David Bowie. The book presents American LGBT publishing who won the Stone- Octavo. Original grey wrappers, spine and front wrap- approximately 200 photographs and items of memo- per lettered in black and red. Spine a little creased and wall Book Award in 1980. He established the Gay rabilia including tour programmes, tickets and let- faded, extremities rubbed, text block slightly toned. A Sunshine Press in 1975, and his Gay Sunshine Jour- very good copy. ters, from the author’s personal archives, nearly all of nal (1970–82) was particularly influential for its which are being published for the first time. signed by borges on the front free endpaper and interviews with prominent gay writers of the era. dated 1968, from the library of Norman Thomas di £2,750 [123627] Bowles’s second collection gathers together 12 Giovanni, though unmarked as such. El hacedor, a short stories. collection of poems, essays and literary sketches, For Leyland, see also items 66–69 and 182. was first published in 1960; this is a later printing. £475 [122485] For provenance, see item 15. £650 [123926]

18 BOWIE, David, & Geoff MacCormack. From Station to Station. Travels with Bowie, 1973– 1976. Guildford: Genesis Publications Limited, 2007

18 19

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20 21 2 volumes, octavo. Original pebble-grain purple cloth, titles to spines in gilt. Spines faded to brown, edges BUCKLAND, William. Geology and Miner- BURNETT, Francis Hodgson. The Secret of covers faded, tips slightly worn, vol. I joints partly alogy. Considered with Reference to Natural Garden. New York: Frederick A. Stokes Company, cracked, superficial tear to top of the front joint vol. 2, Theology. London: William Pickering, 1836 1911 contents slightly foxed. A very good copy. 2 volumes, octavo (221 × 140 mm). Contemporary full Octavo. Original blue cloth, spine and front cover let- first u.s. edition, uncommon in the pub- tree calf, raised bands and rich gilt decoration to spines, tered in gilt and decorated with floral motifs in blind, lisher’s cloth. First published in Britain in 1621, red and green labels, elaborate gilt border to covers, front cover ruled in blind, top edge gilt. Bookseller’s the Anatomy “was one of the most popular books board edges gilt, remains of cloth page markers, mar- ticket to front pastedown, gift inscription to front free of the 17th century. All the learning of the age as bled endpapers and edges. 87 plates, of which 6 folding, endpaper. Spine cockled and slightly rolled, cloth a little well as its humour – and its pedantry – are there. one large hand-coloured. Bookplate of Edward Nicholas rubbed. A very good copy. It has something in common with Brant’s Ship of Hurt to front pastedowns. A few scuff marks to covers. first edition in book form of the classic chil- Fools, Erasmus’s Praise of Folly, and More’s Utopia, Otherwise a fine pair. dren’s story. The first edition in book form was is- with Rabelais and Montaigne and like all these it first edition of this seminal geological trea- sued simultaneously in August 1911 in two styles: exercised a considerable influence on the thought tise, which lays out Buckland’s theories on deistic unillustrated (as here) or with a frontispiece and of the time. Dr Johnson deeply admired it, and evolution and progressive creationism. The sixth three plates. It was first published in the UK in Oc- Charles Lamb’s often and strongly expressed de- Bridgwater Treatise, this work was written at the be- tober 1911. votion served to rescue the Anatomy from a brief quest of Francis Henry Egerton, 8th Earl of Bridg- £850 [122752] period of oblivion” (PMM 120). water in order to explore “the Power, Wisdom, Garrison & Morton 4198.1. and Goodness of God, as manifested in Creation”. Never a biblical literalist, “it could be argued that 22 £1,000 [122454] more than anyone else he [Buckland] was respon- [BURTON, Robert.] The Anatomy of Melan- sible for making geology, and in particular the choly, What it is, With All the Kinds, Causes, concept of ‘deep time’, acceptable to the Anglican Symptoms, Prognostics, and Several Causes establishment centred on Oxford, and so for pav- of It . . . by Democritus Junior. With a Satyri- ing the way for the Darwinian revolution” (ODNB). call Preface, Conducing to the Following Dis- Donovan 31. course. New Edition, Corrected: To Which is £1,000 [122631] Prefixed, an Account of the Author. In Two Volumes. Philadelphia: T. Wardle, 1836

12 Spring Miscellany: Peter Harrington 23 23

23 Abydos; The Corsair, Lara; Ode to Napoleon Buonaparte, BYRON, George Gordon Noel, Lord. The Poems (including “Lines inscribed upon a cup formed from a skull”), Hebrew Melodies (including 24 Works; [together with] Don Juan. London: “She walks in beauty” and “The destruction of John Murray; John Hunt, 1815–24 Semnacherib”); The Siege of Corinth, Parisina, Poems edges and turn-ins, marbled endpapers, edges gilt. Orig- 14 volumes in 7, octavo (164 × 100 mm). Mid–19th- (including “Stanzas for Music”); The Prisoner of inal cloth covers and spine bound in at rear. Excellent century green morocco, spines in compartments with Chillon, Manfred, The Lament of Tasso; and Childe Har- copies, handsomely bound. gilt titles, marbled sides, endpapers and edges. Bound old’s pilgrimage: Cantos 3 and 4; Beppo, and Mazeppa. An attractive set of the Alice books which “have without the half-titles or advertisements leaves. Spines The final six volumes constitute the complete first earned him a place in the firmament of the great, sunned, extremities lightly rubbed, ink mark to headcap edition of Byron’s magnum opus Don Juan, cantos I of vol. iii, all sound and internally very fresh, generally for they are not only acts of imaginative genius to XXVI, in the foolscap octavo issue. The first vol- excellent condition. but they also revolutionized writing for children. ume, cantos I and II, had been originally printed Children’s books after Carroll grew less serious, first collected edition of Byron’s works, in quarto format. The whole set thus presents an more entertaining, and sounded less like sermons complete as published sequentially by John Mur- uncommon opportunity to obtain Byron’s major and more like the voices of friends than earlier ray 1815–20, bound as a handsome near-contem- lifetime works together in early uniform bindings prototypes . . . The Alice books and The Hunting of porary library set with the complete first edition and in satisfying editions. sequence of Don Juan in the foolscap octavo issue, the Snark have had an impact upon the English lan- published by John Hunt from 1821 to 1824, the year £1,500 [122794] guage as well, and after Shakespeare and the Bible of Byron’s death. are the most frequently quoted round the world” (ODNB). The set shows his remarkable early popu- The first four volumes of Murray’s collected edi- 24 larity. Still in its first year of publication, Looking- tion were printed together in 1815 with “In Four CARROLL, Lewis. Alice’s Adventures in Glass is here in its 32nd thousand; Alice’s Adventures, Volumes” to their title pages in 1815, the fifth vol- Wonderland; [together with:] Through the first published for Christmas 1865, has already ume in 1817 with the title page amended “In Five Looking-Glass and What Alice Found There. reached its sixth edition (39th thousand). Volumes”, the sixth in 1818, the seventh in 1819, With Forty-Two Illustrations by John Tenniel. Williams–Madan–Green–Crutch 46 & 84. and the eighth in 1820 completing Childe Harold. London: Macmillan and Co., 1872 In this set these first eight volumes have been re- £2,500 [123135] ordered and renumbered by hand in order to reu- 2 works, octavo (187 × 133 mm). Turn of the century red nite the four cantos of Childe Harold. The collected crushed morocco by Riviere & Son, raised bands to spine works contain, in order of publication: Childe Har- lettered in gilt, compartments richly panelled and decorated in gilt, double fillet gilt border to covers, gilt board old’s Pilgrimage: Cantos 1 and 2; The Giaour, The Bride of

All items are fully described and photographed at peterharrington.co.uk 13 25 26 27

25 26 chamber was removed, to reveal the unplundered CARROLL, Lewis. [Alice’s Adventures in CARTER, Howard, & A. C. Mace. The Tomb body and funerary equipment of the dead king. Unhappily, the death of Lord Carnarvon on 5 April Wonderland; in Italian.] Le avventure d’Alice of Tutankhamen. Discovered by the late Earl seriously affected the subsequent progress of Cart- nel paese delle meraviglie. Tradotte dall’ in- of Carnarvon and Howard Carter. London: er’s work. In spite of considerable and repeated bu- glese da T. Pietrocòla-Rossetti. London: Mac- Cassell and Company, Ltd, 1923–33 reaucratic interference, not easily managed by the millan and Co., 1872 3 volumes, large octavo. Original brown diagonally- short-tempered excavator, work on the clearance of Octavo. Original red cloth, spine lettered gilt, roundel ribbed cloth, titles gilt to spines and enclosing gilt the tomb proceeded slowly, but was not completed with “Alice” motif to front cover and “Cheshire Cat” scarab device on black ground to front covers, pictorial until 1932. Carter handled the technical processes to rear cover, blind rules to covers, top edge gilt. Fron- endpapers. Photographic frontispiece to each volume, of clearance, conservation, and recording with ex- tispiece and illustrations by John Tenniel. Spine very 186 similar plates (many double-sided, and numbered emplary skill and care. A popular account of the slightly rolled, a few marks to covers. A very good copy accordingly). Slightly rubbed, corners bumped, spines work was published in three volumes, The Tomb of crumpled head and tail, volume I slightly cocked, one in bright cloth. Tutankhamen (1923–33), the first of which was sub- plate loose with slight creasing and soiling at the edges, first edition in italian, second binding. There and bruise to the fore-edge of the text-block with conse- stantially written by his principal assistant, Arthur are some key differences, as identified by Williams, quent creasing, but overall a very good set. C. Mace” (ODNB). Madan and Green, between this and the first bind- first edition of Carter’s own account of the most £2,500 [123350] ing: the rules to the covers are blind-stamped rather spectacular archaeological discovery of the 20th than gilt, the top edge only is gilt, rather than all century. “In the summer of 1922 Carter persuaded the edges, and the endpapers are plain, rather than 27 Carnarvon to allow him to conduct one more cam- coated grey or green. Alice’s Adventures was first pub- CATULLUS. The Carmina. Now first com- paign in the valley. Starting work earlier than usual lished in the UK for Christmas 1865. Howard Carter opened up the stairway to the tomb pletely Englished into Verse and Prose, the Williams–Madan–Green–Crutch 85. of Tutankhamen on 4 November 1922. Carnarvon Metrical Part by Capt. Sir Richard F. Burton, £950 [123137] hurried to Luxor and the tomb was entered on 26 and the Prose Portion, Introduction, and November. The discovery astounded the world: a Notes Explanatory and Illustrative by Leon- royal tomb, mostly undisturbed, full of spectacular ard C. Smithers. London: printed for the transla- objects. Carter recruited a team of expert assistants tors: in one volume: for private subscribers only, 1894 to help him in the clearance of the tomb, and the conservation and recording of its remarkable con- Octavo (245 × 155 mm). Mid–20th-century red polished calf by Bayntun (Rivière) of Bath, spine gilt-tooled in tents. On 16 February 1923 the blocking to the burial compartments with two coloured morocco title labels,

14 Spring Miscellany: Peter Harrington 28 29 sides panelled in gilt with floral cornerpieces, gilt-rolled 28 board edges and turn-ins, marbled endpapers, top edge gilt, others untrimmed. Engraved frontispiece in three CERVANTES SAAVEDRA, Miguel de. The states. A few faint scrapes at top edge of rear board, oth- Life and Adventures of Don Quixote de la erwise a fine copy. Mancha. A new edition: with engravings first edition, deluxe issue, signed by one from designs by Richard Westall. London: 29 of the translators, though uncalled for in the Printed for Hurst, Robinson, and Co., 1820 limitation. This is one of a handful of copies specially printed on Japanese vellum: the limitation 4 volumes, octavo (167 × 106 mm). Later red crushed mo- 29 rocco by Bayntun, raised bands to spines ruled in gilt, given in the printed colophon is “4 copies”, cor- compartments lettered and panelled in gilt, double gilt CHAGALL, Marc. The Jerusalem Windows. rected in this copy by the translator and publisher rule border to covers with gilt floral roll, floral gilt roll Text and Notes by Jean Leymarie. New York: Leonard Smithers as “limited to twelve copies, of to turn-ins, marbled endpapers, edges gilt. Engraved George Brazillier Inc. in association with Horizon which this is no. 2”, and initialled and signed in frontispieces with tissue guards, title vignettes, 16 plates Magazine, 1962 full by him. Penzer, however, notes handling a by Charles Heath after Richard Westall. Pale spotting to copy with the limitation corrected to 18, and con- prelims, occasionally to text blocks, scuffs to covers of Tall quarto. Original red cloth, titles to spine and front siders this the final tally. Very scarce, with only vol. 3, otherwise an excellent, handsomely bound set. board in gilt, pictorial endpapers. With the dust jacket. three recorded at auction in over 60 years. first westall-illustrated edition. Rich- With 2 original lithographs and colour illustrations throughout by Chagall. Faint ownership stamp to first ard Westall (1765–1836) was “a significant and in- Burton and Smithers’s complete and unexpurgated two pages. An excellent copy in the jacket, the slipcase translation of Catullus, which reproduces the Latin novative figure in the development of the English with small chip to top edge. watercolour, his elegant and precise book illustra- original alongside Burton’s verse and Smithers’s first edition in english, with two origi- tions set new standards in that field, and his por- prose translations, was one of Burton’s final literary nal lithographs by chagall prepared for traits and historical and religious paintings have projects, begun in 1890 and almost finished within this edition, and numerous beautiful chromo- deservedly received more scholarly attention re- the year before his sudden death. It took Smithers lithographic reproductions of the artist’s work. cently than hitherto” (ODNB). years to persuade Burton’s wife to hand over the It was issued the same year as the first edition in manuscript and permit this private printing. £1,000 [124340] French, entitled Vitraux pour Jerusalem, and features Penzer 1894. various stages of Chagall’s 12 stained glass win- £3,250 [123106] dow designs for the synagogue of the Hadassah- Hebrew University Medical Centre in Jerusalem. £1,250 [122970]

All items are fully described and photographed at peterharrington.co.uk 15 30

30 CHRISTIE, Agatha. The Mystery of the Blue Train. London: W. Collins Sons & Co. Ltd, [1928] Octavo. Original blue cloth, titles and ruling to spine and front board in orange. Short closed tears to head of spine, spine ends and tips rubbed, boards a little bowed, light foxing to edges and prelims. A very good copy. first edition of this early Hercule Poirot mystery set on the French Riviera. £1,000 [123827]

Presented by Churchill to Canadian air ace Billy Bishop 31 CHURCHILL, Winston S. Fine portrait photograph. London: Vandyk, 1923 Silver bromide print (170 × 120 mm, 6 × 4 in), dry mounted, signed “Vandyk London” on mount (lower left), newly framed and glazed (385 × 300 mm, 11 × 10 in) preserving the original label. Slight silvering to periphery of image, couple of slight marks at top left. In excellent condition. signed by churchill, this fine portrait by the renowned Vandyk studio, is a direct and very engaging head-and-shoulders study of the 49-year old Churchill, captured in 1923 – the publication year of the first two volumes of The World Crisis, his “mammoth history” of the Great War, into which 31

16 Spring Miscellany: Peter Harrington he had thrown himself with “astonishing speed The china piece was renamed ‘Winston’ from that and energy” (ODNB). It is signed in full and dated day on” (Billy Bishop: The Courage of the Early Morning: A by Churchill on the original mount (lower right): Biography of the Great Ace of World War I, 2011). “from Winston S. Churchill July 1936”. Interestingly, Bishop was also presented with A presentation label (preserved on the back of the an inscribed photograph by a grateful President frame) explains: “Autographed photograph of Win- Roosevelt, for his part in arranging “for over 2,000 ston Churchill given by Winston Churchill to Wil- Americans to join the RAF . . . [as] most of them liam Avery Bishop, V.C. Donated by Mrs. Raymond later transferred to the US Army Air Service, which Willis-O’Connor (daughter). Purchased at Cana- badly needed experienced combat pilots” (Peter dian Save the Children Fund Gala Auction 23/4/71 Kilduff, Billy Bishop VC, Lone Wolf Hunter: The RAF Ace Ottawa. 50th anniv. held at French Embassy Ottawa. Re-examined, 2014, p. 157). Black tie”. The Vandyk studio was founded by Carl Vandyk in Air Marshal “Billy” Bishop VC (1894–1956) was the 1882, who established himself as one of the foremost top Canadian ace of the Great War, with a remark- photographic portraitists in London; his eldest son, able 72 victories to his name. “When the war ended Herbert, succeeded him and, in 1913, rebuilt the in November Bishop resigned from the service and studio at 37 Buckingham Palace Road. The business went into the flying business in Britain with Wil- eventually merged with Bassano, the other great liam Barker, another Canadian fighter ace. When a name in studio portraiture, in 1964. A highly appeal- crash in 1920 affected Bishop’s vision so that he was ing portrait with a distinguished provenance. unable to fly again, the company dissolved. Bishop £7,500 [123764] remained in Britain where he moved easily within society, playing polo, counting among his intimates 32 Winston Churchill” (ibid.). In January 1936 (the year 32 of Churchill’s inscription) Bishop was appointed the CHURCHILL, Winston S. Marlborough. His first Canadian air vice marshal “and, during the war, Life and Times. London: George G. Harrap & Co. ance to prevent the domination of the continent in the honorary rank of air marshal, was appointed Ltd, 1933–38 by a single power, it was also a source of inspira- director of recruiting [for the Royal Canadian Air tion to Churchill in his campaign against appease- Force]” (ibid.). 4 volumes, octavo. Original purple cloth over lightly bevelled boards, gilt-lettered spines, Marlborough crest gilt ment” (ODNB). Ironically, in the latter half of 1938 In his biography of his father, William Arthur Bish- to front boards, top edges gilt. Portrait frontispiece to when the three “Treaty” ports of Cobh, Berehaven, op gives a colourful anecdote of Churchill’s visit to each volume, 99 additional plates, 14 facsimiles of let- Lough Swilly were given up against Churchill’s the Bishop home while on a wartime stopover at Ot- ters, and 182 maps and plans, several folding. Spines wishes, “partly in a vain attempt to convince Hitler tawa in December 1941: “The impromptu visit was faded, occasional foxing to contents; a very good copy of that peaceful negotiation and conciliation was the a publication prone to fading. arranged at the house of the Canadian Prime Minis- best path . . . although the Unionist government ter, Mackenzie King, where my father was a guest at first editions, trade issue, inscribed by did protest against the deal on the Irish ports, their dinner for Churchill, who remarked, ‘I understand the author in vol. IV on the front free endpaper, protest was a qualified one. Lord Craigavon, in the your house is just across the street, Bishop’. My fa- “To Craigavon, from Winston Churchill. August end, professed a willingness to be ‘bribed’ by gov- ther assured him that it was less than two minutes’ 1938”. The recipient was James Craig, 1st Viscount ernment contracts for Belfast firms. Some observ- walk. ‘Right,’ Churchill said. ‘After dinner we’ll Craigavon (1871–1940), and the first Prime Min- ers believed that Craigavon in essence supported stroll over.’ He stayed for an hour. Nothing among ister of Northern Ireland. Churchill was grateful the policy of appeasement. The low-key betrayal by my father’s souvenirs escaped the Prime Minister’s for the Ulster loyalist support he received in his a friend brings home the full extent of Churchill’s searching gaze. But it was a china piece in the draw- wilderness year of 1938. The year this copy was in- powerlessness in 1938” (Bew, Churchill and Ireland). ing room that intrigued him most – a group of hun- scribed, Craigavon presented Churchill with a sil- Cohen A97.2(I-IV).a; Langworth pp. 166–8; Woods gry piglets trying to suckle on the same sow. ‘It re- ver cup “engraved with speeches on Ulster by his A40(a). Loughlin, Ulster Unionism and British National minds me,’ Churchill reminisced, ‘of a time when all father, himself, and his son Randolph” for Christ- Identity Since 1885, 1995; Bew, Churchill and Ireland, 2016. mas (Loughlin, p. 92). my ministers came to me with demands. All wanted £4,750 [123841] men or monies or priorities or equipment. I could “Marlborough: his Life and Times took its place at once only tell them, ‘Gentlemen, the old sow has only so among the classics of historical writing. As the many teats and there are not enough to go around.’ story of his ancestor’s leadership of a grand alli-

All items are fully described and photographed at peterharrington.co.uk 17 the doors, whatever the weather” (Journal of Clini- cal Pathology, 2003, 56, p. 325). He made contributions to medicine at a local level, performing the first blood transfusion in his area, and nationally, pioneering the use of sulfonamides for pneumo- coccal pneumonia and meningitis, which were usually previously fatal. “During the course of his professional life and into retirement he had a profound and wholly beneficial influence on the practice of pathology in the UK, in Europe, and in much of the world” (ibid.). In 1929, he received the Radcliffe Prize for the Advancement of Medicine by the University of Oxford. Dyke was the founder and first president of the Eu- ropean Association of Clinical Pathologists, noting that, “Mr Winston Churchill has pointed out the duty laid upon each and all is to strive to become ‘good Europeans’. This demands an acquaintance and contact with our fellow Europeans closer than we as people have sought or has been sought from us in the past.’ This association evolved to become the World Association of Societies of Pathology, of which he was also the first president” (ibid.). This is the first Macmillan edition of the “Abridged 33 and Revised Edition” in one volume, first issued by Thornton Butterworth in February 1931, with Presented by a grateful Churchill to the clinical small recognition of your services when you attend- a very appealing provenance, throwing light on a little documented episode of Churchill’s personal pathologist who attended his daughter Mary ed his daughter, Mary. Mr. Churchill is very grateful to you for all the trouble you took on that occasion”, history during the dark days of 1942. 33 signed by Kathleen Hill (Churchill’s personal pri- Cohen A69.14.a.; Langworth, Connoisseurs Guide, p. 116 CHURCHILL, Winston S. The World Crisis, vate secretary), on embossed 10 Downing Street let- (“When Thornton Butterworth went out of business in 1911–1918. Abridged and revised edition. terhead, dated 26 May 1942. In 1941 the 19-year old 1940, most of their Churchill works were subsequently published by Macmillan”). With an additional chapter on the Battle of Mary Churchill joined the Auxiliary Territorial Ser- the Marne. London: Macmillan & Co. Ltd, 1941 vice – becoming an “ATS girl” – and served with an £6,000 [123690] anti-aircraft battery in London, Belgium and Ger- Octavo. Original dark blue cloth, gilt lettered spine. With many. In a letter to Randolph, Churchill described 34 the dust jacket. 49 maps and plans (many folding). Jacket her as having “all the qualities to win her way, and is spine toned and partially torn at head (with some loss), (CLARKE, Harry.) GOETHE, Johann Wolf- pale blue circular stain on front panel, a few nicks and the greatest darling that can be imagined” (quoted by Martin Gilbert in Winston S. Churchill, vol. VI, p. gang von. Faust. From the German, by John chips, touch of foxing to fore-edge of book block, other- Auster. New York: Dingwall-Rock, [1925] wise a very good copy. 1177). We have not been able to identify the nature presentation copy, inscribed by the author on of Mary Churchill’s presumed illness. Quarto (273 × 218 mm). Original quarter vellum, title to the front free endpaper: “Inscribed by Winston S. The recipient, Sidney Campbell Dyke (1886–1975), spine in gilt, grey paper boards, illustrated endpapers, was an eminent and influential pathologist and top edge gilt. Colour frontispiece, 7 colour plates, 13 Churchill for S. C. Dyke, May 1942”, and accom- black and white plates, numerous illustrations in text by bacteriologist. “He believed that the place of the panied by a typed letter signed tipped to the front Harry Clarke. Spine slightly toned, couple of scuff marks pastedown: “Dear Mr. Dyke, The Prime Minister clinical pathologist was at the patient’s bedside to rear board, wear to edges and tips, a near-fine copy. and not isolated in the laboratory . . . After their has asked me to send the enclosed copy of ‘The first clarke edition, signed limited is- blood tests patients would queue to see him. World Crisis’, which he hopes you will accept as a sue, number 816 of 1,000 copies for sale in the US Sometimes the queue was long, extending out of

18 Spring Miscellany: Peter Harrington 34 36

(2,000 copies were divided between the US and 36 UK). This was the last book illustrated by Clarke. COOKE, Alistair. Alistair Cooke’s America. The publishers were dubious, thinking it “full of steaming horrors”, but Dorothy Richardson, pio- London & New York: British Broadcasting Corpora- neering modernist and feminist, wrote in the Irish 35 tion and Alfred A. Knopf, 1973 Times: “It is not for nothing that he is by choice a Tall octavo. Publisher’s red crushed full morocco by Mor- designer of storied windows richly dight, and in scribed by Collins, with a heart, on the title page, rell, titles to spine and front cover gilt, spine decorated the case of these Faust pictures, the dimmed light together with a typed letter signed by Clinton. The gilt, turn-ins and edges gilt, marbled and map endpa- is truly religious, binding together as in a single letter reads: “Dear Judy: Happy birthday! I hope pers. In the red cloth and marbled slipcase, as issued. medium this wealth of fantastic invention and re- this year will be full of happiness, health, and ful- Illustrated with numerous colour plates and maps. Spine very slightly faded. An excellent, fresh copy. maining in the mind until the detail is lost in the fillment”, hand signed “Bill”, with the additional whole” (Bowe, pp. 81–2). postscript “we love you” beneath. first edition, signed limited issue, number 39 of 250 copies, signed by the author and spe- £875 [122600] Collins is a close friend of the Clinton family, and one of Bill Clinton’s favourite singers. She per- cially bound for the occasion of the United States Bicentennial celebration. This work accompanied Presentation copy to Judy Collins, with her formed at Clinton’s first inauguration ball in 1993, as well as at several campaign fundraisers and the Cooke’s BBC 2 series America, “a personal history signature and a typed letter signed by Clinton pre-inauguration concert prior to that. Her re- of the United States”, written and presented by 35 cording of Joni Mitchell’s song “Chelsea Morning” Cooke and produced by Michael Gill (ODNB). It was the inspiration behind the Clintons naming was broadcast in both countries across 1972 and CLINTON, Bill. My Life. New York: Alfred A. 1973 and in the US a “charitable foundation con- Knopf, 2004 their daughter Chelsea, one of the dedicatees of this book. In her 2011 memoir, Collins reminisced: sidered the book of such educational value that it Octavo. Original blue cloth, title to spine in gilt. With the “For eight years . . . I went in and out of the White put a copy in every American public library” (ibid.) dust jacket. Together with a typed letter signed on em- House like I owned it. I would stay up and talk to £750 [123198] bossed headed note paper from Clinton’s office, dated 1 Bill until 2:30 in the morning and think, ‘My God, May 2013, and the envelope, laid in. With 32 plates. A fine when is this man going to let me get to bed?’” copy with some light creases to dust jacket extremities. Letter and envelope in equally fine condition. (quoted in Joseph Finder’s review, The Daily Beast, 3 December 2011). A remarkable association copy first edition, presentation copy, inscribed from the 42nd President to the folk music icon. by the author on the title page, “To my friend Judy Collins with thanks – Bill Clinton”, additionally in- £2,500 [122796]

All items are fully described and photographed at peterharrington.co.uk 19 37 37

37 by Currie of Blake after the Thomas Phillips portrait set who worked for J. Harrison Stonehouse at Sother- behind glass, elaborate frame blocked in blind, green (COSWAY BINDING.) BLAKE, William. an’s from about 1910 until her death in 1940. This silk moiré doublures and endpapers, facsimile signature is a facsimile edition of Blake’s Songs of Innocence, Songs of Innocence. London: Ernest Benn, Ltd, of Miss Currie in gilt to foot of front doublure, binder’s first published in 1789, the original held in the 1926 stamp in gilt to turn in, top edge gilt. With the original black cloth front cover bound in at rear. Housed in the British Museum. Octavo (218 × 148 mm). Contemporary brown morocco brown cloth slipcase. With 26 facsimile colour plates, £5,750 [123937] by Riviere and Son, titles to spine and front cover let- including illustrated title page. Minor rubbing to spine tered in gilt, spine elaborately blocked in blind in com- joints, slight wear to doublures; an excellent copy. partments, front cover with original portrait miniature 38 a handsome cosway binding, with an inserted preliminary leaf signed by both Stonehouse and CULLEN, Countee. Photographic portrait, Miss Currie denoting this number 841. inscribed. [c. 1930s] These elaborate bindings, named after the famous Black and white photograph (145 × 102 mm) mounted on Regency miniaturist Richard Cosway, were a style cork board (230 × 162 mm). Fine. executed by Rivière & Son for Henry Sotheran A handsome portrait photograph of Harlem Re- booksellers, with miniatures mounted under glass naissance poet Countee Cullen (1903–1946), look- on the cover. The paintings were originally done ing in his late 20s, inscribed on the mount “For 37 by Miss Currie (real name Caroline Billin Curry) Ogden Wintermute, Cordially, Countee Cullen”

20 Spring Miscellany: Peter Harrington 39

(1815–1904), author of the popular song “Dixie”. Signed photographs of Cullen are very scarce, and the connection between the Harlem poet and the Ohio blackface biographer is certainly an interesting and unexpected one. £2,250 [122644]

39 CUMMINGS, E. E. VV [Viva.] New York: Horace Liveright Inc., 1931 Tall octavo. Original dark silver cloth backed grey boards, titles to spine in silver, edges untrimmed. Housed in the matching numbered slipcase, as issued. Very faint soiling to covers, an excellent copy in the slip case with spine absent. first edition, signed limited issue, presentation copy, inscribed by the poet, together with an original drawing of a rampaging elephant by him: “to Willie, from Fannie with esculator [sic] (E. E. Cumming’s)’s love”. This collection of 70 poems in which “Cummings performed some of his most daring acrobatics” was issued in a trade

38 edition in the same year (Reef, p. 83). Number 55 of 95 copies signed by the poet. Catherine Reef, E. E. Cummings, p. 83. and additionally signed by Cullen on the verso Ohio, and collected the signatures of a wide range of the photograph. Henry Ogden Wintermute of writers who passed through. He wrote a biog- £1,500 [123930] (1895–1964) was a writer, historian and collector raphy, published 1955, of his uncle, the black- who held court in Mount Vernon, Knox County, face minstrel pioneer Daniel Decatur Emmett

All items are fully described and photographed at peterharrington.co.uk 21 40

40 DAHL, Roald. The Twits. London: Jonathan Cape, 1980 Octavo. Original red boards, titles to spine gilt. With the pictorial dust jacket. Illustrated by Quentin Blake. An excellent, bright copy in the jacket with spine slightly faded, and three short closed tears. first edition, presentation copy, inscribed by the author in blue ink on the front free end-

paper, “To Andrew, Heidi & Matthew, with love, 42 Roald Dahl. 15 Dec. 1980”. DAHL, Roald. The Witches. London: Jonathan £3,500 [123208] Cape, 1983 Octavo. Original green boards, title to spine gilt. With 41 the dust jacket. Housed in a custom blue quarter mo- DAHL, Roald. George’s Marvellous Medi- rocco solander box. Housed in a bright blue quarter mo- cine. London: Jonathan Cape, 1981 rocco solander box by the Chelsea Bindery. Illustrated by Quentin Blake. A fine copy in the jacket, lightly creased Octavo. Original light blue cloth, spine lettered in gilt. and rubbed at extremities, tips a little nicked. With the dust jacket. Illustrated throughout by Quentin first edition, unusually inscribed by both Blake. A fine copy in the unusually bright jacket. the author and illustrator, together first edition, signed by the author on the with an original drawing by blake: “Helen, front free endpaper in green ink. Love Roald Dahl”, on the verso of the half-title, £5,000 [124174] and “For Helen, Quentin Blake”, with a pen-and- ink drawing by him of one of the witches cooking 41 with a saucepan, on the front free endpaper. The

22 Spring Miscellany: Peter Harrington book’s owner, Helen Roberts, has neatly inscribed her name and the date (Christmas 1983) on the front free endpaper. The Witches won the Whitbread Award for Chil- dren’s Novel in 1983, was adapted into a stage play and a two-part radio dramatization for the BBC, a 1990 movie directed by Nicolas Roeg which starred Anjelica Huston and Rowan Atkinson, and an opera by Marcus Paus and Ole Paus. £15,000 [124296]

43 DALÍ, Salvador. Les montres gélatines de l’espace-temps (The Frozen Watches of Space-Time). Paris: Jean Lavigne, 1974 Drypoint etching over chromolithograph with emboss- ing on Arches paper. Sheet size: 100 × 70 cm. Excellent condition. Float-mounted in a white gold leaf frame with UV acrylic glazing. one of 25 artist’s proofs aside from the edition of 195, signed in pencil lower right by Dalí, inscribed “EA” lower left. One of 12 plates from the La Conquête du Cosmos portfolio, printed by Atelier Lithographique, Paris. The plates were printed in 1974 and divided into two portfolios: six were offered in 1974 and six in 1977. Field 74–12E; Michler & Lopsinger 648. £6,000 [123463]

42 43

All items are fully described and photographed at peterharrington.co.uk 23 45 DARWIN, Charles. On the Origin of Species by means of natural selection, or the preser- vation of favoured races in the struggle for life. Fifth thousand. London: John Murray, 1860 Octavo signed and sewn in twelves. Original diagonal-wave-grain green cloth, covers blocked in blind, gilt titles to spine, light brown endpapers, edges untrimmed. Housed in a green quarter morocco solander box by the Chelsea Bindery. Folding diagram to face p. 117. Murray’s general list advertisements, dated January 1860. Two ownership signatures to front free endpaper, Edmonds & Remnant’s binder’s ticket to rear pastedown. Spine ends slightly bumped, single mark to spine with light cockling to centre, cover edges slightly bumped in places, front pastedown hinge starting to split at head and centre, occasional light foxing. Overall an excellent copy. second edition of “the most important biologi- cal book ever written” (Freeman), one of 3,000 copies printed, the issue most commonly met with, bearing 1860 on the title page (a very few copies bear 1859). The second edition “can be recognised immediately by the date, by the words ‘fifth thousand’, and the correct spelling of ‘Linnean’ on the title page . . . The misprint ‘speceies’ is corrected and the whale-bear story diluted, an alteration which Darwin later regretted, although he never restored the full text. The story is not found again in any printing, except in the American editions of 1860, until the end of copyright”. Freeman 376. £10,000 [123328]

46 DARWIN, Charles. Insectivorous Plants. Lon- don: John Murray, 1875 Octavo. Original green bead-grain cloth, gilt titles and 44 decoration to spine, blind-panelled covers, bottom edge trimmed, others untrimmed, brown coated endpapers. 44 condition. Float-mounted in a white gold leaf frame With 30 wood-engraved illustrations in the text. Contem- with UV acrylic glazing. porary ownership inscription to half-title, MacDougall DALÍ, Salvador. Vision planétaire et scat- one of 25 artist’s proofs aside from the edi- Library bookplate and 2 botanical newspaper clippings to ologique (Planetary and Scatalogical Vision). front endpapers. Spine gently rolled, slight rubbing to ex- tion of 195, signed in pencil lower right by Dalí, Paris: Jean Lavigne, 1974 tremities, top edge dust toned, light foxing to prelims and inscribed “EA” lower left. endmatter, a very good, partially unopened copy. Drypoint etching over chromolithograph with emboss- Field 74–12I; Michler & Lopsinger 645. ing on Arches paper. Sheet size: 100 × 70 cm. Excellent £4,000 [123467]

24 Spring Miscellany: Peter Harrington 46

first edition, from the first impression of 1,000 copies. “These meticulous studies form a minor contribution to the evolutionary series by the study of the adaptations of such plants to impov- erished conditions... The book was published on 2 July 1875, in a standard binding without inserted advertisements. It is stated that 3,000 were printed, of which 2,700 were sold to the trade at once. This cannot be strictly true because both the second and third thousands of the same year stated their thousands on the title pages” (Freeman). Freeman 1217. 45 £3,000 [120375]

47 DARWIN, Charles. The Selected Works. New York: D. Appleton and Company. 1896–7 15 volumes, octavo. Original red half morocco, spine lettered in gilt, marbled boards, top edges gilt others uncut. With engraved illustrations in text throughout. Con- temporary ink inscription to front free endpapers, some dark spotting to spines overall in excellent condition. the first authorized collected edition of his works. Rare in the publisher’s binding. £4,500 [122425]

All items are fully described and photographed at peterharrington.co.uk 25 48 49

48 prehensive discussion of John Law and the Missis- text is continuous. In the second version, pagina- DEFOE, Daniel. The Chimera: or, the French sippi scheme; the latter is discussed with a blend tion runs 1–48 57–79” (Furbank, p. 191). of admiration (in principle) and mistrust (in prac- Furbank 206P; Goldsmiths’ 5740; Moore 426. Way of Paying National Debts, Laid open. Be- tice). “First attributed [to Defoe] by Lee . . . on £12,500 [122924] ing an impartial account of the proceedings p. 2, [it] contains the favourite saying of Defoe in France, for raising a paper credit and set- ‘. . . it had long since been receiv’d maxim in the tling the Mississipi [sic] stock. London: for T. case of war, that the longest purse, not the long- 49 Warner, 1720 est sword, would be sure to conquer at last’ (cf. An DICKENS, Charles. A Christmas Carol. In Essay upon Projects (5), the Review for 8 October 1706 Octavo (193 × 122 mm), pp. [2], 32, 41–76. Early 20th-cen- Prose. Being A Ghost Story of Christmas. tury tan calf by Riviere, gilt rule border to covers, gilt in- and 28 December 1710); and the favourite conceit, With illustrations by John Leech. London: ner dentelles, neatly rebacked preserving the original gilt ‘This coy mistress call’d credit’ (p. 3) (cf. the Re- Chapman & Hall, 1843 decorated spine, red morocco labels, navy blue coated view, 10 January 1706: ‘Money has a younger sis- endpapers, top edge gilt, other edges red. Bookplate of ter . . . call’d credit . . . this is a coy lass’, and The Octavo. Original light reddish-brown vertical fine-ribbed Harvard University Graduate School of Business Admin- Complete English Tradesman (224), I, p. 418, in which cloth, spine and front cover decorated and lettered gilt, istration to pastedowns, with cancellation stamp. Some credit is called a ‘coy mistress’)” (Furbank, p. 191). sides stamped in blind, green endpapers, gilt edges. Housed in a red cloth chemise and red quarter morocco surface wear to spine, inner hinges cracked but firm, ac- Defoe’s attitude towards credit can be gauged quisition note in pencil (Quaritch, Catalogue 405, Dec. slipcase. Hand-coloured etched frontispiece and 3 steel- from his decision to sell his shares in the South 1926) and bookseller’s printed catalogue slip tipped onto engraved plates after Leech, wood-engravings within front free endpaper; a very good copy. Sea scheme in 1719, the year before this work was the text by W. J. Linton after Leech; title page printed in published. “The tract exists in two variant set- blue & red. Bookseller’s ticket to rear pastedown. Front rare first edition of this comparative exami- tings, both with erroneous pagination though the hinge starting, rear hinge cracked but holding, text block nation of credit in England and France with a com- sound, couple of marks to rear free endpaper. An excel-

26 Spring Miscellany: Peter Harrington 49 lent copy in bright cloth, in unusually nice condition, with uncommonly well-preserved spine panel. first edition, first issue, with “Stave I” on 50 51 the first page of text and green endpapers, and all the first edition textual points. The hand-coloured 50 51 green endpapers, Dickens’s original choice for his lavish gift book, tended to dust off and smudge, so DICKENS, Charles. A Christmas Carol; The DICKENS, Charles. A Tale of Two Cities. the endpapers were changed to yellow, not requir- Chimes; The Cricket on the Hearth; The Bat- With Illustrations by H. K. Browne. London: ing hand work. Probably in the middle of binding, tle of Life; The Haunted Man. London: Brad- Chapman and Hall, 1859 as demand grew faster than the current endpaper bury and Evans; Chapman and Hall, 1843–8 Octavo (214 × 135 mm). Near-contemporary purple half stock, it was decided to use up the green paper, 5 works, small octavo (172 × 112 mm). Recent red mo- calf with marbled sides, endpapers and edges. Frontis- and thereafter it was used indiscriminately with rocco, titles and decoration to spines gilt, single fillet to piece with tissue-guard, engraved title, and 14 plates by yellow, but discarded again when the initial supply covers in gilt, marbled endpapers, all edges gilt, original H. K. Browne. Spine faded to brown, a little worn around of green became exhausted. Primary copies there- cloth covers bound in at back of each volume. Enclosed cover edges, front cover lightly rubbed, some gatherings fore occur with either green or yellow endpapers, in a custom red slipcase. A Christmas Carol with hand- standing very slightly proud, some foxing to plates and some collectors preferring green as the author’s coloured frontispiece, 3 full-page hand-coloured plates, title page, offset on p. 1 from where a slip of paper had original prepublication choice. illustrations in the text; other titles with frontispiece, been inserted. An excellent copy. engraved title, and illustrations in the text. A fine, attrac- first edition, bound from the original A Christmas Carol was an instant success, reportedly tively bound set. selling all 6,000 copies of the first edition on the monthly parts, first issue, with p. 213 incor- first day of publication, and Dickens went on to first editions of dickens’s famous se- rectly numbered 113 and signature “b” on list of write four more small festive books. Of all these, quence of annual christmas books. The set plates. however, it is A Christmas Carol which has best stood is in mixed issues: A Christmas Carol is the second From the library of the novelist Richard Adams the test of time. “It is rather as if Dickens had re- issue with “Stave One” as the first chapter heading (1920–2016), best known as the author of Watership written a religious tract and filled it both with his and a red and blue title page; The Chimes has the Down (1972), with his bookplate to the pastedown. own memories and with all the concerns of the first state of the vignette title page; The Cricket on Adams used the proceeds of his novels to develop period. He had, in other words, created a modern the Hearth has the first state of the advertisement an extensive book collection, including first edi- fairy story. And so it has remained” (Peter Ack- leaf; The Battle of Life has the fourth state of the title tions of various Dickens works. vignette, all as described by Smith. The final book, royd, p. 413). Eckel, pp. 86–90; Gimbel A142; Hatton & Cleaver p. 331; The Haunted Man, was published in 1848, after Eckel pp. 110–15; Smith II, 4; Todd, The Book Collector, Sadleir 701. Dickens postponed the planned book for Christ- 1961, pp. 449–54; Ackroyd, Dickens, 2012. mas 1847 to focus on completing his novel Dombey £4,500 [123944] £22,500 [122830] and Son. Smith II, 4–6, & 8. £4,750 [122945]

All items are fully described and photographed at peterharrington.co.uk 27 52 DICKENS, Charles. The Works. In Thirty Vol- umes. London: Chapman and Hall Limited, 1881–2 30 volumes, quarto (262 × 180 mm). Contemporary brown half morocco by Zaehnsdorf, spines lettered in gilt, marbled sides, top edges gilt. Facsimiles of original blue wrappers of the parts bound in at the start of each novel, illustrations laid down on India proof paper, some handcoloured, by Robert Seymour, George Cruikshank, Hablot Knight Browne (Phiz), George Cattermole and John Leech, amongst others. Slight marking to spines, slight foxing to edges and contents. An excellent set. limited edition, number 992 of 1,000 copies. Out of the many collected works of Dickens which were published in the late 19th century, the present edition has good claim to be the largest, bold- est, and most striking. £4,500 [122941]

53 DONALDSON, Julia, & Axel Scheffler.Origi - nal drawing of the Gruffalo’s child, togther with a thank-you card. September 2004 2 items, mounted together and attractively framed and glazed (37 × 28.8 cm): original drawing in watercolour and ink by Axel Scheffler on a hand-addressed envelope with stamp and postmark (11.5 × 16 cm); together with a postcard featuring a design by Scheffler on the recto of a green dragon from the Zog books (10.5 × 14.8 cm). In fine condition. original drawing by axel scheffler, depicting the Gruffalo’s child venturing into snowy woods on the front of the envelope, accompanied by an autograph thank-you note, written by Schef- fler and signed by him, Julia Donaldson, and Alice Burden, their publicity manager: “Thank you for a nice time in Huddersfield, with love, Alice, Ju- lia and Axel”. The note, postmarked 23 September 2004, was sent following a publicity event for The Gruffalo’s Child, which was published on 3 Septem- ber, at the Children’s Bookshop in Huddersfield. The recipients were Sonia and Barry Benster, the owners of the bookshop, who held several book events for the author and artist at their bookshop, and became friends in the process. £1,000 [123212] 52

28 Spring Miscellany: Peter Harrington 53 53

54 DOYLE, Arthur Conan. The Complete Sher- lock Holmes. With a preface by Christopher Morley and an introduction by John Dickson Carr. New York: Doubleday & Company, 1953 2 volumes, octavo. Original blue quarter calf, grey cloth sides, top edge blue, blue endpapers. With the publisher’s blue card slipcase. Spines uniformly faded, a little rubbing to extremities, short split to head of front hinge of vol. I, internally fresh. An excellent set. signed limited edition, number 25 of 147 copies signed by the author. This definitive edition of the Sherlock Holmes stories was issued with signed sheets retained by the publisher from the production of the Crowborough Edition, which was published in 1930. Doyle signed the sheets for the edition, but died on 7 July 1930, shortly before its publication. See Green & Gibson A60. £5,500 [123492]

All items are fully described and photographed at peterharrington.co.uk 29 the mechanism, this shown in another plate being operated by dromedaries) and one of a test rig with drill bits displayed in the background. Twelve photographs are of operational rigs in Algeria (Zaouia and “l’oued Rirh” – the oasis at Wadi Rirh), Tunisia (Sfax), Senegal (Dakar, Saint-Louis), and Russia (the canal at the junction of the Don and Volga rivers). One photograph shows the “Mission de Comman- dant Roudaire dans les Chotts”. François Élie Roudaire (1836–1885) was a French army officer and geographer who worked extensively in North Africa, particularly at the Tunisian salt lakes, the French chotts (derived from the Ara- bic shatt, meaning broad canal, estuary, or lake). In partnership with Ferdinand de Lesseps – developer of the Suez Canal (completed 1869) – he proposed the construction of a 120-mile canal that would link the chotts of Algeria and Tunisia with the Gulf of Gabès on the Tunisian east coast, transforming the Sahara Desert into a fertile sea. “Such a sea, Captain Roudaire asserted, would cause fertilising rains to 55 fall upon the now barren slopes of the Aures moun- tains [in Algeria], and create a brisk commerce” (E. 55 concerns of the period, Mulot & Dru, described by G. Ravenstein in Journal of the Statistical Society of Great Britain, March 1875, p. 425). This was an engineering DRU, Léon & Saint-Just, & Louis-Georges a contemporary as “acknowledged in France to be masters of the art of boring” (Louis Simonin, Un- venture that captured the imagination of the French Mulot. Matériels & Outils de Sondages pour derground Life or, Mines and Miners, 1869, p. 79). public and became the subject of Jules Verne’s last les mines & les colonies (Materials and Sur- novel, L’invasion de la mer (The Invasion of the Sea, All prints are headed “Materiel Colonial”. Four plates vey Tools for Mines and Colonies) [front cov- 1905). However, Roudaire’s ambitious idea had a show “Appareil de Sondage” (“apparatus for sound- more cynical shadow-plan: to isolate the rebellious er label]. Paris: Paulin Arrault Ingr. E.C.P., succes- ing”, i.e. test rigs) being put through their paces at seur; Bureaux & Ateliers de Construction, [c. 1890] tribes of southern Tunisia, making it easier to con- what appears to be the premises of Dru & Mulot tain and subdue them. Ultimately, Roudaire and De Folio (430 × 335 mm). Contemporary presentation bind- (these plates include details of drilling depths attain- Lesseps’s scheme failed through what was blamed ing of brown half morocco, gilt lettered spine, marbled able for each rig). Five show drilling machinery: three on bad geography and spiralling costs. In 1882, a sides, patch label to front board, marbled endpapers. 21 of winches, one of a carousel in a metal casing for use high commission advised the French government original albumen prints (largest 213 × 291 mm, smallest in the Sahara (presumably to prevent dust entering 150 × 212 mm, average in the range 160 × 215 mm) mount- against proceeding and work stopped. ed on linen-hinged heavy card mounts, all fully captioned Léon Dru (1837–1904) was a French engineer and in manuscript, and each with the company wet-stamp entrepreneur who, in partnership with his brother for Léon Dru beneath. A few scrapes and light abrasions, Saint-Just and fellow engineer Louis-Georges Mu- corners through, some minor restoration to the spine, lot (1792–1872), instigated the drilling of numerous front free endpaper chipped at fore-edge, mounts lightly artesian wells in and around Paris, perhaps most browned and with some marginal finger-soiling, some minor fading of a few of the prints themselves, but the famously the Puits de Grenelle in Place Georges- great majority retain good tone and definition. Mulot – where Mulot père et fils were caricatured by Daumier in a print of 1842 – and the Butte-aux- handsomely presented and apparently Cailles at Place Paul-Verlaine in the 13th arrondisse- unique album of 21 striking original al- ment, which is still operational and where work bumen prints showing test rigs and drilling ma- was interrupted for some 20 years by contractual chinery, largely for use in artesian exploration, as- disagreements and the intrusion of the Paris Com- sembled for one of the leading French engineering 55

30 Spring Miscellany: Peter Harrington 56 57 58 mune. Mulot, the senior partner, was dubbed the and title page. Spines rolled and slightly bumped at first essex house press edition, number 114 “Christophe Colomb des puits artésiens” (“the Co- ends, light marking and cockling to covers, hinges split- of 125 copies only, all bound in vellum. The Essex lumbus of artesian wells”) by Gustave Pessard in his ting but still firm, occasional faint foxing. Lacking the House Press was founded by Charles Robert Ash- Nouveau dictionnaire historique de Paris (1904). erratum slip in vol. III and the integral advertisement leaf bee and Laurence Hodson following the closure in vol. IV. An excellent set. The successor to the firm was Paulin Arrault of William Morris’s Kelmscott Press in 1897 and first edition in book form, first issue with- (1847–1901), who completed the drilling of the “came from the heart of the arts and crafts move- out the contents leaf. Daniel Deronda was Eliot’s last well at Butte-aux-Cailles. In 1890 Arrault pub- ment” (Franklin, p. 64). Ashbee bought the Kelm- completed novel. “While creating once more a pan- lished Outils et procédés de sondages, which has been scott Press’s Albion printing presses after William orama of social classes and opinion and showing described as “one of the most elaborate, complete Morris’s death, and employed one of the Kelm- how individuals interact at times of social change, and attractive catalogues of pre–1900 well drilling scott compositors, Thomas Binning. this novel spreads its net even wider than its pre- tools and equipment . . . in fact a textbook of wa- Franklin pp. 228–45. decessor, taking in the English aristocracy at one ter well drilling that listed all tools and equipment end of the scale and poor London Jews at the other £1,250 [123790] designed and manufactured by the publishing end. George Eliot’s ambitious plot brings the two company [Arrault’s Bureaux & Ateliers de Con- extremes into close contact through the figure of 58 struction, whose name appears on the front of the Deronda himself; her comic treatment of the ludi- present album]” (John Edward Brantly, History of (ESSEX HOUSE PRESS.) KEATS, John. The crous hunting and shooting county set is daringly Oil Well Drilling, 1971, p. 190). All three men, Léon Eve of St. Agnes. London: Essex House Press, 1900 offset by her respectful description of the Jewish re- Dru, Louis-Georges Mulot and Paulin Arrault, ligion and culture” (ODNB). The presence of yellow Octavo. Original vellum, spine lettered in gilt, rose and were awarded the Légion d’honneur. endpapers is not noted by Sadleir or Parrish. “Soul is Form” blind-stamped to front cover. Hand- coloured wood-engraved frontispiece by Reginald Sav- A remarkable record of 19th-century engineering Sadleir 813; Wolff 2057; Parrish p. 39. endeavour – perhaps assembled for presentation to age, hand-coloured initials throughout, 9 laid-in tissue a senior member of the firm of Mulot & Dru or their £1,250 [122826] guards. Light mould spotting to rear cover, extending successor, Paulin Arrault – and compiled to cel- onto final few pages, otherwise a very good copy. ebrate the breadth and reach of their achievement. 57 first essex house press edition, number 106 of 125 copies only, all bound in vellum. (See also £12,750 [123046] (ESSEX HOUSE PRESS.) GRAY, Thomas. El- previous item.) egy. London: Essex House Press, 1900 Franklin pp. 228–45. 56 Octavo. Original vellum, spine lettered in gilt, rose and £1,000 [123787] ELIOT, George. Daniel Deronda. Edinburgh & “Soul is Form” blind-stamped to front cover. Hand- London: William Blackwood and Sons, 1876 coloured wood-engraved frontispiece, hand-coloured initials throughout. Vellum a little finger-marked, else a 4 volumes, octavo. Original dark maroon cloth, gilt let- fine copy. tered spines, black panelled sides, yellow endpapers. Pencilled ownership inscription to front free endpapers

All items are fully described and photographed at peterharrington.co.uk 31 Vainglory and Inclinations, were published, and displaying all the anxieties and enthusiasms of a debut novelist. This volume also contains five of the original autograph letters signed of those included in the book, one stub-mounted and four others laid in within two envelopes. The reason for this typewritten volume’s construction is not entirely clear. It is not unlikely that it was produced for Grant Richards himself – certainly the object seems as though it was produced before 1948, when Richards died. A lot containing 33 autograph letters from Firbank to Richards, though curiously not apparently the present selection, sold at Swann Galleries in 1986 for $4,000. Four of the autograph letters included in the present volume appear to have passed through the trade at some point before being reu- 59 61

59 national Studies, this work’s aim “is to show how FIRBANK, Ronald. The Princess Zoubaroff. unstable in buying power are all monetary units, including the dollar; what hidden causes produce London: Grant Richards Limited, 1920 that instability; what harm results, although as- Octavo. Original black cloth, title to spine and front cribed to other causes; and what are the various cover in gilt. With the dust jacket. Coloured frontispiece remedies which have been tried or proposed” with tissue guard, title vignette by Michel Sevier. Spine (preface). ends slightly creased. An excellent copy in the bright Fisher M-1344. jacket, spine and panels slightly soiled. first edition. “530 copies were printed but, £1,750 [123994] according to the Grant Richards ledger, only 513 60 were bound” (Benkovitz). Benkovitz A7. nited with their typed texts in this volume, as the envelopes in which they are contained bear the £500 [122424] typed legend, “Spring List: Item 105”. 60 £2,750 [124293] FIRBANK, Ronald. Letters to Grant Rich- 61 ards. [London?: after 1917, before 1948] FISHER, Irving. The Money Illusion. New Small quarto (250 × 200 mm). Custom bound in contem- York: Adelphi Company, 1928 porary blue buckram, titles gilt to front, top edge gilt. Sunning to spine and around board edges, two small Octavo. Original green cloth, spine and front board let- 62 paint marks to rear board, trivial rubbing to tips, some tered in black. With the dust jacket. Previous ownership minor spots to endpapers, very good condition. inscription to front free endpaper. Spine ends lightly 62 An ostensibly unique bound volume containing rubbed and bumped, text block visible at pp. 16–7 and 32–3 but holding firm, overall a clean copy in the worn typed copies of 33 letters from the novelist Ronald FLEMING, Ian. Typed letter signed to Eileen dust jacket, chipped and torn at edges, with a few tape Cond. London: 5 December 1957 Firbank to his publisher Grant Richards, sequen- repairs to extremities and some minor loss to spine. tially dated from 26 December 1914 to 18 August first edition. Based on lectures given in the Single sheet (204 × 127 mm), letterhead of Kemsley House, 1917, around the period that his first two novels, London, W.C.1., with recipient’s name handwritten, ad- summer of 1927 before the Geneva School of Inter-

32 Spring Miscellany: Peter Harrington 63 64 dressed to: Miss Eileen Cond, Stream Cottage, Sidmouth, duced screenplay he had worked on in 1958 in Devon. Lightly creased where folded, tiny closed tear to collaboration with Kevin McClory, Jack Whitting- lower right-hand tip, in excellent condition. ham, and Ivar Bryce, with the result that Fleming Fleming writes to this “most faithful follower” of found himself in a well-publicised case in the High his fortunes: “I well remember my pleasure at get- Court defending himself against McClory’s accu- 64 ting your letter shortly after ‘Casino Royale’ was sations of plagiarism, which Fleming and McClory created for the purpose of holding the rights to his published. It was my first fan letter from a member eventually settled out of court. books. This is the variant issue, with the printer’s of the public! . . . here, with my very best wishes, Gilbert A9a (1.1). quad mark (a spacer between the type) on the title is your bookplate for ‘The Diamond Smugglers’.” page, “no priority between the two variants has Eileen Cond was a book collector who sent out her £1,250 [123108] been established . . . as few as one in ten copies bookplate to her favourite authors, many of whom exist in this state”. signed and returned them to her. Cond’s copy 64 of The Diamond Smugglers, which was published a FLEMING, Ian. The Spy Who Loved Me. Lon- The novel is the only Bond book to be written in the first person, presented as the testimony of a month prior to this letter, was sold at Heritage don: Jonathan Cape, 1962 Auctions in 2008; Fleming inscribed the book- 23-year-old Canadian woman, Vivienne Michel plate “To Eileen Cond – the faithful one – from Ian Octavo. Original dark grey boards, titles to spine in with whom Bond has an ill-fated affair. Bond him- Fleming, 1957”. silver, dagger design to front board in silver and blind, self does not appear until two thirds of the way red endpapers. With the dust jacket. Housed in a black through the book. In furtherance of this pretence, £5,000 [123740] quarter morocco solander box by the Chelsea Bindery. Michel gets a spurious credit on the title page as Double-page spread illustration pp. 6–7. Spine gently co-author, whose manuscript allegedly simply ap- 63 rolled, tiny bump to head of front board, faint mark to top edge, internally clean, in the bright jacket with nick peared on Fleming’s desk. The Spy Who Loved Me FLEMING, Ian. Thunderball. London: Jona- to foot of spine panel, and a little rubbing to extremities. was Roger Moore’s fourth Bond film, released in than Cape, 1961 An excellent, fresh copy. 1977. However, when Fleming sold the film rights first edition, presentation copy, inscribed to Harry Saltzman and Albert R. Broccoli he only Octavo. Original dark brown boards, spine lettered gilt, by the author on the front free endpaper, “To gave permission for the title to be used rather than skeletal hand motif on front board blocked in blind. any aspects of the plot. With the dust jacket. Ownership inscription to front Hugh. This rather forward child of his trustee- pastedown. A fine copy in a bright jacket. ship! from Ian”. Fleming presented this copy of Gilbert, A10a (1.2). first edition of the ninth Bond book. Ian Flem- the most sexually explicit of his Bond novels to £15,000 [123781] ing’s novel incorporated material from an unpro- Hugh Greenwood, one of the two trustees who administered the Book Trust, which Fleming had

All items are fully described and photographed at peterharrington.co.uk 33 66 (GAY SUNSHINE PRESS.) Angels of the Lyre. A Gay Poetry Anthology. Edited by Win- ston Leyland. San Francisco: Panjandrum Press, Gay Sunshine Press, June 1975 Octavo. Original blue cloth, titles gilt to spine and front. No jacket as issued. Illustrated frontispiece and others in the text. Cloth a little spotted, faint spotting to edges and some sparse instances within, a very good copy. first edition, scarce cloth issue, publisher’s own copy of the first gay sunshine press publication, signed by him. This is number 2 of 10 copies signed by Leyland. One of the first openly gay poetry anthologies, this issue was of 200 hardcover copies, most of which were sold to libraries. 65 66 This copy comes from Winston Leyland’s personal collection and is additionally signed by him on the 65 title page. Leyland (b. 1940) was a leading figure first edition, signed limited issue, letter O FRIEDLANDER, Lee. Flowers and Trees. New in American LGBT publishing and won the Stone- of 26 specially bound copies signed by the authors, the editor and publisher Winston Leyland’s own York: Haywire Press, 1981 wall Book Award in 1980. He established the Gay Sunshine Press in 1975, which was notable for its copy, additionally signed by him on the title page, Folio. Original purple cloth, titles to front board black, pioneering anthologies of gay writing from other and with two unpublished autograph letters signed inner boards green cloth, spiral binder. 40 full page cultures, and his Gay Sunshine Journal (1970–82) from Ginsberg to Leyland laid in. The first, dated black and white photographs. Spine rolled, rubbed at 26 Nov 1982, praises the present publication, men- extremities. A very good copy. was particularly influential for its interviews with prominent gay writers of the era. The anthology tions meeting John Rechy, and discusses other mat- first edition, signed by the photographer includes poems by poets such as Joe Brainard, ters of gay publishing. The second, with signed en- on the dedication page. It features 40 stunning bo- Charles Henri Ford, Allen Ginsberg, Gerard Ma- velope dated 7 Sept 1990, sends Leyland a postcard tanical photographs taken during Friedlander’s langa, Harold Norse, Frank O’Hara, and many of the famous photograph Ginsberg took of Neal trip through the United States, Mexico, Japan, and more. For Leyland, see also item 19 and 182. Cassady and Natalie Jackson in 1955. Europe. Leyland A1b. Leyland A14c. £900 [123423] £650 [123172] £1,500 [123246]

67 (GAY SUNSHINE PRESS.) GINSBERG, Allen, & Peter Orlovsky. Straight Hearts’ Delight. Love Poems and Selected Letters 1947–1980. Edited by Winston Leyland. San Francisco: Gay Sunshine Press, 1980 Octavo. Original blue patterned quarter cloth, title label to spine with titles in orange, light brown paper sides with titles to front in orange, dark blue endpaper. With the original acetate jacket. Photographic portrait frontispiece, and other illustrations. But for some minor marks to acetate, fine. 66 67

34 Spring Miscellany: Peter Harrington 67 68 69

68 leaves nothing to the imagination. It is a veritable Advertised as “an anthology encyclopaedic in (GAY SUNSHINE PRESS.) WILDE, Oscar, catalogue of gay lovemaking, and may indeed be scale, Gay Roots collects the best writings from rightly considered the first gay novel in the English the turbulent early 1970s – the very beginning of attrib. Teleny. Edited by Winston Leyland. language. This is the first unexpurgated edition of modern gay liberation–right up to the present day. San Francisco: Gay Sunshine Press, 1984 the novel, based on the original manuscript” (Gay Work from Gay Sunshine Journal – the groundbreak- Octavo. Original patterned quarter cloth, pink title label Sunshine bibliography). ing tabloid – that served as a forum and catalyst to spine with titles in dark blue, pink cloth sides with Leyland A38b. for the revolution underway – appears together titles to front in dark blue, pink endpapers. With the with some of the most catalytic gay writing pub- £950 [123243] original acetate jacket. Portrait frontispiece. Fine but for lished by Gay Sunshine Press, the oldest continu- some faint marks to the acetate jacket. ing gay book publisher in the United States. Ten- first unexpurgated edition, the tête de 69 nessee Williams wrote in 1977 of Gay Sunshine: tirage and leyland’s own copy: letter A of (GAY SUNSHINE PRESS.) Gay Roots. Twen- ‘The only completely literate and serious Gay 26 deluxe copies specially bound and signed by ty Years of Gay Sunshine. An Anthology of Journal with which I’m acquainted.’ Five books in Leyland, with his additional ownership inscrip- Gay History, Sex, Politics, and Culture. Ed- one, with sections on ‘Gay History,’ ‘Gay Sex and tion, “Winston Leyland, His copy” to the front ited by Winston Leyland. San Francisco: Gay Politics,’ ‘Gay Biography and Literary Essays,’ ‘Gay endpaper. There were also 200 unsigned copies in Fiction,’ and ‘Gay Poetry,’ Gay Roots is intended for plainer cloth, the vast majority of which were sold Sunshine Press, 1991–3 every gay person desiring to reclaim a rich cultural to libraries. 2 volumes, octavo. Original purple half cloth, titles gilt to tradition” (Gay Sunshine Bibliography). “This brilliant erotic novel, attributed to Os- spine, white paper sides, patterned purple endpapers. Il- Leyland A61b. car Wilde and his circle, was first published in lustrated frontispiece and others in the text. Titles a little rubbed on vol. I spine, small dent to lower edge of rear £1,000 [123228] an underground edition of 200 copies in 1893. It board on vol. I, but all in excellent condition. deals with the love between two men in Victorian England – one of them the handsome, 24-year- first edition, signed limited deluxe issue, old pianist Rene Teleny; the other a young man- winston leyland’s own copy, each volume about-town, Camille Des Grieux. The book was one of 26 specially bound copies signed by Leyland originally published anonymously because no (lettered B and Z respectively), and additionally one in England (least of all Oscar Wilde) could signed by Leyland on the title pages. There were afford to acknowledge open authorship of a book also 300 unsigned cloth copies, the vast majority in which homosexual acts are described minutely of which were sold to libraries. and celebrated with abandon. And Teleny certainly

All items are fully described and photographed at peterharrington.co.uk 35 70

Limited edition signed by the collaborators who In the morning, he wrote to Heyward saying they brought it to fruition ought to get together to discuss the idea” (Walter Rimler, George Gershwin: An Intimate Portrait). The 70 immediate plan to adapt it into opera was cur- GERSHWIN, George. Porgy and Bess. An tailed by Heyward’s wife first adapting the novel as Opera in Three Acts. Libretto by Dubose a stage play, Porgy and Bess, which opened in 1927. It Heyward. Lyrics by Dubose Heyward and Ira was not until 1933 that Heyward and Gershwin set- Gershwin. Production directed by Rouben tled on doing the adaptation, with the agreement Mamoulian. New York: Random House, 1935 on 3 November 1933 that “Gershwin would write the score, Heyward the libretto, and that Heyward Quarto (311 × 230 mm). Original red morocco, spine let- and Ira would collaborate on the lyrics” (Rimler). tered in blind with raised bands, black morocco label On its opening night, 30 September 1935, Boston’s to front board lettered in gilt with publisher’s insignia Colonial Theatre gave the performance “a fifteen- in blind, top edge gilt, silken straw weave endpapers. Housed in the original hessian-covered slipcase. Colour minute standing ovation”, and the work is now frontispiece and pictorial title page by George Biddle. considered Gershwin’s masterpiece. A near-fine copy, with a few bumps to boards and light £8,500 [122915] Coloured lithograph. Sheet size: 75 × 94 cm. Very good wear to spine ends, in the well-preserved slipcase with condition. Presented in a black box frame with acrylic some minor wear to extremities. glazing. 71 first edition, signed limited issue, num- Charming bird’s eye map of London in cartoon, ber 126 of 250 copies bound in publisher’s full red GILL, Leslie MacDonald. The Wonder- extending from Regent’s Park to Battersea and morocco and signed by George and Ira Gershwin, ground map of London. The Heart of Britain’s Shepherd’s Bush to Tower Hill. The coats of arms DuBose Heyward, and Rouben Mamoulian. Empire Here is Spread Out for Your View. It of St Marylebone, Kensington, Southwark Chel- George Gershwin read DuBose Heyward’s 1925 Shows You Many Stations & Bus Routes Not sea, Westminster and Lambeth are shown in the novel Porgy, about the Gullah community in South A Few. You Have Not the Time to Admire it corners and middle edges. Characters from vari- Carolina, in one sitting in the summer of 1926 and all? Why Not Take a Map Home to Pin on your ous walks of life are depicted throughout. Second “the potential of this book to become the basis of Wall! London: The Westminster Press, 1924 edition identified by a sign saying “On To Wemb- a powerful opera – his opera – jumped out at him. ley” and an empire lion in the top left hand corner

36 Spring Miscellany: Peter Harrington 72 73

Octavo. Original black cloth, spine ruled and lettered devoted a following as Security Analysis; it remains a in gilt, double blind-rule border to boards. Housed in a landmark text. black quarter morocco solander box. Spine ends rubbed Dennistoun & Goodman 492. and text block gently slanted, faint ring mark to front board, else a very good copy. £11,500 [122625] first edition of perhaps the most famous book written on the stock market. The first edition ap- 73 peared in two formats. Copies in black cloth, such as GRAVES, Robert. Over the Brazier. London: this, have the Whittlesey House imprint of the pub- The Poetry Bookshop, 1916 lisher’s trade division. Those in maroon cloth have the simple McGraw–Hill imprint, the academic divi- Octavo. Original wrappers, hand-coloured woodcut il- sion. There is no known priority between them. lustration by Claude Lovat Fraser to front wrapper, titles in black, adverts on inner wrappers. Tanning to spine, Graham and Dodd “advocate the fundamental ap- small chip to tail, edges a little creased, some ink flecks proach to determining investment value and develop to top outer corner of front wrapper, foxed within, still a techniques to analyze balance sheets and income very good copy. statements. From the hindsight of later develop- first edition of graves’s first book, pub- ments, their primary failings were (1) not to consider 71 lished when he was serving as a subaltern in the the full role of diversification, (2) not to embed the Royal Welsh Fusiliers during the First World War, below the man pushing a bus. This was issued to role of risk in determining value in a equilibrium shortly after his first meeting with fellow poet and promote the 1924 British Empire Exhibition that context, and (3) not to give sufficient consideration Fusilier Siegfried Sassoon. This first impression was held at Wembley. to the forces that tend to make markets information- was published on 1 May 1916. There was a second £3,000 [122882] ally efficient” (Rubinstein, A History of the Theory of impression in 1917, and a second edition in 1920. Investments). Graham’s course at Columbia Univer- Very scarce in such nice condition. sity influenced many well-known fund managers, Higginson A1a. 72 and his security analysis techniques are still taught GRAHAM, Benjamin, & David L. Dodd. Se- in most investment classes. Few published works of £750 [122859] curity Analysis. Principles and Technique. the 20th century have exerted the influence or had as New York: Whittlesey House, McGraw-Hill Book Company, Inc., 1934

All items are fully described and photographed at peterharrington.co.uk 37 page as “Late Assistant Quarter-Master-General with the Field Army of the Madras Establishment”, acted as ADC to Sir Miles Nightingall, commander-in-chief of the Bombay Army, on his return home from India in 1819. The party sailed on the East Indiaman ship-sloop Teignmouth from Bom- bay to Suez via the Red Sea but were grounded on a sandbank in the Gulf of Aden. Having successfully re-floated they headed for Jeddah where they were welcomed by the Turkish governor, newly installed following the restoration of Ottoman rule in Egypt. Having taken advice from Henry Salt, consul-general in Egypt, they decided on an overland route across the desert that would take in the “most interesting and marvellous ruins” at Thebes. The map describes the route from Kosseir (modern day Quseer on the Red Sea) westwards 74 inland to Kennah (Qena) on the Nile, just east of Dendera, passing ruined forts, “Hills having the 74 appearance of Tombs” and “Sterile Desert – not a blade of Vegetation”. Hanson’s book is dedicated GRINNELL, George Bird, & others (eds.) admiringly to Lady Nightingall – Florentia Darell, Hunting Trails on Three Continents. The daughter of Sir Lionel Darell, chairman of the East Book of the Boone and Crockett Club. New India Company – who underwent “fatigues, priva- York: The Derrydale Press, 1933 tions, and even dangers” with an admirable sang- Octavo. Original purple cloth, title to spine and front froid and “characteristic cheerfulness”. cover in silver, silver motif of antelope to front cover. Decidedly uncommon – the 2-page subscribers’ With the dust jacket. Photographic frontispiece, 13 list accounts for only 145 copies; Copac locates 75 plates. Laid-in photograph, detached from card, of “The copies at seven British and Irish institutional li- Pathway – Blair Lodge”, illustration of sheep herding. braries (Oxford, SOAS, Glasgow, Aberdeen, Cam- Foot of spine a bit sunned. An excellent copy in the jacket 75 that is rubbed and nicked, ends and tips chipped, short bridge, National Trust (Baddesley Clinton, War- closed tear to foot of front joint. HANSON, James. Route of Lieutenant-Gen- wickshire), St Andrews); no further copies added by OCLC. first edition, number 99 of 250 copies, in the eral Sir Miles Nightingall, K.C.B. Overland scarce dust jacket. Additionally edited by Kermit from India. In a series of letters. London: For £1,500 [124141] Roosevelt, W. Redmond Cross, and Prentiss N. T. Baker, 1820 Gray, this work includes articles by Roosevelt, Octavo (224 × 138 mm). Recent dark brown half mo- Lithographed by “the undoubted technical master George L. Harrison, and Frederick Russell Burn- rocco, matching marbled boards, black morocco label, of the process” ham, amongst others. This is the seventh work single gilt rules framing the spine bands and to spine 76 published by the Boone and Crockett Club, found- and corner edges, endleaves renewed, untrimmed. Fold- ed by Theodore Roosevelt in 1887, which promotes ing map frontispiece of the route “across the desert from HARDINGE, Charles Stewart. Recollections wildlife conservation in North America. Kosseir to Khennah”, 6 pages of musical notation at of India. Drawn on Stone by J. D. Harding, end (“Canzonetta. Arranged for two voices by Lady Tor- from the Original Drawings. London: Thomas £1,750 [122428] rens”), 2 pages in the text (pp. 106–07: “Arab Boat Songs on the Nile”). Lightly toned throughout, map bound in McLean, 1847 a little tightly and slightly offset onto title, but overall a 2 volumes bound as one, elephant folio (550 × 380 mm). very good, tall copy with the errata leaf. Original dark reddish-brown quarter morocco, neatly first and only edition of this engaging and recased, dark purplish-grey moiré cloth sides, title gilt elusive account. Hanson, described on the title to spine and front board, single broad gilt rule to spine edges, yellowish-white coated endpapers. Tinted litho-

38 Spring Miscellany: Peter Harrington 76 graphic frontispiece and 25 similar plates lithographed to make sketches of the country; in fact, Hardinge esting for its portraits of Sikh chieftains and views by J. D. Harding (22), Auguste-François Laby (3) and visited the battlefield of Ferozeshah (fought 21–22 of scenery in Kashmir, then an almost unknown Thomas Fairland (1) after Charles Stewart Hardinge, December 1845) within “but a very few hours” of country [and which Hardinge calls “the far-famed each accompanied by leaf of descriptive letterpress. its conclusion. He acknowledges the assistance region of romance and poetry”], which he visited in Slightly rubbed, some minor repairs to spine, linen hinges, customary foxing throughout (endleaves more of Henry Warren in the “arrangement and posi- company with John Nicholson (1821–1857)” (ibid.). heavily affected), text leaves toned; frontispiece and tion of the figures” (the British Library holds the The exceptional lithographic views were the work of five other leaves professionally consolidated at the fore- original drawing for the plate of the Mosque of James Duffield Harding (1797–1863), described by edge, overall a very good copy. Shah Hamadan, Srinagar, credited to Warren) and Michael Twyman as “the undoubted technical mas- first and sole edition, highly uncommon, a also, anonymously, thanks J. D. Harding, “whose ter of the process” (Lithography 1800–1850, OUP 1970, superlative visual record of India published in the friendship and instruction . . . he had the advan- p. 196). The portraits were executed by Auguste- wake of the First Anglo-Sikh War, a conflict which tage of enjoying for some years in England”. François Laby, a fine portraitist who had trained had engulfed the Punjab during the winter months “Owing to his father’s friendship with Sir Francis under Jacques-Louis David and who is responsible of 1845–6. The fine plates are based on drawings Grant (1803–1878) [the Scottish portrait painter] for the suave and dashing equestrian portrait of made by the young Charles Stewart Hardinge, sec- and Sir Edwin Henry Landseer, Hardinge was Sikh leader Lal Singh, and Thomas Fairland, whose ond Viscount Hardinge of Lahore (1822–1894), who brought up among artistic influences, and was him- “work as a lithographic draughtsman was much ad- accompanied his father, Henry Hardinge, to India self no mean painter in watercolours. In 1847 his mired in its day” (ODNB). as private secretary, “and was with him during all friends in England published a folio volume entitled Abbey, Travel, 472; Archer & Lightbown, India Observed, the period of his governor-generalship” (ODNB). Recollections of India, consisting of twenty lithographs pp. 116 & 157; Bobins Collection 252; Tooley 244. This naturally afforded him a superb opportunity from his drawings made in India, particularly inter- £12,500 [122462]

All items are fully described and photographed at peterharrington.co.uk 39 77 78

77 signed limited edition, one of 325 large pa- HARDY, Thomas. Wessex Tales. Strange, per copies signed by the author and printed on handmade paper. This edition was printed from Lively and Commonplace. London: Macmillan the plates of Macmillan’s definitive Wessex Edi- & Co., 1888 tion, incorporating the author’s revisions. The il- 2 volumes, octavo (181 × 120 mm). Contemporary red lustrations that accompany this edition constitute half morocco, gilt decoration to spines, covers ruled in the last commission completed by Vivien Gribble gilt, marbled sides and endpapers, top edges trimmed, before her death. “Gribble’s engravings were al- others uncut. Bookplate of Christopher Clark Geest to ways formal and simple, ‘classical’ in style but not front pastedowns. A little wear to tips, touch of rubbing static. The Hardy engravings show the same pow- to extremities, couple of small ink splashes to fore edg- erful simplicity” (Alan Horne, The Dictionary of 20th es, text unaffected. An excellent copy. Century British Book Illustrators, 1994, pp. 227–8). first edition in book form. An attractively Purdy 77. bound copy of this collection of five stories, which were previously published in serial form. £2,750 [124504] Purdy p. 58. 79 £1,500 [123136] (HARING, Keith.) Keith Haring. New York: 78 Tony Shafrazi Gallery, 1982 HARDY, Thomas. Tess of the D’Urbervilles. Square octavo. Original bright pink spiral-bound boards, A Pure Woman. With forty-one wood engrav- illustrations to front board in black. Reproductions of art by Haring throughout. A little rubbing to edges. An ex- and David Shapiro. His well-received solo shows ings by Vivian Gibble. London: Macmillan and cellent, bright copy. with Tony Shafrazi were instrumental in launching Co., Limited, 1926 first and limited edition, one of 2,000 cop- him as an international artist. Quarto. Original vellum-backed marbled boards, spine ies of the Tony Shafrazi Gallery’s exhibition cata- £2,000 [123544] lettered in gilt, single gilt rule to sides. Wood-engraved logue for one of Haring’s early exhibitions at the frontispiece with tissue guard, 40 illustrations in the text gallery. It includes excerpts from “Questions for by Gribble, folding map of Wessex at the rear. Extremities Keith Haring” as well as essays upon the artist and a little worn, leaves unopened, otherwise an excellent copy. his works by Jeffrey Deitch, Robert Pincus-Witten,

40 Spring Miscellany: Peter Harrington 80 81

first printing of the hawaiian church’s omy. Volume 1: Rules and Order. Volume 2: founding constitution, the text of which “was The Mirage of Social Justice. Volume 3: The drawn up in Boston just prior to the departure of the Political Order of a Free People. London: Rout- first American Protestant missionaries to Hawaii. ledge & Kegan Paul, 1973–9 Although issued without an imprint or colophon it can be dated to 1830. The last signatures on this are 3 volumes, octavo. Publisher’s black boards, spines let- those of the Third Company of missionaries, who tered in gilt on blue grounds, with the dust jackets. Dust arrived at Honolulu on the ship Parthian, March 30, jackets unevenly sunned, endpapers of volume I slightly toned; a very good set. 1828. Signatures of members of the Fourth Com- pany, who arrived at Honolulu on the ship New first editions of each volume of hayek’s England, December 28, 1830 are not included here, last major work of social philosophy, but were added to the manuscript original in the published over a seven-year period. “He originally Hawaiian Mission Children’s Society Collection”, described it as a tailpiece to The Constitution of Lib- where the original manuscript is still held (HNB, erty (1960). But what attracted most attention was 742). This work was printed simultaneously with a a postscript in which he ascribed the success of Hawaiian-language version of the text translated by human institutions to their evolutionary success the Protestant missionary Hiram Bingham, which in the struggle for survival. This came dangerously was distributed among the pre-existing Hawaiian near to justifying whatever system happened to ex- churches. An uncommon item, with only eight cop- ist – including by inference the communist order which still prevailed in Russia. Some of his strong- 79 ies traced institutionally, none held in the UK, and no other copies traced at auction. est earlier supporters, such as Norman Barry, Hawaiian National Bibliography 1780–1900, 742. complained that his previous critical rationalism 80 had been ‘almost completely jettisoned in favour (HAWAIIAN MISSION.) Constitution of the £1,250 [123783] of a curious, neo-Darwinistic form of social evolu- Original Hawaiian Church. [Honolulu: The tionism’ (Barry, Classical Liberalism, 3)” (ODNB). Mission Press, 1830] 81 Cody & Ostrem B-15, B-16, B1-18. HAYEK, Friedrich August von. Law, Legisla- Octavo, bifolium [pp. 4]. Unbound. Spine almost fully £2,250 [124438] split, paper browned, nicks to edges, minor loss to lower tion and Liberty. A new Statement of the Lib- outer corner; a very good copy. eral Principles of Justice and Political Econ-

All items are fully described and photographed at peterharrington.co.uk 41 82 82

82 highest production values associated with the ness to include saddlery and established it as one HERMÈS. Exceptional collection of books house of Hermès. of the great luxury brands of the late 19th century, In 1837 Thierry Hermès established a high-end numbering the tsar of Russia among its clients. At and ephemera relating to and published by the beginning of the 20th century Hermès secured the celebrated French luxury brand. Paris: harness manufactory in the Grands Boulevard quarter of Paris. His son, Charles-Émile succeed- exclusive rights to use the recently refined zip fas- Hermès, 1967–2016 ed to the business and, in 1880, moved the shop tener in clothes and leather goods, which became Together 45 books; 32 Hermès magazines; three framed to the fashionable rue du Faubourg Saint-Honoré, known in France as the fermeture Hermès. The and glazed original artworks; 9 original boxes; and a where it remains to this day. With the assistance brand went from strength to strength, opening substantial collection of ephemera, including very scarce of his sons, Charles-Émile broadened the busi- branches in the United States in the 1920s and, in items available only in-house or as corporate gifts to cli- the 30s, introducing to their catalogue handbags, ents; approximately 210 pieces, various formats, books, women’s couture, the “chaîne d’ancre” bracelet, brochures and periodicals from small octavo to large timepieces, and their signature and renowned square quarto. The entire collection in excellent condi- range of scarves. The early 50s saw the introduction overall. The entire collection in excellent condition overall. tion of the company logo of the Duc-carriage- with-horse and instantly recognisable orange pa- superbly wide-ranging and cogently as- per boxes. sembled archive of material relating to the celebrated french luxury brand, in- A rare opportunity to acquire a fine and extensive cluding some fine original artwork by archive of material relating to one of the great hermès scarf designer dominik jarlegant, fashion houses of the world. inscribed books containing original sketches by A complete list is available on request. artists Hubert de Watrigant, Philippe Dumas, £6,500 [123368] and Kermit Oliver, many lavishly produced mono- graphs, brochures, related ephemera and a num- 82 ber of the famous orange boxes, all reflecting the

42 Spring Miscellany: Peter Harrington 84 HOCKNEY, David. Six Fairy Tales from the Brothers Grimm with original etchings. Lon- don: Petersburg Press, 1970 10 volumes, duodecimo. Original dark blue imitation leather, titles to front covers in silver. Housed in the original cardboard display box. Frontispieces and black and white illustrations after etchings by Hockney in the text. A fine set in the original box. first editions, printed on Hodgkinson handmade paper, a set of ten books in the original box, 85 which would have been sent to booksellers for display. The book contains six tales from the Broth- ers Grimm, namely “The Little Sea Hare”, “Funde- Holiday’s connection with Club Ebony began in vogel”, “Rapunzel”, “The Boy Who Left Home 1948, when the owner John Levy, an opium-ad- To Learn Fear”, “Old Rinkrank”, and “Rumpel- dicted, mob-connected pimp, and unapologetic stilzchen”. nark, offered to use his leverage to circumvent the problems arising from the suspension of her caba- £750 [123598] ret card. According to biographer Meg Greene, Holiday 85 83 “worked hard to overcome her bad reputation: she HOLIDAY, Billie. Boldly pencilled autograph showed up on time and performed every night. signature on “Club Ebony” photo-folder cov- Her popularity was so great that she had to beg to Hirschfeld’s incomparable view of Harlem life er. New York: [c. 1950] leave the stage when she finished her set . . . Her 83 success at the Ebony led to radio appearances and Striking “exotic” pictorial cover from a photo-folder for HIRSCHFELD, Al (illus.) Harlem as seen additional bookings at the Strand Theater, where the famous Broadway club (c. 197 × 260 mm), printed in she drew the largest crowds seen there in years” black on textured off-white, window-mounted, framed by Hirschfeld. Text by William Saroyan. New (Billie Holiday: A Biography, p. 93). York: The Hyperion Press, 1941 and glazed in a handmade ebonised faux bamboo frame. A couple of small spots, but overall very good. Inevitably Billie fell for Levy, entering into an- Folio. Original cream-coloured cloth, spine and front other of her sequence of abusive relationships: cover lettered in brown, pictorial colour panel on front “John Levy was a pimp, a hustling man, an evil- cover. With the original slipcase. 24 original mounted doer. He was self-living, with no sense of anyone colour and monochrome lithographs by Hirschfeld, around him. It was all his world . . . Lady was be- line drawings in the text. Some wear to extremities of slipcase, only slight discolouration to back cover, a few ing treated so wrong by him and she was loving it slight marks to front cover. An excellent copy. at the same time” (Jimmy “Stump” Cross, half of jazz dance duo Stump and Stumpy, quoted in Julia first and limited edition, number 86 of 1,000 Blackburn’s With Billie). copies. A superb collection of lithographs by the great Al Hirschfeld (1903–2003) depicting the vi- £3,500 [124230] brancy of Harlem life. As he later wrote: “Harlem people just kept on rising above whatever met them at eye level. They perfected an art form beyond the Arts, beyond the stage, beyond the Cot- ton Club. Very real people meeting reality head on and then stubbornly transcending it”. £2,250 [123702]

All items are fully described and photographed at peterharrington.co.uk 43 87

minded bishop of Worcester emulates the style and views of Shaftesbury on foreign and Locke on domestic education, following the method of his popular Moral and Political Dialogues (1759). ESTC T67492. £600 [124042]

86 88 HUXLEY, Thomas Henry. On Our Knowl- 86 87 edge of the Causes of the Phenomena of Or- HUGO, Victor. [The Works.] Boston: Estes and [HURD, Richard.] Dialogues on the Uses ganic Nature. London: Robert Hardwicke, 1862 Lauriat, 1892 of Foreign Travel. Considered as a part of Octavo. Original green ribbed cloth, spine lettered in gilt, covers panelled in blind, brown endpapers. Spine 30 volumes, octavo (217 × 145 mm). Near-contemporary an English gentleman’s education: between ends bumped, hinges slightly cracked, one signature green half morocco, spines lettered in gilt with gilt or- Lord Shaftesbury and Mr. Locke. By the Edi- standing slightly proud, else an excellent copy. naments to compartments within raised bands, green tor of Moral and Political Dialogues. London: cloth sides, marbled endpapers, top edges gilt, others Printed by W.B. for A. Millar and W. Thurlbourn first edition in book form. In 1861 Huxley gave a untrimmed. Photogravure frontispieces and plates, all series of lectures on evolution and human ancestry with captioned tissue-guards. Title pages printed in red and J. Woodyer, 1764 to London’s workers, where he defended Darwin- and black. Spines very slightly darkened, slight marking Octavo (194 × 115 mm). Contemporary calf, red label to ism. Transcripts of his talks on the Origin of Species to some covers, frontispiece tissue-guard of vol. 1 de- spine lettered in gilt with gilt ornaments to compart- were published by Robert Hardwicke in weekly pam- tached, very occasional slight blemishes to contents, vol. ments, red edges. Title page in red and black. Bookplate phlets, before being collected into this volume. Hux- 24 with extensive pencil and ink annotations to 2 front of Henry Tomkinson to pastedown with his contempo- ley, popularly known at the time as “Darwin’s Bull- free endpapers. An excellent set. rary ownership inscription on title page, Selbourne li- dog”, did much to popularise evolutionary theory limited edition, number 63 of 500 sets printed brary stamp on reverse of title page. Some light foxing, an attractive copy. through his lectures and publications in the years fol- on Holland paper, translated into English by Alex- lowing the publication of the Origin of Species in 1859. andre Baillot and with two volumes of biography first edition; a second and a Dublin edition fol- by Alfred Barbou (1846–1907), also in translation. lowed the same year. The work consists of a series £500 [123758] £5,000 [122691] of imaginary conversations, in which the literary-

44 Spring Miscellany: Peter Harrington 90

88 89 ven, elder brother of Louis Mountbatten, the last 89 what abridged; the first full English translation Viceroy of India. An attractive souvenir of the last of the great HUYSMANS, Jorris Karl. Against the Grain. was not published until 1926. £1,000 [124040] Imperial Durbars, the only one attended by the From the French by John Howard. Introduc- monarch, the book contains outline information tion by Havelock Ellis. New York: Lieber & Lewis, for the camp, a selection of motor tours nearby, 1922 90 brief historical notes on the region (one of the Octavo. Original black cloth, spine and front cover let- (INDIA.) Delhi Coronation Durbar. Decem- maps pertains to the British positions at the city in tered in gilt, publisher’s device in blind to rear cover. In ber, 1911. London, Calcutta, and Bombay: Army 1857), and a detailed programme of events. the dust jacket. Pencilled ownership inscription on front and Navy Co-operative Society Limited, 1911 £2,250 [124416] free endpaper. Spine ends and top corner of front cover bumped, small chip to head of spine, light marking to Landscape octavo (164 × 209 mm). Original red sheep, covers. A very good copy in the dust jacket, a little soiled, front board with title and George V’s monogram as King- spine panel faded and slightly chipped at extremities. Emperor in gilt, the whole within a gilt panel composed of arabesque tools, gilt stamp to rear board identifies first edition in english, with the rare dust this as one of the copies supplied to “The King-Emper- jacket. Against the Grain was originally published in or’s Camp”, very pale yellow endpapers with gilt floral French in 1884 under the title À Rebours. It became sprig pattern, text printed within purple border with prominent in Britain after it was discovered that the royal arms at head. Multiple portrait frontispiece a passage in Oscar Wilde’s Dorian Gray, in which a and 10 other plates, plan of the camp and a motor-map licentious book has a powerful effect on the proof the district to the text, 6 folding maps and plans in tagonist, referred to Huysmans’s work – it is this end-pocket, addendum slip at p. 55. A little rubbed and very passage that is excerpted on the front panel soiled, spine a touch dry, some scuffing to rear board, but overall very good. of the dust jacket here. The original French edition, published in lurid yellow wrappers to warn of first and only edition. Provided solely for the the salacious content, is believed to have been the use of those staying in the King-Emperor’s Camp, source of the name of The Yellow Book (published this guide is uncommon. Copac locates three cop- from 1894 to 1897), the British literary journal as- ies – BL, Oxford, and Belton House, with no other sociated with decadence and aestheticism. The copies found on OCLC. Although unmarked as plot of the novel follows a reclusive aesthete who such, this copy was issued to George Battenburg seeks to abandon degenerate society and retreat (later Mountbatten), 2nd Marquess of Milford Ha- into his own artistic world. This edition was some- 90

All items are fully described and photographed at peterharrington.co.uk 45 in the Atlantic Monthly from July to November 1883 and February to May 1884. It was first published in book form with revisions to the text and without illustrations in 1884. This “Holiday edition” bears further revisions to the text, with a new preface and the introductory note extensively rewritten. Edel & Laurence A26b; Leon Edel, Henry James: The Master 1901–1916, 1972, pp. 93–95; Supino A23.10.0. £4,500 [123933]

93 JEVONS, William Stanley. The Substitution of Similars, The True Principle of Reasoning, Derived from a Modification of Aristotle’s Dictum. London: Macmillan and Co, 1869 91 92 Octavo. Original blue cloth, spine lettered in gilt, boards ruled in blind, sprinkled edges. Diagram frontispiece (included in pagination) of the logical abacus; 32-page 91 92 Macmillan catalogue dated February 1875 at rear. Spine JAMES, Henry. The Awkward Age. London: JAMES, Henry. A Little Tour in France. With worn at extremities, corners lightly rubbed, hinges William Heinemann, 1899 illustrations by Joseph Pennell. Boston & New cracked but firm. Ownership labels of the Library of the Meadville Theological School dated 1881 to front paste- Octavo. Original blue diagonal-fine-ribbed cloth, spine York: Houghton, Mifflin and Company, 1900 down, library stamps and perforated stamp to title page and front cover lettered in gilt, four irises blocked in Octavo. Original dark green cloth, titles and decorations and pages 43–44, shelf mark to gutter of leaf of preface blind on front cover, publisher’s device in blind on to spine and front cover in gilt, cream and brown, top and to spine, lending ticket and return date sheet to rear rear cover, edges untrimmed. Housed in a custom blue edge gilt, others untrimmed. Housed in a custom black endpapers; a sound copy. morocco-backed solander box. Complete with the un- morocco-backed solander box. Title page printed in red first edition of the economist, logician, and opened 32 pp. publisher’s catalogue. Title page printed and black. Frontispiece with tissue guard, 43 plates, and philosopher’s most popular and accessible work. in red and black. Spine faintly toned, minor rubbing to 22 illustrations in the text. Spine gently rolled, minor “At the end of 1866 Jevons had begun ‘thinking extremities, foxing to endpapers and text block edge; a rubbing to extremities, a very good, bright copy. very good, bright copy. about logic again seriously’ and considered graft- first illustrated edition, signed by the ing some developments on to the modified ver- first edition, with the second variant binding author on the front free endpaper. From the sion of Boole’s system that he had published in of the publisher’s catalogue, without “The Lat- library of Mary Kingdon (neé Weld; 1874–1953), 1863. In the next two months the idea that ‘the est Fiction” listed on the final page. (Although James’s secretary from April 1901 until the sum- great and universal principle of all reasoning’ was BAL list the variants with no priority, Sadleir ar- mer of 1904, to whom he dictated this novel, with gues that the listing with “The Latest Fiction” is her ownership inscription above the author’s sig- the earlier form.) The UK edition was published nature, dated June 1901. James clearly developed on 25 April 1899, a fortnight before the American considerable affection for his amanuensis, refer- edition. The Awkward Age was first serialized in ring to her on occasions as a “bijou” and his “lit- Harper’s Weekly between October 1898 and January tle Weldina”. James was pleased when she took up 1899, with minor revisions to the text made for the bookbinding, allowing her the free use of the stu- book’s publication. dio in Watchbell Street adjacent to Lamb House, Edel & Laurence A53a; Sadleir, XIX Century Fiction, 1263; where she bound some of his French books. “Her Supino A53.1.0. punctuality, efficiency, and good nature contribut- £1,250 [123935] ed markedly to the environment he needed for this sustained period of his labours, during the last writing of his long career” (Edel, pp. 93–95). This work was first released under the title En Provence 93

46 Spring Miscellany: Peter Harrington the substitution of similars became central to his 95 thinking. With this in mind he decided to ‘pro- (KAUFFER, E. McKnight.) DEFOE, Daniel. duce a work which will not only embody a new and luminous system but will be readable and read by The life and strange surprizing adventures many’ (Papers, 1.209–10) . . . in 1869 he published of Robinson Crusoe of York Mariner. London: The Substitution of Similars, a short work presenting Frederick Etchells & Hugh Macdonald, 1929 the essence of his system of logic as he now saw Octavo. Original blue quarter morocco, titles to spine it ‘to the judgement of those interested in logical silver, blue buckram boards with Kauffer design in silver science’” (ODNB). to front, edges untrimmed. With 7 hand-coloured illustrations by E. McKnight Kauffer, using the pochoir pro- £1,500 [122828] cess. Spine sunned, some light scuffing to ends and corners, sound and fresh within, a very good copy indeed. 94 first kauffer edition, signed limited is- KANT, Immanuel. Critik der reinen Vernun- sue, number 30 of 35 copies signed by the artist, ft. Riga: Johann Friedrich Hartknoch, 1781 printed on T. H. Saunders mould-made paper, and bound in quarter morocco, aside from 500 num- Octavo (200 × 120 mm). Contemporary half calf, spine bered copies unsigned on normal paper and bound label lettered in black, compartments decoratively tooled with central floral motifs in blind, raised bands, sprin- in cloth. This deluxe signed issue is rare, with only kled paper boards, edges red. Woodcut title vignette, two copies recorded at auction in the past 70 years. decorative woodcut head- and tailpieces, and initials. Kauffer was born in the United States but settled Bookplate of prominent Swiss collector Emanuel Stick- in England in 1914. He was a member of both elberger (1884–1962) to front pastedown, contemporary Wyndham Lewis’s Group X and the Cumberland ownership inscriptions in ink to front free endpaper, Market Group. A good painter, Kauffer’s real ge- small ink annotation to p. 379 (correcting “sceptisch” nius was in advertising art; he produced seminal to “specifisch”), clipping from bookseller’s description posters for the London Transport Board and for neatly pasted to rear pastedown. Extremities rubbed, the Great Western Railway, as well as book jackets joints starting, endpapers a little browned from turn-ins 94 and a few lower corners of pages tanned, very minor oc- and illustrations. “Kauffer’s sprightly, jazzy, de- casional spotting, else a bright, fresh copy. signs were part of the social fabric of progressive, simplicity and cogency of his arguments achieved first edition of one of the most influential phi- forward-looking Britain in his time” (ODNB). immediate fame” (PMM). losophy books ever published, the first version of £2,000 [122649] the Critique of Pure Reason. “Kant’s great achieve- From the library of Emanuel Stickelberger, who ment was to conclude finally the lines on which included a sketch of Kant’s life in his 1952 semi- philosophical speculation had proceeded in the fictional critical history, Dichter im Alltag: Bilder zu eighteenth century, and to open up a new and einer unbekümmerten Literaturgeschichte. more comprehensive system of dealing with the Adickes 46; Warda 60. See Printing and the Mind of Man 226 problems of philosophy. Of the two main systems (first edition). 95 which preceded his own, Kant had little or no £35,000 [125333] sympathy with the metaphysical categorization of the Cartesians, and inclined more to the empirical methods of Locke and Leibniz . . . The influence of Kant is paramount in the critical method of modern philosophy. No other thinker has been able to hold with such firmness the balance between speculative and empirical ideas. His penetrating analysis of the elements involved in synthesis, and the subjective process by which these elements are realized in the individual consciousness, dem- onstrated the operation of ‘pure reason’; and the 95

All items are fully described and photographed at peterharrington.co.uk 47 97

97 KEATS, John. The Poems. Arranged in chronological order, with a Preface by Sidney Colvin. London: At the Florence Press, Chatto & Windus, 1920 2 volumes, square octavo (191 × 140 mm). Contemporary bluish green crushed morocco by Bayntun, spines gilt to compartments, ornate gilt and black tooling to covers, gilt rules to turn-ins, marbled endpapers, gilt edges. Spines slightly faded, minor staining to final 2 leaves of vol. I. An excellent set. A handsomely bound set of the attractive Florence Press edition, originally issued in 1915 – one of the best commercial editions of the poet ever issued, printed in a very appealing and legible type and on good quality paper. £1,350 [123033]

98 96 KEYNES, John Maynard. A Treatise on Mon- ey. London: Macmillan and Co, Limited, 1930 limited issue, signed, numbered and dated 96 2 volumes, octavo. Original dark green cloth, spines let- KAWS. No One’s Home. New York: Pace Edi- by the artist. It features kaws’s Snoopy motif, tered in gilt, double line rules in gilt to spines continued with the “x” shapes and vibrantly coloured teeth tions Inc., 2015 in blind to front covers. Numerous tables and diagrams and eyes used throughout his oeuvre. From an edi- to the text. Post card from Bumpus loosely inserted. Screenprint in colours on Saunders Waterford wove pa- tion of 250. Spines lightly faded and bumped at ends, a few markings per. Sheet size: 91.5 × 73.7 cm. Excellent condition. Pre- to spines, covers and edges, else a very good set. sented in a black wooden frame. £15,000 [123474]

48 Spring Miscellany: Peter Harrington 98 99 first edition. A Treatise on Money is the first of as an enormous influence on his work, stating Keynes’s two major contributions to economic the- of him: “Kipling unimitated, inimitable Kipling, ory and his most comprehensive work on monetary how shall I describe thee? Beyond argument, no 100 theory. It anticipates many of the ideas of the General one has ever written books more full of enjoyment Theory, which it immediately preceded and by which for children”, and that “Kipling has his finger first edition of this most attractive colour plate it has been, perhaps unfairly, overshadowed. firmly in the ‘Watership Down’ pie, and without botanical work, originally published in monthly him those lines would never have been written” Moggridge A7.1. parts. Knowles and Westcott, both based in Bir- (in Blishen, pp. 171–72). £850 [124380] mingham, were in complete agreement about the Martindell, 61 and 63; Richards, A76 and A85; Richard deficiencies of many flower illustrations as works Adams, “Some Ingredients of Watership Down”, in Ed- 99 ward Blishen (ed.), The Thorny Paradise, Writers on Writing of art. They believed that what was needed was “‘a periodical which should give accurate, and at KIPLING, Rudyard. The Jungle Book; [to- for Children, 1977. the same time, highly finished representations gether with:] The Second Jungle Book. Lon- £4,500 [123909] of such plants as are remarkable for their beauty, don: Macmillan and Co., 1894 & 1895 their rarity, or their peculiarity of structure’” (Roy 2 works, octavo. Original blue cloth, titles and pictorial 100 Desmond, “Victorian Gardening Magazines” in designs gilt to spines and front covers, green endpapers, KNOWLES, George Beauchamp, & Freder- Garden History 5:3 , p. 61). gilt edges. Housed in a custom blue slipcase. Illustra- ick Westcott. The Floral Cabinet, and Maga- Dunthorne 173; Great Flower Books, p. 62; Nissen BBI 2229. tions in the text throughout. Contemporary ownership inscription to title page of Jungle Book and gift inscription zine of Exotic Botany. London: William Smith, £2,250 [123257] to front endpaper of Second Jungle Book. Lightly rolled, 1837–40 spines slightly faded and bumped at ends, covers lightly 3 volumes, quarto (267 × 212 mm). Contemporary red half marked and a little cockled, tips rubbed, occasional calf, raised bands to spines lettered in gilt, compartments very light foxing to contents, hinges of Second Jungle Book tooled with swirling pattern in gilt, gilt floral roll to red cracked. A very good set. cloth sides, marbled endpapers. With 137 hand-coloured first editions. The set comes from the library lithographic plates by F. Cameron, A. & W. Green, Noel of the novelist Richard Adams (1920–2016), with Humpreys, R. Mills, and Mrs Withers (lithographed by J. his bookplate in both volumes. Adams’s 1972 novel Graf or Day and Haghe), including 7 double plates, wood- Watership Down was one of the most successful, and engraved title vignettes. Joints partially split, slight rub- remains one of the most beloved, children’s nov- bing to extremities, wear to tips, occasional foxing or light toning to plates. A handsome set. els of the 20th century. Adams described Kipling

All items are fully described and photographed at peterharrington.co.uk 49 101

The first Russian circumnavigation richly gilt spine, red and green morocco twin labels, red of the two-ship expedition under “a brilliant corps morocco numbering ovals, gilt floriate roll tool border 101 of officers” (Hill), intended to establish trade with on sides, gilt Greek-key turn ins, marbled endpapers. China and Japan, facilitate trade in South Ameri- KRUSENSTERN, Adam Johann von. Voyage Engraved folding map (Japan with coastline of China ca, and examine California for a possible colony. Round the World, in the years 1803, 1804, and Korea, based on D. F. Sotzmann’s map of 1811), 2 hand-coloured aquatint plates by J. A. Atkinson (a native 1805, & 1806, by order of His Imperial Maj- of Nuku Hiva in the Marquesas, view of Nagasaki.) Neat esty Alexander the First, on board the ships oval book label of the distinguished travel bibliophile Nadeshda and Neva, under the command of Martin Greene. Vol. I title lightly creased and upper right Captain A. J. von Krusenstern, of the Imperi- blank corner restored, frontispiece of vol. II lightly offset to title, short closed tear at foot of same title. A very al Navy. Translated from the original German good, handsome copy, clean and generously margined. by Richard Belgrave Hoppner, Esq. London: first edition in english of the first rus- Printed by C. Roworth (vol. II T. Davison); for John sian circumnavigation. Krusenstern’s account Murray, 1813 was first published at St Petersburg in 1810. Krusen- 2 volumes bound in one, quarto (277 × 210 mm). Con- stern (Ivan Fedorovich Kruzenshtern) had served in the British Navy in 1793–99. He was given command temporary tree calf professionally rebacked to style, 101

50 Spring Miscellany: Peter Harrington It proved to be one of the most important Pacific voyages after Cook, encompassing the Canary Is- lands, Brazil, the Marquesas, Kamschatka, Naga- saki, Sakhalin, and Macao. “The voyage made a significant contribution to the knowledge of the hy- drography of the Pacific coast of North America . . Krusenstern took the first Russian embassy of Nikolai Rezanov to Japan” (Howgego). The translator Hoppner (1786–1872) was an English diplomat, also remembered for his friendship with Byron. Abbey, Travel, 1; Cordier 459; Hill, 952; Howgego II K23; Sabin 38331. £18,750 [124187]

Education in Russia 102 102 103 KRUSENSTERN, Alexandre de. Précis du systeme, des progres et de l’état de l’instruction the particulars of the expeditions that have been vol. 2, very occasional loss to edges of text block, never publique en Russie. Rédigé d’après des doc- sent into various parts of Russia”. Krusenstern was affecting text. An excellent copy. umens officiels. Warsaw: de l’imprimerie de la a member of the Council for Public Education in the An attractively bound copy of an English trans- Banque de Pologne, 1837 Kingdom of Poland and opens his account with an lation of La Fontaine’s Tales and Novellas in Verse, Octavo. Contemporary orange glazed boards patterned overview of Russian state education, from parish which was originally published by Claude Barbin in emulation of finely diced leather, smooth spine gilt schools to universities; other chapters are devoted of Paris in 1665 and first translated into English banded and decorated with centre tools and gothic roll to military, mining and medical schools and insti- in 1735. The engraved plates of this Grangerised tools, blind decorative leaf border on sides, gilt edges. tutions devoted to particular groups, such as the volume are by Charles Eisen and almost certainly Bookplate of the Sekundogenitur (Secondary School), German, Tartar and Jewish communities. come from an earlier French edition. This copy Dresden. A little wear to extremities of binding, scat- comes from the library of F. E. Smith, 1st Earl of tered light foxing. A remarkably good copy. Decidedly uncommon commercially: Copac locates copies at only three British and Irish insti- Birkenhead (1872–1930), Lord Chancellor 1919–22 first edition, followed by Polish and German tutional libraries (British Library, Leeds, Univer- and friend of Winston Churchill. translations (Warsaw: S. Orgelbrand, 1838; Breslau: sity College London), OCLC adds some 20 copies W. G. Korn, 1841). Alexandre de Krusenstern (1807– £1,000 [122430] worldwide. This is a particularly attractive copy in 1888) – russified as Aleksandr Ivanovich – described an unusual, perhaps deluxe, binding. on the title page as chamberlain to the tsar, was the son of Admiral Adam Johann von Krusenstern, who £2,250 [123034] led the first Russian circumnavigation of the globe (see previous item). The Précis du systeme received a 103 glowing review in the Athenaeum and a lengthy as- LA FONTAINE, Jean de. Tales: Imitated in sessment in the British and Foreign Review (1839): “The English Verse. London: Printed for C. Chapple, object of this work is twofold; to enlighten Europe with respect to the erroneous opinions generally 1814 entertained by foreigners of the state of civilization Duodecimo (183 × 115 mm). Contemporary red morocco in Russia, and to demonstrate the gradual advance- by R. Calvert, raised bands to spine, title and decoration ment which is, we are told, shortly to place that in gilt to spine, gilt ruling to covers, gilt turn-ins, mar- country upon a level with the most leading nations”. bled endpapers, top edge gilt. Extra-illustrated with 82 Murray’s Handbook for 1839 described it as “an inter- engraved plates. Bookplate of Viscount Birkenhead to front pastedown. Joints just starting, a few areas of ton- esting account of the proceedings of the Russian ing to covers, straight scuff mark to top of rear cover of Academy [of Sciences], for the last few years, with 103

All items are fully described and photographed at peterharrington.co.uk 51 104

“One of the finest narratives of maritime exploration ever written” – from the library of Joseph Bonaparte 104 LA PÉROUSE, Jean François Galaup de. Voy- age de la Pérouse autour du Monde, publié conformément au Décret du 22 Avril 1791, hope of La Pérouse’s survival, 30 folding maps, 3 folding et rédigé par M. L. A. Milet-Mureau. Paris: de coastal elevations, and 36 plates (69 in total, complete). l’Imprimerie de la République, 1797 Vol. I with old repairs at head and foot of lower joint (front joint partially split but sound), vol. III with short split at 4 quarto text volumes (293 × 218 mm) and folio atlas (572 foot of front joint and light abrasions to top edge, some × 410 mm). Vols. II-IV uniformly bound in contemporary slight scratches and abrasions to sides, paper flaw at cor- tree calf (ticket of Guédon of Paris in vol. IV), smooth ner of C4 (vol. I), G2 misbound in same volume, touch of spines divided by green morocco bands decorated with old pale dampstaining at top fore corner of vols. III and IV, interlocking gilt circles, red morocco twin labels, spines bound without the half-title and final colophon leaf in vol. richly gilt (decorated with fleurons, geometrical tools and I; yet overall a very attractive set, wide-margined and clean large lyre device in two compartments), sides with a gilt and with fine impressions of the plates and maps. castellated border embellished with urns, lyres and floral baskets, gilt edge roll, all edges gilt, gilt geometrical first edition of “one of the great documents of turn-ins, pale blue endpapers and silk page markers; vol. French exploration in the Pacific Ocean. In addition I bound to match at the time but differing slightly (endpa- to a detailed account of the expedition itself, these pers watermarked 1813); atlas folio rebound to style in half volumes contain invaluable scientific information, calf over 19th-century marbled paper boards. Engraved observations on the natives that were encountered, frontispiece portrait of La Pérouse from a miniature by and a wealth of geographic and cartographic data. Alexandre Tardieu, atlas with emblematic title-page en- The beautiful Atlas, with its finely engraved maps, graved by Philippe Frière after Moreau le Jeune, symbolis- ing France revealing the Pacific to art, science and history charts, and plates, includes a detailed chart of San and featuring a weeping putto leaning on an anchor in the 104 Francisco Bay, the first representation of the crested

52 Spring Miscellany: Peter Harrington of North America, [which] are especially valuable” (Sabin). En route to Kamchatka, La Pérouse was the first to navigate safely and chart the Japan Sea and the strait between the island of Sakhalin and the northernmost island of Japan, which bears his name. At Kamchatka he received instructions to proceed to Australia to assess the extent of British plans in New South Wales. Travelling via Samoa, where he discovered the islands of Savaii, Manono and Apolima in December 1787, and through the Tongan group, he arrived at Botany Bay in January 1788, just hours after Captain Phillip had arrived with the First Fleet. La Pérouse’s habit of forward- ing despatches whenever the opportunity offered ensured their survival; the final despatches were sent from Botany Bay, after which the expedition was never seen again. 105 provenance: early 20th-century bookplate (in each volume) of the Australian collector R. S. Fox, who amassed a fine exploration library; neat oval the library, which was sold at Bordentown on 18 book label (in vol. IV) of the travel bibliophile Mar- September 1845. tin Greene; large printed book label (in vols. II–IV) Ferguson 251; Hill p. 173; Lada-Mocarski 52; Sabin 38960; of the Bibliothèque de Morfontaine, the library of Streeter sale VI: 3493. Joseph Bonaparte (1768–1844), elder brother of Na- £25,000 [124378] poleon, who created him successively king of Na- ples and Sicily (1806–08) and Spain (1808–13). Mor- 105 fontaine was “the magnificent Grammont chateau 104 not far from Paris . . . where Joseph lived in splen- LANG, Andrew (ed.) The Grey Fairy Book. dour in the days of his brother’s greatness” (Doug- London: Longmans, Green, and Co, 1900 quail, and several maps and plates of the harbours las Gordon, The Book Collector, Autumn 1981, p. 377). Octavo. Original grey cloth, gilt titles and pictorial at Monterey and San Diego, as well as two charts Joseph also acted as minister plenipotentiary and decoration to spine and front cover, black endpapers, and one view of the Sandwich Islands. It is a mag- on 30 September 1800 signed a treaty of friend- gilt edges. Illustrated frontispiece with tissue guard, vignette title page, 31 plates and illustrations in the text nificent production, and some authorities consider ship and commerce between France and the United throughout by H. J. Ford. Large ownership signature to the engraving and craftsmanship to be superior States at Morfontaine. Following Napoleon’s fall Joseph lived in the United States between 1817 and verso of front free endpaper, with slight offset onto half- even to that in the Cook–Webber Atlas that accom- title. Head of spine slightly bumped, very light markings 1832 – where he was known as the Comte de Servil- panies the journals of the great English explorer’s to covers, foxing to preliminary and final leaves. third voyage . . . it is one of the finest narratives of liers – building a fine residence called Point Breeze, at Bordentown, New Jersey, and transferring his li- first edition, of the sixth instalment in Lang’s maritime exploration ever written, and certainly Fairy Book series, with tales “deriving from many deserves to hold a place of high honour among the brary from Morfontaine. At Breeze Point “the grand salon was preceded by a small anteroom and a li- countries – Lithuania, various parts of Africa, Ger- great travel accounts of the 18th century” (Howell many, France, Greece, and other regions of the Anniversary Catalogue 72, Richard Reed’s essay). The brary on the left side of the entrance hall containing a portion of the count’s 8,000 volumes. This was world” (Lang’s preface), many of them phantas- atlas volume contains magnificent maps of Russian magorical and strange. Asia, Japan, the Pacific northwest coast, San Fran- the largest collection in the country; at the time the cisco, Monterey, and also Necker Island. The most Library of Congress contained 6,500 books” (Patri- £600 [123487] significant results of La Pérouse’s voyage are the cia Tyson Stroud, The Man Who Had Been King: The charts of the then imperfectly known Asiatic side American Exile of Napoleon’s Brother Joseph, 2005, p. 66). of the Pacific and the details of “the peculiarities Joseph’s estate passed to his grandson, who quickly he observed in the natives of the northwest coast auctioned off the household contents, including

All items are fully described and photographed at peterharrington.co.uk 53 106 108

106 endpaper verso. A fine copy, the contents bright and clean, with a few tiny marks to boards and the front LEE, Harper. To Kill a Mockingbird. New York: hinge cracked but firm. Harper Collins, 1995 first edition, a superb copy of the first Octavo. Original black cloth-backed boards, gilt titles to authorised collection of any letters by spine, black endpapers. With the dust jacket. Illustrated locke, including the letter in which Molyneux first title page. A fine copy. 107 explains the so-called Molyneux problem. Published inscribed by the author on the half-title, four years after Locke’s death, the volume is pre- “Best wishes, Harper Lee. 1998”. This is a later Bough, and on the other by DC Comics’ Prince Ra- sumed to have been compiled and edited by Locke’s printing of the 35th anniversary edition. Man and Marvel’s Dr. Strange. The 1967 second cousin and principal heir Peter King. The collec- £1,250 [123391] printing notes that “this was one of the publication comprises two sets of correspondence: first are tions confiscated by the Cleveland Police in the the letters between Locke and William Molyneux (1656–1698), the Irish experimental philosopher, 107 December 1966 Blitz-Bomb”, when Levy was in- dicted for distributing obscene poetry to minors. which began after Molyneux sent Locke a gift copy LEVY, D. A. The Egyptian Stroboscope. Cleve- The Egyptian Stroboscope is, as such, a considerable of his Dioptrica nova in 1692. Their friendship would land, OH: Chickenfat & Seven Flowers Press, for The rarity of the Cleveland mimeo revolution, with last until Molyneux’s death six years later, “and Moly- Asphodel Book Shop, 1966 only five copies recorded by OCLC in libraries neux’s criticisms and suggestions were taken into worldwide, all in US institutions. account in the second and later editions of Locke’s Small folio. Original wrappers, stapled, silkscreen scarab Essay . . . The most notable of Molyneux’s contribu- illustration laid down to front. Black and white illustra- £2,250 [124100] tions to Locke’s second edition was the so-called tions in the text, silkscreen scarab illustration laid down within, colour-stamped index plate. Somewhat creased Molyneux problem, included as an addition to the and chipped around the edges, a few small stains, but 108 chapter on perception. The question posed was very good condition. LOCKE, John, & others. Some Familiar Let- whether a blind man who had learned to distinguish first edition, limited issue, one of 105 cop- ters between Mr. Locke, and Several of his by touch between a cube and a sphere would be able, on gaining his sight, to differentiate the objects with- ies of this extraordinary mimeographic extrava- Friends. London: printed for A. and J. Churchill, out touching them. Molyneux thought not and Locke ganza, an occult poem, with several deliberately 1708 illegible concrete sections, inspired (so claims the agreed. The problem had profound philosophical facetious Bibliography) on the one hand by Wal- Octavo (182 × 108 mm). Contemporary panelled calf, implications and became a key topic in British phi- plain spine with raised bands, edges sprinkled red. 19th- lis Budge’s Egyptology books and Fraser’s Golden losophy” (ODNB). Molyneux proposes this problem century ownership inscription, “Hayman”, to front free

54 Spring Miscellany: Peter Harrington 109 to Locke in his letter of 2 March 1693, which was first 109 signed limited edition, from an edition of published in this edition (pp. 37–8). LOWRY, L. S. Station Approach. Adam Collec- 850, signed in pencil lower right by the artist, with Fine Art Trade Guild blindstamp lower left. The Second in the volume are the letters (in Latin) be- tion Ltd, 1972 tween Locke and Philippus van Limborch (1633– print is after an original oil on board, depicting 1712), the Dutch theologian. Colour offset lithograph on heavy wove paper. Image Exchange Station, Manchester, since demolished. size: 41 × 51 cm. Sheet size: 52.4 × 61 cm. Tape residue to Attig 806; Christophersen, p. 81; Yolton 346. extreme top edge otherwise in bright condition. Present- £4,500 [122930] £1,500 [123749] ed in a contemporary wooden frame with acrylic glass.

All items are fully described and photographed at peterharrington.co.uk 55 110 110

110 marks”, with 18th-century marginalia reflecting the intellectual agenda of economists and other MANDEVILLE, Bernard de. The Fable of the its controversial reception. social scientists later in the 18th century” (New Pal- The first issue has a fleuron on the title, leaf I3 mis- grave III, p. 298). This is evidenced by the ink anno- Bees: or, Private Vices, Publick Benefits. Lon- tations to the margins of this copy, which a pencil don: printed for J. Roberts, 1714 signed I2, and “rejoyning” instead of “rejoicing” on p. 36, line 26. The second issue corrects the error inscription to the front free endpaper verso iden- Duodecimo (155 × 93 mm). 18th-century calf, rebacked on page 36, has leaf B3 mis-signed B5 as well as I3 tifies as those of James Hampton (c. 1721–1778), to style, boards panelled in blind with floral corner piec- mis-signed I2 and is issued with a cancel title-page translator of Polybius and Church of England es. Housed in a brown flat-back cloth box by the Chelsea removing the fleuron and adding text in its place: clergyman. While a student at Oxford, “Hampton Bindery. Engraved head- and tailpieces, initials. Armo- “containing, Several Discourses, to demonstrate, was equally distinguished for his scholarship and rial bookplate of William Graves to front pastedown, boisterousness. On one occasion he deliberately with their motto, “Aquila non captat muscas”. Extremi- That Human Frailties, during the degeneracy of provoked a quarrel by kicking over a tea-table in ties worn, some cracks and marks to boards, endpapers mankind, may be turn’d to the Advantage of the browned from turn-ins, hinges cracked but firm, first civil society, and made to supply the Place of Moral the rooms of his old schoolfellow the poet William two leaves a little chipped, a few small punctures to top Virtues”. The alteration to the title was presumably Collins” (ODNB). This spirited nature is conveyed edge of title leaf repaired with japan paper, contents intended to attract a wider readership, the shorter in his marginalia, which vehemently argues with browned and foxed with a spot of minor dampstain to title being extended to explain the moral or philo- Mandeville’s statements. Mandeville’s use of the the fore edge of gathering K, L4 slightly shorter at fore sophical merits of the work. The poem was origi- terms “vice” and “virtue” (p. 31) is greeted with the edge and a chip to L5, overall a very good copy. nally published in 1705 as “The Grumbling Hive”, comment, “a vile definition because untrue”; to rare first edition, first issue, of this “cel- but this is the first edition to contain the twenty the author’s assertion that “it was not any Heathen ebrated work, which through Adam Smith, had “Remarks” which purported to annotate and ex- Religion or other Idolatrous Superstition, that first an immense influence on political economy” plain various lines in the verse fable. put Man upon crossing his Appetities [sic] and (Foxwell), and the first edition to contain the “Re- subduing his dearest Inclinations, but the skilful Highly controversial upon publication, The Fable of Management of wary Politicians” (p. 34), Hamp- the Bees “exercised a powerful influence in shaping

56 Spring Miscellany: Peter Harrington 112 MARX, Karl. [Das Kapital, in Russian] Ka- pital. Kritika politicheskoi ekonomii. [Trans- lated by Lopatine and Danielson], vol. I. [all published hitherto]. St. Petersburg: N. P. Polia- kov, 1872 Octavo (252 × 158 mm). Contemporary black pebble grained cloth, rebacked preserving most of the original spine, gilt rule and lettering in English. Housed in a red quarter morocco solander box by the Chelsea Bindery. Bookseller’s ticket of A. Wasserman, 29 Clinton Street, New York to front pastedown. Inner hinges strengthened, rear free endpaper replaced. Small marginal tear to pp. 207–8, leaf edges slightly darkened; a very good copy. first edition in russian, the first foreign translation, of “the Bible of Marxism.” This 111 is the first translation to appear in any language, and the impact of it was greatest on the history, ton responds: “Any man who examines fairly will society, government, politics, culture, and psyche find this a damn’d lie”. His closing statement of that country. Marx had been closely involved on the Fables is that: “all within the circumflex is in the process of creating an edition for Russian impudence” (p. 40). In his will Hampton left his readers, and corresponded often with the transla- property to William Graves of the Inner Temple; tors German Aleksandrovich Lopatin and Nikolai in addition to Graves’s bookplate, his ownership Frantsevich Danielson. Vol. I went to the press in signature appears on the title page of this copy. October 1871, Marx returned his proof corrections Goldsmiths’ 5094; Kress 2914 (the second issue); Mat- smartly at the start of November, and the book was tioli 2228; Sraffa 3722. Not in Einaudi. finally published on 27 March 1872. 112 £19,750 [123378] The publication of the first volume of Karl Marx’s Das Kapital was the result of nearly 25 years of economic studies, mostly in the Reading Room of the out quickly; and in 1880 Marx was writing to his 111 British Museum. His biting critique of the capital- friend F. A. Sorge that ‘our success is still greater MARTIN, George R. R. A Game of Thrones. ist system had developed from his previous publi- in Russia, where Kapital is read and appreciated Book one of a Song of Ice and Fire. New York: cation of Zur Kritik der Politischen Oekonomie (1859). more than anywhere else’” (PMM). Bantam Books, 1996 “Nobody before him had so clearly shown the role The printing of a second edition was forbidden of the productive agencies in historical evolution; in Russia and so in 1890 a New York publisher Octavo. Original black boards, titles to spine gilt, fac- nobody so masterfully exhibited their determin- brought out an nearly identical reprint of the first simile signature in blind to front cover, map endpapers. ing influence on the form and idealogies of social edition: that second edition is distinguished from With the dust jacket. An excellent copy in the dust jacket the first in that the misplaced comma opposite with only slight creasing to rear panel. organisms . . . If he has been justly compared with Darwin, it is in these respects that he ranks with “p. 73” in the table of contents is replaced by a full first edition, inscribed by the author on the great genius” (Ency. Brit.) stop; and the “e” at the end of l. 40, p. 65, is re- the half-title: “To Mike, All Good Wishes” above placed by a “c”. his signature. The book was signed as part of a “By an odd quirk of history the first foreign translation of Das Kapital to appear was the Russian, Die Erstdrucke der Werke von Marx und Engels, p. 33 (vol. I promotional competition; loosely inserted is the only); Einaudi 3770; Rubel 633n; Sraffa 3858. entrance form, returned with the book. This book which Petersburgers found in their bookshops is the first novel in Martin’s hugely successful Game early in April 1872. Giving his imprimatur, the cen- £15,000 [123133] of Thrones series. sor, one Skuratov, had written, ‘few people in Rus- sia will read it, and still fewer will understand it.’ £1,100 [122373] He was wrong; the edition of three thousand sold

All items are fully described and photographed at peterharrington.co.uk 57 113 114 115

113 black. 96 black and white photogravure plates. Spine landmark collection includes Man Ray’s “Violon sunned, wrappers very lightly marked, one corner mildly MASCLET, Daniel. Nus: La Beauté de la d’Ingres” and “Solarisation”, along with contribu- bumped. An excellent copy. tions from Laure Albin-Guyot, Pierre Boucher, Dr- femme. Paris: Daniel Masclet, 1933 first edition. This collection of female nudes tikol, Andréas Feininger, among others. Quarto. Original white heavy card wrappers with red was issued to commemorate the first Internation- £1,500 [122407] cord through spine as issued, titles to front cover in al Salon of Nude Photography in Paris in 1933. This 114 MAUGHAM, W. Somerset. Of Human Bond- age. Illustrated by Randolph Schwabe. New York: Doubleday, Doran & Company, Inc., 1936 Large octavo. Original brown buckram, bevelled edges, titles to spine gilt on brown ground, Maugham’s sigil to front cover in gilt and brown, top edge gilt, others untrimmed. With the dust jacket. In the original slipcase. Frontispiece and 23 collotype plates. A very good copy in the toned, chipped and torn dust jacket, old tape repairs to verso. signed limited edition, number 105 of 751 copies signed by both author and artist. Of Human Bondage was first published in 1915 and Maugham contributed a new foreword for this handsome illustrated edition. Randolph Schwabe (1885–1948) “was a draughtsmen, painter and etcher who was the Slade Professor of Fine Art at University Col- lege London from 1930 until his death. He served as a war artist in both World Wars, created designs for theatrical productions and illustrated a number of books” (Tate online). Rothschild Collection V, 86; Stott A21d.

113 £1,250 [122985]

58 Spring Miscellany: Peter Harrington 115 MILNE, A. A. Winnie-the-Pooh. With Deco- rations by Ernest H. Shepard. London: Methuen & Co. Ltd, 1926 Octavo. Original green cloth, spine lettered in gilt, gilt vignette to front cover, top edge gilt, yellow map endpapers. With the dust jacket. Illustrated throughout by Ernest H. Shepard. Gift inscription to title page. Spine lightly rolled. An excellent copy in the dust jacket, spine panel lightly faded and slightly chipped at head, panels very slightly soiled, front flap fold slightly split at head and foot, tips worn. first edition. Winnie-the-Pooh was an immediate success and garnered even more enthusiastic reviews than its predecessor, with one critic writing that “When the real Christopher Robin is a little old man, children will find him waiting for them. It is the child’s book of the season that seems cer- tain to stay” (Thwaite, p. 317). The book was first published in London on 14 October 1926 in an edition of 30,000 regular trade copies. Thwaite, A. A. Milne: His Life, 1990. £2,500 [123515]

Inscribed by Monk to “the lady who ran the store and dance hall” 116 MONK, Thelonious. Inscribed album cover for Criss-Cross. Los Angeles: Columbia Records, 1963 Original 12-inch LP record. With album liner and pictorial sleeve. Sleeve with a few slight marks to front panel, some surface loss along right edge. In excellent condition. boldly signed in full by monk on the top part of the front cover “Good Luck always Mrs 116 Tiejen, Thelonious Monk.” We believe the recipient was Marian Tietjen (1920–2013), who “during Festival in Austin, Texas, in late April 1967, along- Monk’s signature on an album cover is genuinely her teenage years . . . worked as a waitress in La side the Dizzy Gillespie Quartet and Nina Simone. uncommon and this is a particularly fine example Grange [Texas] and, in her spare time, played pi- This is the original Columbia Records release with a fittingly left-field provenance. ano in her father’s jazz band . . . Many people who (Monaural-CL 2038) of Monk’s second album for £2,500 [123055] visited Swiss Alp [Texas] throughout the decades Columbia, following Monk’s Dream (also 1963). The knew and loved Marian as ‘Mrs. Tietjen’ – she was quartet included Charlie Rouse (tenor), John Ore the lady who ran the store and dance hall” (The (bass) and Frankie Dunlop (drums) and “features Schulenburg Sticker, weekly newspaper, online). The some of the finest work that Monk ever did in the album would have almost certainly been inscribed studio with his ’60s trio and quartet . . . This is by Monk when he headlined at the Longhorn Jazz prime Monk” (allmusic.com).

All items are fully described and photographed at peterharrington.co.uk 59 Presentation copies from Earl Mountbatten of medical techniques, can claim much credit for the Burma to a member of his handpicked team – “a vast improvement over the next year. But it was in souvenir of the grand work you did” the transformation of the soldiers’ morale that he made his greatest contribution”. 117 The “preliminary editions” (so-named by the Lid- MOUNTBATTEN OF BURMA, Louis, Earl. dell Hart Military Archives) were produced in small Report to the Combined Chiefs of Staff by the numbers: our “Report” is numbered 121 and the Supreme Allied Commander South-East Asia “Supplement” 206. In his foreword to the “Sup- 1943–1946. [with:] Appendices and Annex- plement”, Mountbatten notes that “sufficient cop- ures: Supplement to Report . . . 1943–1945. ies . . . are being printed in the Government House Delhi and London: Government House Printing Press [Delhi] to supply all Service Ministries, all Press; His Majesty’s Stationery Office, 1947 & 1951 Headquarters concerned, and Staff and Technical Colleges of the Allies” and that “it is clearly quite 3 volumes, quarto. Delhi printing, 2 vols.: presenta- unnecessary for the general public to have access tion bindings of red morocco-grain skiver, gilt lettered to most of the Supplement . . . I am therefore only spines and front covers, spines gilt-banded and carrying submitting a relatively small part of this volume Mountbatten’s monogram within crowned Order of the for publication in the officially approved version Garter belt, single-line gilt border on covers, original 117 wrappers bound-in; HMSO: presentation binding of of the “Report” [by HMSO]”. OCLC locates copies grey-green cloth, gilt-lettered spine and front cover, red of the Delhi printing at Miami University, Marshall speckled edges. Large folding map of Burma in pocket at Lieutenant General Vernon Erskine-Crum (1918– Research Library (presentation copy to General end of Delhi printing, numerous coloured maps. Delhi: 1971) served with the Scots Guards and won the George C. Marshall) and University of Sussex. We spines lightly sunned, a few scrapes to bindings, touch MC during the campaign in North-West Europe in have also traced copies at Australian War Memo- of foxing to wrappers otherwise very good. HMSO: spine 1944. After training at Staff College in 1945 he was rial (presentation to Charles Gairdner) and Lid- a little sunned, touch of foxing otherwise very good. posted to SEAC (South-East Asia Command). dell Hart Military Archives (presentation copy to first edition, presentation copy of the Mountbatten’s “Report” is a fascinating and Alanbrooke); auction records show only one signed highly uncommon Delhi-printed “preliminary comprehensive document covering his years as copy (2006). We have traced one copy only of the edition” of the “Report” and “Supplement”, to- Supreme Allied Commander, South-East Asia gether with the first trade edition of the “Report” Command. Philip Ziegler, writing in ODNB, gives (HMSO), inscribed by Mountbatten to his Confer- a stirring overview of his tenure and outlines the ence Secretary, Vernon Erskine-Crum, in green importance of his personal authority: “Mountbat- ink on front wrapper verso of the Report: “To Ver- ten took over a command where everything had non Erskine-Crum, the best Conference Secretary gone wrong. The British and Indian army, ravaged we had in SEAC, in appreciation of his help in the by disease and soundly beaten by the Japanese, final production of this Report, from Mountbat- had been chased out of Burma. A feeble attempt at ten of Burma”; the “Supplement” carries a printed counter-attack in the Arakan peninsula had ended letter from Government House, New Delhi (dated in disaster. Morale was low, air support inadequate, 1 December 1947) presenting this complimentary communications within India slow and uncertain. copy. In addition, the HMSO edition is inscribed There seemed little to oppose the Japanese if they “To Vernon Erskine-Crum the best Conference decided to resume their assault. . . . Mountbatten Secretary, from the author, Mountbatten of Bur- defined the three principal problems facing him ma”) and with a typed letter signed to Erskine- as being those of monsoon, malaria, and morale. Crum: “My dear Vernon, I have had a few copies His determination that allied troops must fight of my South-East Asia report specially bound, through the monsoon, though of greater psycho- and am sending one of these to you herewith, as a logical than military significance, undoubtedly souvenir of the grand work you did as Conference assisted the eventual victories of the Fourteenth Secretary during the latter months in SEAC, yours Army. In 1943, for every casualty evacuated be- very sincerely Mountbatten of Burma” (dated 26 cause of wounds, there were 120 sick, and Mount- January, 1951, Mountbatten’s embossed London batten, by his emphasis on hygiene and improved letterhead). 117

60 Spring Miscellany: Peter Harrington 119 (NONESUCH PRESS.) DANTE ALIGHIERI. La Divina Commedia. Or, The Divine Vision. In Italian and English. The Italian text edited by Mario Casella of the University of Florence with the English version of H. F. Cary and 42 illustrations after the drawings by Sandro Botticelli. London: The Nonesuch Press, 1928 Folio. Original orange vellum, titles to spine, roundels and ruling to boards in gilt, top edge gilt, others untrimmed. With 34 double and 8 single-page plates after Botticelli. Spine ends and tips a little rubbed, contents faintly toned. An excellent, bright copy, with very little fading of the notoriously fugitive orange from the spine. first nonesuch edition, number 302 from a limited edition of 1,475 copies on Dutch paper. A beauti- 118 119 fully presented and bound edition of Dante’s Divine Comedy, with Dante’s Italian printed parallel to Rev. “Supplement” (National Archives); the HMSO re- Henry F. Cary’s English translation (1814, a transla- ticelli’s illustrations, reproduced from the first Flor- port is well represented institutionally but presen- tion much loved by Coleridge), and with Sandro Bot- entine edition of the Divine Comedy (1481). tation copies are most elusive. Ransom, p. 367. £2,500 [122590] £1,350 [122614]

118 MUNNINGS, Sir Alfred. Pictures of Horses and English Life. With an Appreciation by Lionel Lindsay. London: Eyre and Spottiswoode Limited, 1927 Tall quarto. Original vellum, spine lettered in gilt, front cover lettered in gilt within double gilt border, marbled endpapers, top edge gilt, others untrimmed. 28 colour plates with captioned tissue guards, 86 pages of black and white plates. Spine and covers lightly toned, boards bowed, a few pink marks to boards. An excellent copy. signed limited edition, number 44 of 250 copies signed by the author, first published the same year. “Criticism of the artist’s talent as facile and slight has not been lacking, but his splendid studies of rough cobs and gipsy lads, the superlative ex- pertise of ‘The Return from Ascot’ with the Wind- sor greys, his studies of heavyweight-carriers and robust foxhunters and racing two-year-olds, were to bring to equestrian art of the 20th century a bril- liance of achievement not seen since the epoch of George Stubbs” (Walker, Sporting Art, pp. 189–90).

£2,750 [123247] 118

All items are fully described and photographed at peterharrington.co.uk 61 120

“It was through contact with black people that I “Pannasié was one of the French jazz community’s represented by such orchestras as Jack Hylton and learned what real jazz is” chief philosophers and polemicists, and one of the Paul Whiteman” (The Real Jazz, 1942). When the be- individuals most dedicated to securing the place bop revolution ostensibly blew away the old order 120 of jazz in France’s entertainment repertoire. Pan- he gave it short shrift, famously dismissing the lat- PANASSIÉ, Hugues. La Vraie Histoire du nasié’s writings explained hot jazz to readers who est developments as “a form of music distinct from Jazz: Original Holograph Manuscript. Paris?: did not know much about it or rarely distinguished jazz”. Or as critic Whitney Balliett put it: “Panassié 1950s between the different styles of jazz. His books and ceased all forward critical motion around 1940” articles, presented with an irrepressible passion (American Musicians II: Seventy-Two Portraits in Jazz, Quarto, holograph manuscript of approximately 620 for the music, made him one of the most signifi- 2005, p. 2). This is exemplified here in the blunt leaves (of which 12 typewritten) in blue and red ink, preserved in 16 brown heavy stock paper folders. Housed in cant jazz critics of the age – not just in France but titling of Chapter XII: “Le Be-bop n’est pas du a custom made archival box designed to resemble a ma- anywhere – and his work made a profound impres- jazz” (“Be-bop is not jazz”). However, Panassié’s nila paper parcel bound with blue string (290 x 100 mm), sion on many other fans and critics around the influence on the reception of jazz in France, and signed “CFM”[?] and dated 1989. With a copy of the first world” (Jeffrey H. Jackson, Making Jazz French: Music edition (Histoire du vrai jazz. Paris: Robert Laffont, 1959); and Modern Life in Interwar Paris, 2003, p. 168). square octavo; original pictorial wrappers (light signs In 1931 Panassié was co-founder, with Charles De- of handling to covers, touch of foxing to edges of book block; very good). launay, of the Hot Club de France, one of the earliest jazz fan clubs. He was also the founder of Le Jazz the original manuscript of histoire du vrai Hot magazine (1935) and the author of a series of jazz (History of true jazz, published Paris, Éditions historical, biographical and discographical stud- Robert Laffont, 1959) by the influential French ies. He was an ardent exponent of what he saw as jazz critic, historian and record producer Hugues “true” or “real” jazz, a music strictly rooted in the Pannasié (1912-1974), here very attractively and im- blues and the work of the New Orleans founding aginatively presented, the spine of the box labelled fathers. He had little time for the kind of dance “La vraie histoire du jazz” (“The real history of band jazz popularized in the 1920s and 30s, de- jazz”, the original working title). scribing it as “a commercial counterfeit of jazz, 120

62 Spring Miscellany: Peter Harrington in shaping the cross-cultural dialogue between American and French musicians, was seminal. This is a wonderfully active working manuscript, reflecting an almost improvisatory fervour during the writing process. There is much emendation, with many passages struck through by the author’s looping deletion, or boldly with a red pencil. The first page of the introduction shows Pannasié turning over options for the book’s title: “Histoire du vrai jazz,” “La Véritable Histoire du jazz,” and “La Vraie Histoire du jazz.” Each chapter folder includes a short summarizing note in another hand, apparently that of an assistant. Chapter I includes seven pages in this hand; in one place Pannasié breaks off during a discussion of Big Bill Broonzy and remarks that his text will continue after “le morceau” (the piece) from the “Bulletin No. 15” 121 122 (presumably Le Jazz Hot magazine), and this is followed by four pages in this facilitating hand, presumably transcribing the piece on Broonzy and Parrish achieved “national popularity for his dis- 122 “Joe Turner’s Blues” that Pannasié references. tinctively elegant style, detailed backgrounds and PETULENGRO, Gipsy. Romany Love. Lon- glowing colours. The subtle shade of blue seen in Hugues Pannasié was, despite his prejudices, one many of his pictures came to be known as ‘Max- don: Methuen & Co. Ltd, 1938 of the key European writers and thinkers on jazz field Parrish blue’” (Dalby, p. 42). Octavo. Original blue cloth, spine lettered in gilt. With during the 20th century and this vital manuscript Dalby p. 42. the pictorial dust jacket. Spine gently rolled and lightly holds a mirror up to his passion for the music. faded, minor rubbing to extremities; a very good, bright Whitney Balliett quotes Stephane Grappelli’s suc- £2,500 [123572] copy in the price-clipped jacket with browned spine, cinct take on the man: “He was very sincere him- nicks to extremities, tiny chips to spine ends. self. He was a very pure man, very religious, very first edition of Xavier Petulengro’s first novel. decent. Not for the gallery. He believed. He did a This copy belonged to the Dutch book collector lot for the jazz music. The only bad thing about Pa- Kees Hartmans, with his bookplate to the front nassié was he was a bit stubborn”. pastedown, and his pencil annotations in the mar- £7,500 [123995] gins. The majority of these annotations comment on or translate the frequent use of Romany in the 121 text, a useful and extensive glossary of which is provided at the end of the book. Hartmans, the (PARRISH, Maxfield.) SAUNDERS, Louise. former editor of Circus magazine De Piste, owned a The Knave of Hearts. New York: Charles Scrib- collection of more than 5,500 circus books, which ner’s Sons, 1925 he bequeathed to the University of Amsterdam in Quarto. Original black pebble-grain cloth, titles printed 1963. This work is uncommon, especially in the in black on illustrated paper label to front cover, illustrat- jacket, with just seven copies traced institutionally ed endpapers. With the original cardboard box. Housed in UK. in a custom solander case. Colour frontispiece with tis- £650 [123923] sue guard, 9 full page colour illustrated plates, illustrations in the text, all by Maxfield Parrish. A fine copy in the original box, with loss to one side. first edition. This work is generally acknowledged to contain some of the best illustrations by American illustrator Maxfield Parrish (1870–1966). 121

All items are fully described and photographed at peterharrington.co.uk 63 The book that changed Europe 124 PICART, Bernard, [& Jean Frederic Bernard.] The Religious Ceremonies and Customs of the Several Nations of the Known World. Represented in above an hundred copper- plates, designed by the famous Picart. To- gether with historical explanations, and several curious dissertations. London: printed for Nicholas Prevost [later, Claude du Bosc], 1731–39 7 volumes bound as 6, folio (395 × 240 mm). Late 18th- century russia sometime rebacked to style, gilt panelled sides, speckled edges, marbled endpapars renewed. With all full-page or folding plates as indicated in the list of plate, as follows: I, 38 plates (plate 38 misnumbered 35 in the plate 123 list); II, 27 plates; III, 45 plates; IV, 58 plates; V, 19 plates; VI, 13 plates; VII, 26 plates; i.e. 226 plates in total (complete); title pages printed in red and black with vignettes by Van- 124 123 derGucht. Chip to head of vol. I, touch of craquelure and PHILBY, Harry St John Bridger. A Pilgrim in patches of wear to bindings, scattered foxing, some toning eric Bernard. Both men were Protestant refugees and offsetting from plates to letterpress, supplied double- driven by the Counter-Reformation from France Arabia. London: The Golden Cockerel Press: 1943 page plate of the High Mass (vol. I p. 312) in a rather faint impression but overall a very good, attractive set. to Amsterdam, where, in a fertile milieu of radicals Tall octavo. Original red niger morocco by Sangorski and and free-thinkers, they produced one of the world’s Sutcliffe, raised bands to spine, lettered in gilt, gilt edge first english edition of one of the great books greatest religious books. “The original seven vol- roll, single rule to turn-ins in gilt. Portrait frontispiece of the 18th century, a work that “marked a major after a drawing by Elizabeth Montgomery, 3 plates with umes were supplemented by two others that are turning point in European attitudes toward reli- very different in character and not included here [in 8 photographs by the author reproduced in collotype. gious belief ” (Hunt, Jacob & Mijnhardt, The Book Spine faded, slight dark mottling to covers, slight sur- the Getty Research Library’s set]” (ibid.). that Changed Europe: Picart & Bernard’s Religious Ceremo- face worm damage to lower corner of front turn-in, light nies of the World, Harvard UP 2010, p. 1). Originally Despite its radical perspective, Religious Ceremonies foxing to front and rear of text block, very occasionally to was a publishing phenomenon, selling out in the first text, otherwise an excellent copy. published in French at Amsterdam between 1723 and 1737, the monumental Ceremonies and Religious edition of 1,200 copies and remaining a bestseller for first and signed limited edition, number Customs of the Various Nations was the result of a col- the next century. The first English edition, published 29 of 30 copies bound in full niger morocco and laboration between Europe’s leading engraver, Ber- with Bernard’s approval, sold so well that a single- containing a supplement with the author’s pho- nard Picart, and the publisher and author Jean Fred- volume edition was published in 1741. While the Eng- tographs reproduced in collotype, from a total of lish translator expurgated some of the most heretical 350 copies signed by the author. In addition to a picture of the author in Arab dress, two of these photographs feature King Ibn Sa’ud and his family. This was Philby’s sixth book on Arabia. “Few would quarrel with the inscription on his tomb- stone: ‘Greatest of Arabian explorers’” (ODNB). Macro 1795. £3,750 [123519]

124 124

64 Spring Miscellany: Peter Harrington 124 passages, the translation is, unlike many piracies and and God-given truth into ‘religion’, that is, into in- griffins passant sable); Heneage Finch, fourth Earl later editions, true to Bernard and Picart’s grand vi- dividual ceremonies and customs that reflected the of Aylesford (1751–1812), was styled Lord Guernsey sion. As a reference book it was unprecedented; “no truths relative to each people and culture” (ibid. p. between 1757 and 1777 and this set may be from his other work before then had ever attempted, in word 2). A very appealing set with rich impressions of the library; Finch was an accomplished landscape artist and image, such a grand sweep of human religions” superb plates. and etcher, a number of whose works are held by (ibid. p. 1). But as a meditation on culture it was revo- provenance: each volume with remounted roco- the Tate. lutionary. “It sowed the radical idea that religions co armorial bookplate surmounted by a viscount’s Sabin 62600. could be compared on equal terms, and therefore coronet and bearing the motto “Rapidus Contrari- £10,000 [122515] that all religions were equally worthy of respect – and us Orbi”, blazoning the impaled arms of the Duke criticism. It turned belief in one unique, absolute, of Norfolk with Finch (a chevron between three

All items are fully described and photographed at peterharrington.co.uk 65 126

Frontispiece and 26 colour illustrations by the author. Very minor rubbing to extremities, top edge a little browned, a very good, unusually bright copy in the glass- 125 ine jacket with loss to head of spine, skilfully repaired, and a couple of small nicks to edges. 125 alongside the later Greek text from the 1578 edi- first edition, with the first impression points PLATO. Platonis Philosophi. Quae exstant tion of Plato’s works by Henri Estienne (1528/31– as called for: “muffatees” (as opposed to “muf- 1598). The editors of this edition, Johann Valentin Graece ad editionem Henrici Stephani ac- fetees” in the second mpression onward), “we” in Embser (1749–1783) and Friedrich Christian Exter Roman type (as opposed to italics in second issue curate expressa cum Marsilii Ficini interpre- (1714–1787), considered Ficino’s Latin to be supe- onward) on page 15. The first impression was is- tatione praemittitur L. III Laertii de vita et rior to that of Estienne’s translator Jean de Serres dogm. Plat. cum notitia literaria accedit va- (1540–1598) but regarded Estienne’s Greek text to rietas lectionis; [together with:] Dialogorum be based upon superior original sources. The Pla- Platonis argumenta exposita et illustrata. tonis Philosophi has 11 volumes but is commonly ac- Zweibrucken: Ex Typographia Societatis, 1781–7 companied by the Dialogorum Platonis, as here. For instance, in Jefferson’s inventory of the library of 12 works, octavo (220 × 135 mm). Uniformly bound in George Wythe (1726–1806), which Thomas Jef- near-contemporary diced russia, raised bands to spine, ferson received from Wythe in around 1806, it is lettered in gilt, compartments ruled in gilt and decorated with floral designs in blind and gilt, triple gilt border listed as “Plato. Gr. La. 12 v. 8vo”. to covers, tips of board edges gilt, turn-in rolled in gilt, James Vigus, Platonic Coleridge, p. 25. marbled endpapers, edges gilt. With 11 title vignettes. £2,750 [123367] Ownership inscription verso title page. A few dark spots to covers, joints a little creased, tops of joints occasionally slightly cracked, text blocks firm, tips a bit worn, mi- 126 nor loss to base of spine vol. 10. An excellent set. POTTER, Beatrix. The Tale of Benjamin Bun- first bipontine edition of plato’s com- ny. London: Frederick Warne and Co., 1904 plete works, considered to be one of the best editions of his works. This edition utilises the Sextodecimo. Original grey paper-covered boards, titles Latin translations by Marsilio Ficino (1433–1499), to spine and front cover in dark green, pictorial label to front board, illustrated endpapers. With the glassine originally published in 1484, and places them jacket. Housed in a custom brown cloth folding case. 126

66 Spring Miscellany: Peter Harrington Fitts was a well-respected member of the modernist literati, acquainted with Pound, Joyce, and Eliot. This copy was clearly sent to him by the publisher, Nancy Cunard, perhaps at the behest of Pound himself, and makes for an excellent association. Hound & Horn magazine published the excerpted Cantos XXVII–XXX in April–June 1930, and Fitts followed up (January–March 1931) with a significant review entitled “Music fit for the Odes”, which Betsy Erkkila has termed “perhaps the first academic analysis of the Cantos”. In it he defends Pound’s complex work: “the criticism that XXX Cantos is incomprehensible, is a false criticism . . The Cantos will baffle persons who are willing to be baffled”, and closes by heaping praise on “the greatest conception of our day . . Tech- nically it is nearly faultless; as a craftsman Pound 127 is so far in advance of the rest of us that his book 128 should be universally read, if only as a manual of sued in grey or tan paper boards, with no priority poetic technic. But it is much more than splendid Large octavo (252 × 200 mm). Contemporary art nouveau- between them. writing. It is a gallant, proud attempt to assert the style “vellucent” binding by Cedric Chivers of Bath in green morocco, spine and front cover lettered and tooled Linder, p. 424; Quinby 6. positive value of experience. It is very nearly the great music, ‘fit for the Odes’”. in gilt, hand-painted vellum vignette of Franciscan monk £6,000 [123472] and crow to front cover, turn-ins ruled in gilt, green mar- Hound & Horn magazine was founded by two Har- bled endpapers, top edge gilt. Colour frontispiece and vard undergraduates in 1927, taking its name from 127 23 colour plates mounted on dark green paper, 12 tinted a line of Ezra Pound’s poem “The White Stag”. It plates on plain paper, illustrations in the text. Spine and POUND, Ezra. A Draft of XXX Cantos. Paris: soon became an international literary magazine edges of covers faded, rubbing to joints, 50 mm tear to pp. Hours Press, 1930 sold and read both sides of the Atlantic. Pound at- 477/8, some pages unopened. An excellent copy. tempted to arrange an “alliance” with the maga- first revised edition of Rackham’s illustrated Octavo. Original tan cloth, titles to spine and front board in red. Illustrated bookplate of Dudley Eaton Fitts zine and in 1929 was appointed a contributing edition of The Ingoldsby Legends, containing draw- to front pastedown. Spine rolled and dulled, corners editor, sending them his own work as well as that ings not found in earlier editions. This copy is a nicked, tanning to pp. 98–9, light spotting to endpapers, of his recent Rapallo discoveries such as Bunting, beautiful example of Chivers’s vellucent tech- otherwise sound and internally clean, a very good copy. McAlmon, Rodker, and Zukofsky. Pound soon fell nique, which he developed in the early 1900s. In first edition, an important review copy, out with the editors and began in his correspond- contrast to the earlier method used by Edwards of with the ownership inscription of American poet, ence to refer to it as the “Bitch & Bugle”. It folded Halifax, the painting was not done on the under- critic, and translator Dudley Fitts (1903-68) on in 1934. side of the transparent vellum, but on paper which the front free endpaper, “Dudley Fitts: New York, Betsy Erkkila, Ezra Pound: The Contemporary Reviews, p. was attached to the binding and covered with vel- 1930, for review. Hound & Horn”, as well as his illus- xxxv; The Oxford Critical and Cultural History of Modernist lum. The surface of the vellum was then tooled trated bookplate and several of his annotations to Magazines: Volume II, ed. Peter Brooker & Andrew Thack- in gold, thus enhancing the impressive effect. er, pp. 429–31. the text. One of 200 copies on Canson-Montgolfi- Rackham’s illustrated edition of The Ingoldsby Leg- er soleil velin paper, from a total edition of 212. £2,750 [124196] ends was originally published in 1898 but Rackham chose to expand the work and redraw the illustra- 128 tions so that “greater prominence could be given to the illustrations by better and larger reproduc- (CHIVERS BINDING; RACKHAM, Arthur, tions, including a greater number of illustrations illus.) The Ingoldsby Legends. Or Mirth and in colour” (Rackham’s prefatory note). Marvels. London: J. M. Dent and Company, 1907 Latimore & Haskell p. 11; Riall p. 26.

127 £1,800 [123254]

All items are fully described and photographed at peterharrington.co.uk 67 129, 130, 131

129 attention of J. M. Barrie, who would commission coloured, released at the same time as a signed (RACKHAM, Arthur.) IRVING, Washington. Rackham’s next book. limited UK edition of 750 copies. Rip Van Winkle. London: William Heinemann, Latimore & Haskell p. 26; Riall pp. 69–70. The translator, Mrs Edgar Lucas, was born Alice 1905 £8,500 [123180] Erichsen, the daughter of Hermann Erichsen, a Danish businessman who had settled first in New- Quarto. Original vellum, titles to spine and front board castle upon Tyne, then in Upper Tooting, where Al- 130 gilt, pictorial image blocked in gilt to front cover, top ice met her husband. She made successful transla- edge gilt, others untrimmed. Colour frontispiece and 49 (RACKHAM, Arthur.) GRIMM, The Broth- tions from the Danish of Hans Christian Andersen colour plates mounted on brown paper with captioned ers. Fairy Tales. Translated by Mrs Edgar Lu- and Henrik Pontoppidan. Her sister was the artist tissue guards, black and white illustrations in the text, all by Rackham. Original ties laid-in at rear. Spine slightly cas. New York: Doubleday, Page & Co., 1909 and illustrator Nelly Erichsen (1862–1918). Latimore & Haskell p. 34; Riall p. 97. toned, boards bowed, loss to vellum bottom tip of front Quarto. Original limp reverse calf with yapp edges, title board, foxing to prelims. An excellent copy. to spine in gilt with pictorial decoration, moiré silk end- £3,750 [122597] signed limited edition, number 26 of 250 cop- papers, top edge gilt, others uncut. Housed in a custom brown cloth chemise and slipcase. Mounted colour fron- ies signed by the artist. This copy also includes an 131 original pen-and-ink portrait of Rip van Winkle tispiece with tissue guard and 39 similar plates, black and by Rackham, dated 17 July 1918. This was the first white illustrations in text, all by Rackham. Spine darkened, (RACKHAM, Arthur.) DICKENS, Charles. A tiny loss to foot of spine, small repair to front hinge, lower book wholly illustrated by Rackham to be issued Christmas Carol. London: William Heinemann; outer corner of front free endpaper worn, tape repair to rear in a limited edition format and it immediately free endpaper, occasional spotting to text block. An excel- J. B. Lippincott Co., New York, 1915 established him as the leading illustrator of lav- lent copy of a notoriously fragile edition. Large quarto. Original vellum, titles and pictorial deco- ishly produced gift books in the Edwardian era. signed limited u.s. edition, one of 50 cop- ration to spine and front cover, pictorial endpapers, top In March 1905 Rackham’s originals were exhibited ies signed by the artist. Rackham’s first ver- edge gilt, others untrimmed, original silk tie laid in. Col- at the Leicester Galleries, which led to this deluxe sion of Grimm’s Fairy Tales was published in 1900; our frontispiece and 11 colour plates mounted on thick edition being fully subscribed before the exhibi- brown paper, with captioned tissue guards, black and this is a revised and enlarged edition with some tion had closed. The exhibition also attracted the white illustrations in the text, all by Rackham. Gilt to new illustrations, as well as others redrawn and spine slightly rubbed, faint scattered foxing to contents. An excellent copy, the vellum unusually bright and clean.

68 Spring Miscellany: Peter Harrington 132, 133, 134

132 pieces. Spine very slightly darkened, spine ends slightly bumped, very light marking to covers. An excellent copy. (RACKHAM, Arthur.) STEPHENS, James. Irish Fairy Tales. London: Macmillan & Co. Ltd, signed limited edition, number 92 of 600 copies signed by the artist. 1920 Latimore & Haskell p. 55; Riall p. 146. Quarto. Finely bound by the Chelsea Bindery in dark green morocco, titles and decoration to spine gilt, raised £1,250 [123265] bands, single rule to boards gilt, pictorial title block to front board gilt, twin rule to turn-ins gilt, floral endpa- 134 pers, top edge gilt, others untrimmed. With 16 mounted colour plates as issued, captioned tissues and numerous (RACKHAM, Arthur.) POE, Edgar Allan. black and white illustrations. A fine copy. Tales of Mystery and Imagination. London: signed limited edition, one of 520 unnum- George G. Harrap & Co Ltd, 1935 signed limited edition, number 172 of 500 bered copies signed by the artist. Quarto. Original vellum, titles and decorations to spine copies signed by the artist for sale in Great Britain, £3,000 [122376] and front cover in gilt, pictorial endpapers, top edge Ireland, and the Colonies, with an additional 25 gilt. With the original numbered slipcase. Colour fron- copies reserved for presentation. This was the first tispiece and 11 mounted colour plates with captioned 133 tissue guards, 17 black and white plates, illustrations in of Dickens’s works to be illustrated by Rackham. (RACKHAM, Arthur.) HAWTHORNE, Nath- the text, all by Rackham. Bookplate to front pastedown. Latimore & Haskell, pp. 44–5; Riall, pp. 124–5. Boards very slightly bowed, couple of marks to covers, a aniel. A Wonder Book. London, New York and near-fine copy. £5,000 [123022] Toronto: Hodder & Stoughton Ltd, [1922] signed limited edition, number 37 of 460 cop- Quarto. Original cream buckram, spine lettered in gilt, ies signed by the artist. gilt titles and vignette to front cover, pictorial endpa- Latimore & Haskell pp. 72–73; Riall p. 189. pers, top edge gilt, others untrimmed. Mounted colour frontispiece and 15 plates with captioned tissue guards, £3,000 [123560] 8 further colour plates, wood-engraved pictorial head-

All items are fully described and photographed at peterharrington.co.uk 69 136 RANSOME, Arthur. Peter Duck. London: Jona- than Cape, 1932 Octavo. Original green cloth with gilt lettering in pictorial Clifford Webb dustwrapper. Pictorial endpapers and many black and white drawings. A fine copy in a near fine dustwrapper, which just shows light tanning to the spine, a couple of short closed tears to the edges, and minor abrasion to the lower panel, but nonetheless is an uncommonly bright and crisp example. first edition, together with an autograph postcard from the author to a young fan, “I am glad you liked them. And thank you for NOT asking questions. Best wishes for fair weather! Arthur Ransome”. The postcard, postmarked 4 July 1945 from Coniston, features a printed border of Swal- lows and Amazons illustrations by Ransome. The recipient, Brian Field-Hyde, was a 12-year-old student at Tettenhall College, Wolverhampton, and a keen sailor who later joined the committee of Pe- narth Yacht Club. He had evidently written to the author to express his appreciation of the Swallows and Amazons series – the majority of which were published by this point – and share his love of sail- ing. This is the third book in the series, and the 135, 136 first to be illustrated by Ransome himself. Hammond A27(a). 135 faint spray of foxing to edges; a near-fine copy in the rare dust jacket, lightly toned, extremities slightly rubbed, £5,500 [122906] RANSOME, Arthur. Swallows and Amazons. just a little chipping to spine ends, otherwise a very nice London: Jonathan Cape, 1930 example of this vulnerable publication. 137 first edition, signed by the author on the half- Octavo. Original blue cloth, titles to spine and front RAY, Man. Électricité. Paris: La Compagnie Par- cover gilt, publisher’s device to rear cover in blind, map title, together with a sketch of the Swallow by him endpapers, bottom edge untrimmed. With the dust jack- done in black and pink ink. Notably rare signed, isienne de Distribution d’Électricité, 1931 et. Frontispiece and title page vignette by Stephen Spur- this is the first book in the Swallows and Amazons Folio. 10 rayographs with paper mounts, with protec- rier. Covers a little discoloured, as often, internally fresh, series, and one of 2,000 copies printed. Cape tive paper and cardboard folding case. Housed in the commissioned Stephen Spurrier to illustrate the original patterned paper covered chemise and slipcase. Ransome’s classic adventure story, but Ransome 10 photogravures after rayographs. Very mild foxing. disliked the drawings so much that only Spurrier’s An excellent set. designs for the jacket, endpapers, frontispiece, first edition, limited issue, each rayo- and title page vignette were retained. After Ran- graph signed in negative by the artist. some successfully illustrated the third book in the This is number 265 of an edition of 500. The rayo- series, Peter Duck, he decided to do his own draw- graphs were commissioned by a private Parisian ings for the rest of the books, including reissues of power company who wanted to promote the use of those already published. electricity in French homes. With the company’s Hammond A25(a). compliments slip loosely inserted. £25,000 [122905] £32,000 [123227] 135

70 Spring Miscellany: Peter Harrington 137

137 137

All items are fully described and photographed at peterharrington.co.uk 71 138

138 REID, Thomas. Essays on the Intellectual Powers of Man. Edinburgh: for John Bell and G. G. J. Robinson, London, 1785 Quarto (266 × 202 mm). Contemporary tree calf, spine ruled gilt, red morocco label, red edges. Engraved armorial bookplate of McKenzie of Coul to front pastedown. Minor surface abrasion to boards, corners worn, first and last leaves tanned from the leather turn ins; occa- 139 sional light spotting; a very good copy in an attractive unrestored binding. 139 first edition. Reid succeeded Adam Smith and (RICCARDI PRESS.) The Book of Genesis. Hutcheson in the chair of moral philosophy at Glas- gow. Reid’s Essays “shaped the teaching of moral Now printed in the authorised version and philosophy in Britain and America well into the illustrated after drawings. London: Philip Lee nineteenth century, partly thanks to the influence Warner, publisher to the Medici Society Ltd, 1914 of his disciple Dugald Stewart, but also because they Quarto. Original limp vellum, titles gilt to spine and front, provided the basis for a systematic account of the fac- green silk ties, top edge gilt, others untrimmed. With the ulties of the mind which was both well suited to the original glassine wrapper. Accompanied by the dupli- practicalities of pedagogy and consistent with most cate suite of plates in the publisher’s gilt-titled grey cloth variants of protestant theology” (ODNB). His advoca- chemise. Housed together in a brown morocco-backed cy of common sense as a philosophical method was bookform slipcase and chemise by Macdonald. Title page given fresh currency by G. E. Moore early in the 20th with lettering designed by Edith M. Engall and central or- nament by Cayley Robinson, 10 colour plates after Cayley century, and more recently contemporary philoso- Robinson bound at the rear as issued, with captioned tis- phers such as William Alston and Alvin Plantinga sue guards. Duplicate set of the Cayley Robinson plates have paid careful attention to Reid. included loose in the publisher’s accompanying chemise. Jessop, p. 165. Fine but for the glassine jacket which is lightly creased and with a few small chips and tears around the edges. £2,250 [123611] 139

72 Spring Miscellany: Peter Harrington 140 140 141 142 first edition thus, tête de tirage vellum copy, 140 with her young fans, at a time when her fame was number 1 of 12 copies printed on vellum, ROWLING, J. K. Harry Potter and the Philos- rapidly growing. aside from 500 paper copies printed by the Ricca- Errington A1(a) & A2(a). rdi Press, and accompanied by a duplicate suite of opher’s Stone; [together with] Harry Potter £5,750 [123527] the plates by illustrator Frederic Cayley Robinson and the Chamber of Secrets. London: Blooms- (1862–1927). The colophon declares that of the twelve bury, 1997 & 1998 141 vellum copies, only ten were for sale, making it likely 2 works, octavo. Philosopher’s Stone in original pictorial that this was one of only two hors commerce copies. No wrappers, Smarties sticker to front cover, issued with- ROWLING, J. K. Harry Potter and the Cham- vellum copy has appeared at auction for a decade. out a dust jacket. Chamber of Secrets in original pictorial ber of Secrets. London: Bloomsbury, 1998 The Book of Genesis “constitutes [Cayley Robin- boards, with the dust jacket. Philosopher’s Stone slightly Octavo. Original pictorial boards. With the pictorial dust son’s] finest achievement as a book illustrator” faded at spine, covers slightly creased, light creasing to jacket. A fine copy in the jacket. (ODNB). His “The Death of Abel”, reproduced as top corners of some pages; a very good copy. Chamber of the third plate and held at the Musée d’Orsay in Secrets lightly bumped at spine ends, small mark to fore first edition. edge, a couple of marks to front free endpaper and half- Paris, is considered his most enduring work. He title; an excellent copy in the dust jacket, lightly faded Errington A2(a). also illustrated Maeterlinck’s The Blue Bird, and is at spine panels with very slight creasing at spine panel £1,750 [123435] known for his Acts of Mercy painting series execut- ends. ed for the Middlesex Hospital 1915–20, four panels of which were exhibited at the National Gallery both works inscribed by the author for a 142 young fan, who had experimented with various in 2010. This copy of Riccardi’s finely produced ROWLING, J. K. Harry Potter and the Goblet Book of Genesis has the bookplate of esteemed col- spellings of his name in Philosopher’s Stone in pen- lector Charles Conover Kalbfleisch (1868–1943), cil on the title page (“Iain/Eoin Dallas/Ian Dallas/ of Fire. London: Bloomsbury, 2000 whose library sale, entitled The Arts of the Book, Ean Dallas”). Rowling, upon seeing this, inscribed Octavo. Original pictorial boards, titles to spine and went through Parke-Bernet Galleries, 10–11 Janu- Philosopher’s Stone, “To Ian (not Eoin/Ian or Ean) front board in blue and black. With the dust jacket. Nick ary 1944. A laid-in photocopy of the relevant an- with best wishes J. K. Rowling”, and, continuing to foot of spine; a near-fine copy in the bright jacket. notated page from the auction catalogue for that the theme, inscribed Chamber of Secrets on the front first edition, signed by the author on the sale reveals that this copy sold for $80 then. It was, free endpaper, “To Iain (how about Eeyan?) J. K. incidentally, from Kalbfleisch that Henry Folger dedication page, with the “Golden Ticket” laid in Rowling”. First edition, first impression of Chamber bought the fifth of his many First Folio Shake- from the signing session at Hatchards, Piccadilly speares, paying $9,000 for it in 1900. of Secrets, together with a first edition, 11th impres- on Monday 17 July 2000, a week after publication. sion of Philosopher’s Stone. A delightfully inscribed Errington A9(a). £6,500 [123021] set, showing Rowling clearly enjoying interacting £2,000 [125172]

All items are fully described and photographed at peterharrington.co.uk 73 143 144

143 The best silver prints ROWLING, J. K. Harry Potter and the Half- 145 Blood Prince. London: Bloomsbury, 2005 (RUSSIA.) Album of 34 original silver gelatin Octavo. Original pictorial paper boards. With the dust prints taken during a Baltic cruise, including jacket. Tips slightly rubbed, else a fine copy in the jacket. 12 Russian scenes. London: Fradelle & Young, first edition, inscribed by the author on c. 1908 the dedication page, “To Ben, with best wishes, J. Quarto (277 × 210 mm). Photographer’s original pad- K. Rowling”. ded album of black grained skiver, spine with five raised Errington A13.a. bands, lettered on front cover “A Cruise on the ‘Dunot- £3,250 [123434] tar Castle’”, gilt edges, gilt roll tool turn-ins, white moiré endpapers. 34 original silver gelatin prints (measuring between 240 × 190 and 105 × 150 mm, each image with 144 holograph caption), mounted on heavy stock card, green ROWLING, J. K. Harry Potter and the Death- cloth hinges. Superficial split to front joint (board firm and sound), a little wear to extremities of spine and cor- ly Hallows. London: Bloomsbury, 2007 ners, periphery of mount cards toned; overall in very Octavo. Original pictorial boards. With the dust jacket. good condition, the prints of excellent quality. Very light yellow mark to edge of text block; an excellent, bright copy in the jacket. first edition, inscribed by the author on the title page, “To Charlotte, J. K. Rowling”, with the authentication hologram. Harry Potter and the Deathly Hallows is the seventh and final novel of the highly appealing luxury photograph al- Harry Potter series. bum of a cultural cruise to the baltic, Errington A14(a). including 11 scenes in St. Petersburg (8) and Mos- cow (3), the fine silver gelatin prints displaying the £3,250 [123432] characteristic rich tonal range associated with the process, with subtle shadowing and remarkably 145 crisp detail. This cruise took in Copenhagen (6),

74 Spring Miscellany: Peter Harrington 146

each, along with “albums of views, beautifully bound in morocco” at 45 and 84 shillings each. A handsome album containing some most attractive images, reflecting the expansion of tourism in fin de siècle Europe and the development of the aristocratic Grand Tour into middle-class “cultural tourism”. £1,250 [124413]

146 SAINT-EXUPÉRY, Antoine de. Wind, Sand and Stars. Translated from the French by Lewis Galantière. Decorations by John O’H. Cosgrave, II. New York: Reynal & Hitchcock, 1939 Octavo (211 × 152 mm). Contemporary blue hard-grain half morocco, raised bands to spine lettered and decorated in gilt, covers ruled and decorated with motifs from the internal illustrations in gilt, marbled sides, illustrated endpapers, top edge gilt. In the original slipcase. Double-page pictorial title printed in black and blue, similar head-pieces to each chapter. Binder’s ticket to rear free endpaper. A minor scuff to spine, slight rubbing to joints, light toning to fore edge. Otherwise an excellent copy. first u.s. edition, originally published in 145 French earlier the same year. Wind, Sand and Stars is a remarkable account of Saint-Exupéry’s thoughts Sweden (6 of Wisby, 3 of Stockholm) and Danzig lection of Lantern Slides of All Parts of the World. and experiences as a pioneering pilot for Aé- (7); the album concludes with a group portrait (not These are prepared from original negatives spe- ropostale, carrying mail over the Sahara on the captioned), presumably of the tour party. cially taken by Mr. Albert Young during recent Toulouse–Dakar route. He died when his plane disappeared over the Mediterranean in 1944. Company advertisements in Sir Henry Lunn’s How cruises, and are constantly being supplemented to Visit Northern Europe: A Guide-Book to the Capitals of by fresh negatives from Messrs. Fradelle & Young’s £650 [122757] the Baltic, Iceland, and Norway (1899) and Mediterra- representatives”. Unmounted photographs of the nean Winter Resorts (1904), announce “a choice se- “best silver prints” are available at one shilling

All items are fully described and photographed at peterharrington.co.uk 75 147

147 SALINGER, J. D. Nine Stories. Boston: Little, Brown & Company, 1953 148 Octavo. Original black cloth, title to spine gilt. With the dust jacket. Housed in a custom purple and red morocco solander box. A fine copy in the bright and crisp dust Presentation copy tal for about 25 years. A very apposite association: jacket, with just a couple of tiny creases at the head of the 148 the London Temperance Hospital, in Hampstead front panel, extremely rare in such nice condition. Road, London, opened on 6 October 1873 by initi- first edition, first issue, published on two SEWELL, Anna. Black Beauty: his grooms ative of the National Temperance League, and was different paper stocks, giving tonal variation to the and companions. The autobiography of a managed by a board of 12 teetotallers. Anna Sewell text block. Salinger’s second book, a collection of horse. Translated from the original equine. short stories is “arguably the highpoint of his fore- London: Jarrold and Sons, [1877] shortened publishing career” (Smith, p. 639). This landmark collection includes “A Perfect Day for Octavo. Original brown cloth, rebacked with original spine laid down, spine and front board lettered and Bananafish”, the first of his short stories to be -in decorated in black and gilt, rear board blocked in blind, cluded in the New Yorker, and which helped estab- brown endpapers (Carter’s B binding), edges trimmed. lish his literary reputation, and “For Esme – with Housed in a custom red morocco-backed slipcase and Love and Squalor”, the first story of his to contain chemise. Housed in a custom dark red folding case, a character from the Glass family. “J. D. Salinger’s front cover with a panelled onlay of Black Beauty. En- writing is original, first rate, serious and beautiful graved frontispiece after C. Hewitt, 8 pp. publisher’s ads . . . from the outside, they are often very funny; at end. Tips restored, worn, inner hinges reinforced, oc- inside, they are about heartbreak, and convey it; casional soiling, a well-read copy, good. they can do this because they are pure” (New York first edition, presentation copy, inscribed Times review, 5 April 1953). by the author in her own hand on the first blank, Smith, D. “Salinger’s Nine Stories: Fifty Years Later” in: “For the Patients of the London Temperance Hos- The Antioch Review, Vol. 61, No. 4, (Autumn, 2003), pp. pital with the Author’s best wishes”, and with a sec- 639–49. ondary ownership inscription (“Hughes”) above. £4,750 [122522] Conceivably this is John Hughes (1827–1896) who was treasurer of the London Temperance Hospi- 148

76 Spring Miscellany: Peter Harrington 149 150 and her mother were both heavily involved in the 149 150 temperance movement and the theme is strongly SHAKESPEARE, William. The Works. The text SHAKESPEARE, William. The Plays and invoked in Black Beauty. formed from an entirely new collation of the old Poems. According to the Improved Text of This Victorian classic was the only book of its editions: with the various readings, notes, a life Edmund Malone, Including the Latest Revi- bedridden author, who died shortly after its pub- of the poet, and a history of the early English sions, with a Life, Glossarial Notes, and In- lication, much too soon to appreciate its slowly accumulated worldwide success. Presentation or stage by J. Payne Collier. London: Whittaker & Co., dex, and One Hundred and Seventy Illustra- inscribed copies are understandably rare and the 1842–4 tions, from Designs by English Artists. In majority are not inscribed by the author herself, 8 volumes, octavo (228 × 148 mm). Contemporary red Fifteen Volumes. London: Henry G. Bohn, 1857 but by her mother Mary. morocco by Wiseman, raised bands to spines, compart- 15 volumes, small octavo (170 × 110 mm). Later orange In 1938 Carter distinguished three states of the ments lettered in gilt with supralibros of Trinity College, calf, raised bands to spines lettered and panelled in gilt, binding: A with the same blocking as this, but Cambridge to 1st and 6th compartments, triple rule bor- strapwork panels in gilt to covers within single gilt borders in blind to covers, supralibros of Trinity College, ders, headcaps and corners of board edges gilt, turn-ins all in gilt; B, as here, with the horse’s head, ti- Cambridge in centre of covers, floral gilt roll to turn-ins, tling, and the rustic portions of the decoration in gilt, marbled endpapers, red silk page markers, edges page markers all edges gilt. Spines darkened, extremi- gilt. Frontispieces with tissue guards, 170 plates. Book- black (Carter mistakenly describes the titling as ties rubbed, a few dark marks to covers, occasional fox- plate to first blanks. Slight rubbing to extremities, a few gilt, which invariably leads to the B binding being throughout, rear hinge of vol. 5 cracked, text block tiny closed tears to margins, text unaffected, a little loss ing described as a variant), the other parts being sound. An excellent set, attractively bound. to headcap of vol. 1, pale mark to spine of vol. 6, affecting gilt; and C, blocked in black and gilt, with a much first collier edition of Shakespeare’s works. 8 letters but still legible, otherwise in excellent condition. smaller horse’s head gilt in a medallion, facing Literary editor and notorious forger of literary A handsomely bound set of Shakespeare’s works, left, the same design as used for the later editions. material John Payne Collier (1789–1883) is best- edited by the classical scholar and printer A. J. Carter A and B are primary, and the earliest dated known for his The History of English Dramatic Poetry Valpy (1787–1854), whose edition first appeared inscribed copies are Christmas 1877. Anna Sewell to the Time of Shakespeare (1831). Although his most in 1832. Jaggard states that the current edition is died on 25 April 1878. important work, it is flawed because “fabrications “identical with the first issue of 1832–34, except Carter, More Binding Variants, pp. 37–38; Quayle, pp. 96– of historical evidence and documentary text are the titles”. 97. interspersed in an otherwise meticulous and orig- Jaggard p. 533. £17,500 [123401] inal scholarly work”. Despite this, “it served most Victorians as blameless authority and the princi- £2,500 [123132] pal guide to its subjects” (ODNB). Collier because director of the Shakespeare Society in 1840. Freeman A46. £1,875 [124164]

All items are fully described and photographed at peterharrington.co.uk 77 151 153

151 pealing book, beautifully bound, printed and il- 153 (SHAKESPEARE, William.) WINTER, Wil- lustrated. SHAKESPEARE, William. The Sonnets. Lon- liam. Shakespeare’s England. New York and £2,500 [123301] don: The Swallows Press, 1975 London: Macmillan and Company, 1892 Folio. Original brown crushed morocco by Sangorski 152 Octavo (181 × 125 mm). Finely bound by The Knicker- and Sutcliffe, spine lettered in gilt with gilt swallow bocker Press for G. P. Putnam’s Sons in near-contempo- SHAKESPEARE, William. The Tempest. Lon- rary green crushed morocco, spine lettered in gilt, gilt don: Freemantle & Co., 1901 roll-tooled border to inner boards, silk endpapers, top edge gilt, others untrimmed, silk page marker. In a cus- Small quarto. Original vellum with yapp edges, spine and tom morocco-backed slip case with onlaid marbled pa- front cover elaborately blocked in gilt, illustrated endpaper. Extra-illustrated with full-page original watercolour pers, top edge gilt, others uncut, one of the original ties frontispiece, 4 other vignette watercolours, and 23 pen laid in. Frontispiece and 24 full-page illustrations, nu- drawings. Spine very slightly faded with light rubbing merous small illustrations to text, and decorated initials, to one of the bands, short closed tear to p. 221, very oc- all in black and white by Robert Anning Bell. Text printed casional slight marking to contents. An excellent copy. in black and red. Vellum a little bowed, tiny split to head of front hinge. An excellent copy, internally fresh. limited edition, one of 250 unnumbered copies, finely printed with wide margins. Unique signed limited edition, number 134 of 174 extra-illustrated copy with five original unsigned copies signed by the artist. watercolours and fine pen-and-ink sketches, £675 [123112] showing scenes of Stratford and other sites linked to Shakespeare’s life. Winter’s account of the land- marks and rustic architecture of Shakespeare’s country was first published in 1888. A highly ap-

152 152

78 Spring Miscellany: Peter Harrington 154 155 motifs, gilt stamped centrepieces to covers, purple and 20 of 40 copies issued with an original drawing; love poem addressed to the “poor captive bird” gold endpapers, top edge gilt. In the purple and gilt each of these was issued to illustrate a different Teresa “Emilia” Viviani, a beautiful Italian coun- slipcase, as issued. Together with an original pen-and- sonnet – in this copy, it is sonnet number 82, a tess of 19 years who was “imprisoned” in St Anna ink drawing in a cardboard window mount, with loose copy of which is tipped in to the portfolio facing convent while her father sought her a suitable hus- tissue guard, housed in the purple and gilt portfolio as issued. Image size: 293 × 181 mm. Illustrated throughout the original drawing. This is a finely bound and band. It was first published in 1821, in Pisa, in a with drawings by Clarke Hutton. Slightest of markings to printed work, with Hutton’s modernist drawings very small edition. covers, light rubbing to slipcase and portfolio covers and providing a bold departure from traditional meth- £1,000 [122596] edges, very light foxing to sonnet facing original draw- ods of illustrating Shakespeare. ing. An excellent copy. £1,500 [122787] 155 signed limited edition, together with SMITH, Clark Ashton. Nero and Other Po- an original drawing, as issued, by clarke 154 hutton and signed by robert graves (who ems. Lakeport, CA: The Futile Press, 1937 SHELLEY, Percy Bysshe. Epipsychidion: also contributed the preface), edward Duodecimo. Original white cloth-backed boards, title burrett, and clarke hutton. This is number verses addressed to the noble and unfortu- to spine in black. With a glassine jacket. Housed in a nate lady Emilia V . . . now imprisoned in the custom slipcase. Spine lightly rubbed. Otherwise, a fine convent of . . . Montagnola: Officina Bodoni, No- copy. vember 1923 first edition, presentation copy, inscribed by the author on the front free endpaper, “Claire P. Quarto. Original vellum, titles gilt to spine, emblem gilt to front board, edges untrimmed. With the original Beck, with the kindest regards and best wishes of glassine jacket. Housed in the publisher’s orange card Clark Ashton Smith, Auburn, Cal., May 8th, 1938”. slipcase. A fine copy, preserving the publisher’s glass- One of 250 copies, this copy with the rare glassine ine and slipcase. Slipcase with some repair to joints and jacket intact. Tipped-in at the rear is a three-page lacking top and bottom edge, functioning now more as printing of David Warren Ryder’s “The Price of Po- a folder. etry”, first published in the magazine Controversy (7 first bodoni edition, one of 220 copies, print- November 1934), which was printed to accompany ed on japon. Epipsychidion (the title means “to/for the book. a little soul/Psyche”) was Shelley’s intense lyrical 153 £1,500 [122426]

All items are fully described and photographed at peterharrington.co.uk 79 156 157 158

156 157 guards. Boards a little bowed, very light soiling to covers. An excellent copy. SMITH, Dodie. Look Back With Love; [to- SPENSER, Edmund. Epithalamion. London: gether with:] . . . With Mixed Feelings; [with:] Essex House Press, 1901 first essex house edition, number 145 of 150 copies only, printed on vellum and hand illumi- . . . With Astonishment; [and:] . . . With Grat- Octavo. Original vellum, title to spine in gilt, blind- nated. First published in 1595, Spenser wrote this itude. London: Heinemann; W. H. Allen; Muller, stamped rose with words “Soul is Form” to front cover. ode for his bride on their wedding day. Blond & White, 1974–78–79–85 Hand-coloured frontispiece woodcut by Reginald Sav- age, illuminated initials throughout, 7 tipped-in tissue £950 [122382] 4 works, octavo. First three titles: original brown cloth, spine lettered in gilt; Mixed Feelings: original black cloth, spine lettered in silver. With the dust jackets. With 40 158 photographic plates. A little pale foxing to top edges of STOKER, Bram. Dracula. New York: Grosset & text block, otherwise a fine set. Dunlap, [1927] first editions, rare presentation set of Octavo. Original orange cloth, titles to spine and front Smith’s autobiography, each work inscribed by the board in black. With the dust jacket. Spine ends slightly author in the year of publication to her friend and creased. Otherwise a fine copy with the bright jacket, fellow author and playwright, Charlotte Hast- spine ends slightly creased and nicked. ings, on the front free endpapers. Hastings spent irst edition thus. This New York edition of most of her career working in or for live theatre. Stoker’s classic was produced to cash in on the Her first success in the West End, Bonaventure success of the stage play. Dracula was first adapt- (1949), was adapted into the 1951 noir crime film ed for the English stage by Hamilton Deane in Thunder on the Hill, directed by Douglas Sirk, and 1924, the adaptation being authorized by Stoker’s starring Claudette Colbert and Gladys Cooper. widow. Deane had originally intended to play the Though Smith is today perhaps best known as the title role himself, but in the event opted for the author of I Capture the Castle and The One Hundred and role of Van Helsing. This production toured Eng- One Dalmatians, she was a prolific and commercially land for three years before settling in London. In successful playwright, with a run of West End hits 1927 the play was brought to Broadway by Horace in the 1930s. She was lauded in the New York Times Liveright, who hired John L. Balderston to revise as “the most consistently successful playwright in the script for American audiences. The American England” (September 26, 1937, The New York Times). production starred Bela Lugosi in his first major £1,500 [124447] 157 English-speaking role, with Edward Van Sloan as

80 Spring Miscellany: Peter Harrington date printed dust jackets were no longer treated as disposable wrappers to be discarded before sale. £975 [122580]

159 TAYLOR, Bayard (ed.) Picturesque Europe. A delineation by pen and pencil of the natural features and the picturesque and historical places of Great Britain and the Continent. New York: D. Appleton and Company, 1875–9 3 volumes, large quarto. Original brown morocco, spines and front covers lettered in gilt, ornate blind-stamped panelling to covers, marbled endpapers, gilt edges. Illus- trated frontispieces and vignette title pages, illustrated throughout with steel engravings and woodcuts. Vol. II 159 160 slightly marked to spine and lightly rubbed to foot of front cover, very occasional light marking to contents. An excellent set. Van Helsing; both actors reprised their roles in first edition in book form, in the pub- ain and Europe. It followed the same formula as the 1931 film version, which drew on the Deane– lisher’s ornate binding, originally published its predecessor, with richly detailed illustrations Balderston play. The rear flap of dust jacket has in 60 parts between 1875 and 1879. Following the depicting natural wonders alongside notable and printed instructions to “Preserve this wrapper for success of D. Appleton and Company’s Picturesque rustic architecture, often highly romanticised. future reference”, and a list of Grosset and Dunlap America, published between 1872 and 1874 and ed- £1,250 [123270] publications on the verso, indicating that by this ited by the poet William Cullen Bryant, the company produced this present edition depicting Brit- 160 THACKERAY, William Makepeace. Vanity Fair. Illustrated in colour by Lewis Baumer. London: Hodder and Stoughton, [1913] Quarto (268 × 210 mm). Mid–20th-century blue crushed morocco by Bayntun-Riviere, spine richly gilt to compartments, gilt rule to covers enclosing a dotted roll with elaborate gilt-stamped cornerpieces, gilt turn-ins, marbled endpapers, gilt edges. In a custom blue slipcase. With 20 mounted colour plates by Lewis Baumer with captioned tissue guards. Spine slightly faded, very slight marking to covers, very slight creasing to top corner of some pages. An excellent copy. signed limited edition, number 219 of 350 copies signed by the artist. A finely bound and illustrated copy of Thackeray’s masterpiece. £1,500 [123020]

159

All items are fully described and photographed at peterharrington.co.uk 81 161 162

161 grams and maps; contemporary red sheep, original wrap- prize in July 1927; he notes the gift on a typed slip pers bound in, front cover stamped in gilt with the arms of (THATCHER, Margaret.) Books from Mar- dated May 1981. A nice association, given both Avignon (spine a little faded, some scuffs). Thatcher’s often expressed love of Kipling and her garet Thatcher’s personal library. An attractive group of seven books from Margaret early scientific background. 7 individual works, various formats. Bell: oblong quarto Thatcher’s personal library, which remained in Also harking back to the 1920s is a copy of the first (202 x 293 mm); printed in sepia on thick paper; 12 hand- her possession until her death, reflecting various edition of Jan Smuts, Africa and Some World Prob- coloured signed plates, uncoloured illustrations in the aspects of her political career and interests. lems (Oxford, 1930), very good in the dust jacket. text, 12 full-page; fine in contemporary green morocco by Sangorski and Sutcliffe for Asprey. Bible: octavo (190 x 135 David Bell’s Britain’s Maritime History was pri- Thatcher was an admirer, in 1991 delivering the mm); uncoloured illustrations; publisher’s blue morocco- vately published in Hull in 1982, the same year as Fourth Smuts lecture in Durban – “In assessing grain skiver for presentation, spine lettering, turn-ins, the Falklands War. This is a copy of the signed lim- Smuts’ character and career we have always to re- and edges gilt, silk page marker (spine worn). Eglesfield: ited edition, number 102 of 300 copies signed and sort to superlatives”. A further reminder of her links octavo (207 x 124 mm); 14 engraved portraits, extra-illus- hand-coloured by the artist. The one millionth to apartheid-era South Africa is The Mammals of trated with 56 engraved plates; 20th-century sprinkled copy of the Schools Edition of the Revised Stand- the Southern African Subregion, by John D. Skinner calf to style, spine in compartments (some slight offset- ard Version of the Bible was presented to Thatcher and Reay H. N. Smithers, a copy of the 1990 second ting from plates, else fine). Kipling (37th ed.): octavo (170 edition presented to her by the vice-chancellor of x 108 mm), prize binding of contemporary reddish-brown by the publishers during her stint as secretary of sheep, spine and front cover blocked in gilt and black, state for education and science. The Grangerized the University of Pretoria, 4 June 1991. top edge gilt (light wear, a few pen marks to final pages). 1822 reprint of Francis Eglesfield’s biography of Perhaps the most unusual book in the group is Smuts: a few spots to edges, very good in original blue Charles II, first published in 1661, was given to her the attractively produced Histoire d’Avignon (C.-Y. cloth, in the slightly nicked and chipped dust jacket. Skin- as a gift by her daughter-in-law, Sarah Thatcher. Chaudoreille, Édisud, Aix-en-Provenance, 1979), ner & Smithers: folio (296 x 209 mm); ; colour plates by presented to her on her visit as prime minister to Dick Findlay, illustrations in the text; very good in original Another gift from an admirer is the 1923 edition of blue leather, lettered and blocked in gilt, pictorial endpa- Kipling’s The Seven Seas, in a Midhurst Grammar Avignon in 1984, where she addressed the Franco- pers, gilt edges, silk page marker. Avignon: quarto (239 x School prize binding, given to her by A. J. Fenner, British Council, just before the EU Dublin summit. 171 mm); illustrated throughout with photographs, dia- who had himself received the book as a science £10,000 [123054]

82 Spring Miscellany: Peter Harrington 162 (THATCHER, Margaret.) Photograph with the Queen Mother and others. Colour photograph pasted on white card, within tur- quoise desktop frame by Asprey. Image size: 15 × 20 cm; frame size: 35 × 30 cm. Housed in the frame’s original purple box with Asprey’s logo emblazoned in silver on the top. A few light scratches and marks to frame, rear prop loosening slightly, else in excellent condition. 2 corners of the box split, else in very good condition. Margaret Thatcher’s own copy of a photograph of herself with the Queen Mother and others, signed underneath by the Queen Mother in blue ink, from Thatcher’s personal belongings from her home in Chester Square. Taken at an unknown formal event around the mid–1980s, the photograph shows Margaret Thatcher, the Queen Mother, Neil Kin- nock, James Molyneaux, Paddy Ashdown, Geof- frey Howe, Roy Jenkins, Archbishop of Canterbury Robert Runcie, James Mackay, and other leading British figures. It is believed to have been presented as a personal gift by the Queen Mother, who is well known to have been highly favourable to Thatcher. £3,750 [124428]

163 (THATCHER, Margaret.) BODEN, Leonard. Portrait of Margaret Thatcher. London: 1982 Sanguine and white chalk on paper. Excellent condition. Presented in a wooden gilt frame. one of thatcher’s favourite portraits, signed by the artist, lower left in sanguine chalk by Boden, and from Margaret Thatcher’s personal possessions from her home in Chester Square. This is a preliminary drawing for a larger oil on canvas, Margaret Thatcher Working on Cabinet Pa- pers. Boden’s method was to sketch the sitter first in sanguine before painting in oil. He painted royalty and eminent people in the church, arts, industry, commerce, medicine, the armed forces, and politics, including Pope Pius XII and Queen Elizabeth. 163 It is known that Thatcher onsidered this one of her favourite portraits, which she kept on display until her death. £15,000 [123842]

All items are fully described and photographed at peterharrington.co.uk 83 164

164 the gardens together to find an ideal view to paint in gilt on the front cover. With photographic plates. In fine condition. (THATCHER, Margaret.) WARRENDER, the house with Warrender returning in May and completing two paintings. Both of the Chequers Jonathan J. Chequers I. 1982 Margaret Thatcher’s personal copy of the first vol- paintings remained with Margaret Thatcher, and ume of her autobiography. This is one of two iden- Oil on canvas. Image size: 39.5 × 32.5 cm. Excellent con- hung one above the other in her house at Chester tical copies that Thatcher had specially bound for dition. Presented in a rosewood and gilt frame, initialled Square, London, until she died in 2013. her by Asprey, with her coat of arms emblazoned and dated lower right by Warrender. £8,500 [123814] on the front cover. Both copies remained with her From Margaret Thatcher’s personal estate. This until her death in 2013. Thatcher was granted her painting was commissioned by Margaret Thatcher coat of arms by the College of Arms in 1992 when 165 when she was residing at Chequers, the Prime Min- she was elevated to the peerage. The coat of arms ister’s country retreat in Buckinghamshire. War- THATCHER, Margaret. The Downing Street was designed by Sir Colin Cole, and depicts an render had a dinner appointment with Margaret Years. London: Harper Collins, 1993 admiral – representing the Royal Navy to com- and Dennis Thatcher on 17 April 1982 at Chequers, memorate the Falkland’s War – and Isaac Newton Octavo (231 × 150 mm). Finely bound in blue crushed which she kept, although later that day she was to morocco, spine lettered in gilt, marbled endpapers, gilt – representing her scientific background – stand- declare war on Argentina over sovereignty of the edges. With Margaret Thatcher’s coat of arms stamped ing aside a crest with a castle representing West- Falkland Islands. Warrender and Margaret walked minster, the two lions of England and a key repre-

84 Spring Miscellany: Peter Harrington 165 senting the office of Prime Minister, all crowned by a baroness’s coronet with Thatcher’s Order of Merit hanging underneath. Across the bottom of the coat of arms is written the motto “Cherish Freedom”, requested by Thatcher: Sir Colin told interviewers that “she chose the motto because it was short and appropriate”, clearly feeling that it epitomised her life’s work. Robert Hardman, “His and Her coats of arms for a bar- onet and his Lady”, Daily Telegraph, 1992. £6,500 [124412] 167 166 blue, blue silk page marker. With the original blue slipcase. from her home in Chester Square. The photograph THATCHER, Margaret. The Downing Street Light rubbing to spine. An excellent copy. was taken on Thatcher’s 70th birthday party at Years. London: Harper Collins, 1993 deluxe edition, signed by the author in Claridge’s in October 1995, with the Queen in at- Octavo. Original beige quarter cloth with blue cloth boards, blue ink on the title page. It was issued concur- tendance. The attendance of the Queen at a politi- spine lettered in gilt on blue label, blue endpapers, top edge rently with the trade edition. cian’s birthday party is a rare occurrence, and was £1,000 [122876] a mark of respect by the monarch to her longest serving Prime Minister, perhaps calculated to dis- pel rumours that the two women had a poor rela- 167 tionship. The outfit Thatcher is wearing, a black (THATCHER, Margaret.) Photograph of cocktail suit by Tomasz Starzewski, was auctioned Margaret Thatcher with the Queen. 1995 at Christie’s for £27,500 in 2015. Colour photograph within original blue desktop frame, £1,500 [123899] image size 23 × 17 cm. A photograph of Margaret Thatcher with the Queen walking together with their spouses follow- 166 ing behind, from Thatcher’s personal belongings

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168 (THATCHER, Margaret.) Concorde notebook. [c .1996] Small octavo (153 × 82 mm). Original black faux leather, blind-stamped with Concorde and British Airways logo, grey endpapers. With a metal Concorde card holder (56 × 94 × 7 mm). Housed in a dark blue quarter morocco solander box by the Chelsea Bindery. Slight crease to rear cover, 2 leaves removed, one running ink stain, else in excellent condition. A complimentary notebook given to passengers on Concorde used by Margaret Thatcher for a series of notes. The total word count is around 1,500 words, predominantly written in blue ink, with some further notes in red. These appear to 168 be prompts for speeches at functions and dinners during her post-prime ministerial life. Thatcher become too pragmatist and that “neither camp Manuscripts by Margaret Thatcher are exceed- took her first supersonic flight on Concorde from stands FOR anything”, to her bemoaning that ingly rare in private hands, with the overwhelming London to Vancouver in July 1986 and became a “alas in the West political leaders cling to the be- majority of her papers have gone to the archive of regular celebrity passenger. lief that govt. can manage the economy directly”. Churchill College, Cambridge. This notebook was As a notebook of jottings, the writings are dis- Other passages give an insight into her sense of retained among her personal possessions. jointed and often brief. Nevertheless, Thatcherite her own legacy. She cites Thomas Carlyle’s dictum A full description of the notebook’s contents is available ideology shines through, demonstrating that her that “history is the biography of great men” – to on request. essential beliefs, and the fervency with which she which she adds, “and women”, clearly with herself held them, went unchanged after her fall from in mind. Overall, the notebook is a fascinating £25,000 [123223] power. document from an accomplished and opinionated Some sections imply that Thatcher was pining for woman, at a time when world politics were shift- the days when she held the reins of power – from ing in the aftermath of the Cold War. her statement that Britain’s political parties have

86 Spring Miscellany: Peter Harrington vice for family members afterwards, and the burial of her ashes. All four Orders of Service were ac- quired from Mark and Sarah Thatcher, the son and daughter-in-law of Margaret Thatcher. Though the Orders of Service for the reception of the body and the main funeral are relatively common, the Orders of Service for the private events are much scarcer, with only family members and close friends in attendance. This is the only known occasion where all four Orders of Service have been brought to market together. £2,500 [123906]

171 THOMPSON, Kay. Eloise. Drawings by Hi- lary Knight. A Book for Precocious Grown Ups. New York: Simon and Schuster, 1955 Quarto. Original white boards, titles and decoration to spine and cover in black and red, pictorial endpapers. 170 With the dust jacket. Pink, red and black illustrations throughout. Wear to spine ends, boards toned, couple of 169 An excellent copy in the dust jacket, very lightly creased at marks to contents. A very good copy in the price-clipped extremities with original price sticker on rear panel. jacket with a little loss to spine ends, couple of chips, (THATCHER, Margaret.) Cartier: Innova- short closed tears, and creasing to extremities. tion through the Twentieth Century. Paris: From Margaret Thatcher’s personal library, inscribed on the front free endpaper: “Mum – first edition, of the first title in the Eloise series. Flammarion, 2007 Happy Christmas and fondest love from us both. £875 [123831] Large quarto. Original black cloth, spine and front cover Mark and Sarah Spain 2007”. Margaret Thatcher lettered in blind, grey endpapers. With the dust jacket. Il- requested this book as a Christmas present when lustrated throughout with photographs of Cartier jewellery. she was staying with her son Mark and his wife Sa- rah in Spain. The book was produced to coincide with The Moscow Kremlin Museums’ exhibit of items designed by the jewellery firm Cartier over the last century, which ran from 25 May to 25 Au- gust 2007. Thatcher owned jewellery produced by the firm, and wore a Cartier brooch the day she an- nounced her resignation in 1990. £1,750 [123747]

170 (THATCHER, Margaret.) Funeral Orders of Service. 2013 Four Orders of Service from Margaret Thatcher’s funeral services, comprising the Orders of Service for the acceptance of her body into the Palace of Westminster prior to the funeral, the main funeral 169 in St. Paul’s Cathedral, the private cremation ser- 171

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172 of a Scottish Terrier. The book features a different spine panels a little sunned and lightly creased at ends, rear panels lightly toned, a few nicks to The Fellowship TICE, Clara. ABC Dogs. London: Wilfred Funk, breed of dog for each letter of the alphabet. It is rare to find this book with its jacket. with minor scratch to front panel. Inc., 1940 Clara Tice (1888–1973) was a notorious New York second edition, the final and definitive Folio. Original blue cloth-back illustrated boards, front bohemian artist who began exhibiting her art from text, with the author’s corrections and revisions board lettered in red, white, blue, green, and black, il- 1910. “Tice was apparently so highly regarded and following the first edition published 1954–55. lustrated endpapers. With the illustrated dust jacket. Il- so instantly recognizable as one of those ‘queer Hammond & Anderson A3e. lustrated throughout by Tice. Extremities slightly worn. An excellent copy in the torn jacket, loss to head of spine artists’ that her role in the first Greenwich Village £975 [124229] and front flap joint, 65 mm loss to bottom of rear flap, Follies was simply to play herself. As ‘Clara,’ she dark spots to panels. stepped out onto the stage at the appointed time, 174 first edition, inscribed by the author in outfitted in one of her typically bizarre bohemian TOLSTOY, Leo. Childhood, Boyhood, and black and red pencil on verso front free endpaper, ensembles, and conducted a ‘quick chalk talk of “To ‘Rusty’ and ‘Doc’ from an admirer Clara Tice, nudes, bees and butterflies’” (Keller, p. 429). Youth. London: Vizetelly & Co., 1888 Feb, 17, 41”, with an original colour pencil drawing Keller, Marie T. “Clara Tice: ‘Queen of Greenwich Vil- Octavo. Original brown cloth, red and blue titles and lage’” in: Women in Dada: Essays on Sex, Gender, and Identity decoration to spine and front cover, publisher’s insignia (Sawelson-Gorse, N, ed.) blind to rear cover, yellow coated endpapers. Wood-en- £2,500 [123417] graved portrait frontispiece of Tolstoy. Discreet contemporary ink ownership inscription. Ends and corners a bit worn, split to cloth down rear joint halfway, with a tear 173 into the spine panel, titles faded from spine, cloth other- TOLKIEN, J. R. R. The Lord of the Rings. wise a little marked, light spotting to edges and within, internally sound, a good copy. The Fellowship of the Ring; The Two Towers; The Return of the King. London: George Allen & first uk edition of the complete trilogy in english; the translation, by I. F. Hapgood, Unwin Ltd, 1966 was originally published at New York by T. Y. 3 volumes, octavo. Original red cloth, spines lettered in Crowell in 1886. The UK edition is very uncom- gilt, top edges red. With the dust jackets. Folding map in mon: Copac and OCLC together locating six cop- red and black at rear of each volume. Spine ends a little ies in British and institutional libraries (BL, NLS, bumped and a few marks to edges, top edges of covers Cambridge, Leeds, Sussex, London Library), and 172 lightly soiled, else an excellent set in the dust jackets, another six abroad. Tolstoy’s autobiographical

88 Spring Miscellany: Peter Harrington 175 175 176 177 trilogy, first published in three volumes as Detstvo ing Idone’s move to Brazil. Idone was a pioneer of serving the first and final blank and the half-title. (1852), Otrochestvo (1854) and Yunost’ (1856), was cookery books, launching with his first work,Glo - Verlaine’s first six collections of verse had “very the work that first brought him literary acclaim. rious Food (1982), a new genre of richly illustrated limited distribution” and were still in stock with The earliest English translation, of Childhood and cookbooks. The majority of the photos for Glorious Lemerre in 1884 (see Philip Stephan, Paul Verlaine Boyhood only, was that of Malwida von Meysenbug Food were shot in David Easton’s New York apart- and the Decadence 1882–90, 1974, p. 56). The poet (London: Bell & Daldy 1862). ment. The Art of Cuisine was originally published in had a partiality for La Bonne Chanson, which was Line, Ettlinger & Gladstone, Bibliography of Russian Litera- French in Switzerland in 1966, under the title, L’Art described by Victor Hugo as “a flower in a shell”. ture in English Translation to 1945, 43. de la cuisine, designed by Joyant, a lifelong friend of £3,000 [122795] £1,350 [124051] Lautrec’s, as a work of art and fitting tribute to the man the poet Paul Leclercq called “a great gour- mand . . . he loved to talk about cooking and knew 177 175 of many rare recipes” (Introduction). Among (WARD, Lynd.) SHELLEY, Mary. Franken- TOULOUSE-LAUTREC, Henry de, & Mau- these recipes are stewed fillets of porpoise, grass- stein. Or The Modern Prometheus. New York: rice Joyant. The Art of Cuisine. Introduction hoppers grilled “in the fashion of Saint John the Harrison Smith and Robert Haas, 1934 by M. G. Dortu and Ph. Huisman. Translated Baptist” and stewed marmots (which must be killed while the marmots are “sunning themselves Octavo. Original white cloth, printed black and white by Margery Weiner. Culinary notes and an- paper label to spine, printed blue and black pictorial belly up in the sun with their noses in the air one notation by Barbara Kafka. London: Michael label to front cover, top edge black. With the original sunrise in September”. Joseph, 1966 glassine dust jacket and slipcase. Illustrated throughout £750 [123921] with wood engravings by Lynd Ward. Front free endpa- Quarto (236 × 173 mm). Near-contemporary red morocco per clipped. An excellent copy in the glassine dust jacket, by Asprey, spine lettered in gilt in compartments, single slightly chipped, spine panel faded, front flap creased. gilt rule to covers, marbled endpapers, edges gilt. Colour 176 Slipcase slightly worn and faded around edges, slightly frontispiece by Edouard Vuillard, tipped-in as issued, il- VERLAINE, Paul. La Bonne Chanson. Paris: split at head. lustrated in colour throughout with Toulouse-Lautrec’s first lynd ward illustrated edition. The sketches and menu illustrations. Very minor rubbing to Alphonse Lemerre, 1870 American artist Lynd Kendall Ward (1905–1985) is bottom edge, an excellent copy. Octavo. Near-contemporary French red half morocco, ti- known for his bold and idiosyncratic illustrations, first edition in english. With a gift inscrip- tles gilt to spine, marbled sides, “H.S.” or “S.H.” monogram gilt to upper inner corner of front board, marbled which in this edition of Frankenstein aptly comple- tion to the half-title from renowned interior de- ment the daring and visionary themes of the book. signer David Easton to the chef and culinary au- edges, top edge gilt, others untrimmed. Ends and corners lightly worn, extremities otherwise slightly rubbed, The novel was first published in 1818 and revised by thor Christopher Idone, “Dear Christopher, not internally clean, an excellent copy. Shelley in 1831, with the 1831 text used in this edi- that you need another cookbook – but perhaps tion. Very scarce in the original glassine dust jacket. another pretty cook book. Merry Christmas and a first edition, one of 590 copies printed at the Happy New Year, 1993. James, Mapp, Lucia, Him- author’s own expense, of his third collection of £650 [123276] self, with love, December 23, 1992”, with a loosely poetry, very scarce, and here bound in an attrac- inserted typed letter, signed by Easton, discuss- tive early French binding, barely trimmed and pre-

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shall to collaborate on writing the first definitive biography of Washington. A year after Washington’s death, Tobias Lear, Washington’s longtime private secretary, sent the first of five trunks of Washing- ton’s personal and public papers, which Marshall and Bushrod Washington began converting into a monumental five-volume Life of George Washington. It was published from 1804 to 1807 and, until the Civil War, remained the definitive history of eighteenth-century America, including the history of the American Revolution, the evolution of American government and the Constitution, and the life of Washington as a military and political leader” (Har- 178 low Giles Unger, John Marshall: The Chief Justice Who Saved The Nation, 2014). A particularly appealing set The first definitive biography of Washington morocco twin labels, speckled edges. 3 frontispieces (por- of the uncommon quarto issue, elegantly bound trait of Washington by Fittler after Stuart, view of Mount and with all maps and plates present. 178 Vernon by Milton after George Isham Parkyns, view of (WASHINGTON, George.) MARSHALL, Washington DC in 1800 by Heath after Parkyns), 12 folding Howes M317 (“best edition”); Sabin 44788 (“this indis- pensable work”). John. The Life of George Washington, Com- maps, one vignette at end of vol. III by Cooke after Parkyns (“The Elm at Kensington, under which Mr. Penn made £7,250 [122506] mander in Chief of the American Forces, dur- the first Treaty with the Indians”). Near-contemporary ing the War which established the Independ- armorial bookplates of Richard Dobson. Offsetting from ence of his Country, and First President of the frontispieces, scattered foxing to maps, general toning United States. Compiled under the inspec- of letterpress. A very attractive, wide-margined set, with the publisher’s advertisements at the end of vols. I and V, tion of the Honourable Bushrod Washington, notice in vol. II (“It is supposed that the Manuscript of an- from Original Papers bequeathed to him by other Volume of this Work will be received from America his deceased Relative. To which is prefixed in the course of the Autumn” of 1804). an introduction, containing a compendious first english and the best edition overview of the colonies planted by the English all, in the preferred quarto format, origi- on the continent of North America. London: nally published in Philadelphia in the same years (5 Printed for Richard Phillips, 1804–7 volumes, octavo). “Apart from freeing his slaves after Martha Washington’s death, Washington’s long 5 volumes, quarto (265 × 205 mm). Contemporary tree calf and detailed will left his public and private papers professionally refurbished (some labels, headbands and to his favourite nephew, Associate Justice Bushrod corners restored), smooth spines gilt banded, decorated Washington. Bushrod, in turn, convinced John Mar- with wavy-line roll tool and floriate centre tools, green 178

90 Spring Miscellany: Peter Harrington The brightest of the Bright Young Things – “he dazzled me rather 25 years ago” 179 WAUGH, Evelyn. Autograph letter to Nancy Mitford on Brian Howard, a model for Antho- ny Blanche in Brideshead Revisited. Combe Florey House: 24 January 1958 Quarto, 1 page. Annotated in pencil, marked up for publication at head and foot, and inscribed at head “Insert A” and “NM 22”. Two short closed tears, light creases along folds. In excellent condition. A quintessential letter from Waugh, perfectly cap- turing the tone of his epistolary relationship with Nancy Mitford. He opens with the news of the death of Brian Howard nine days earlier: “Darling Nancy, have you seen that old Brian Howard has kicked the bucket? You will mourn him more than I (or, perhaps, than me).” Howard, a key figure among London’s Bright Young Things, was described by Waugh as “an aesthetic bugger who sometimes turns up in my novels under various names” (quoted in Rolle, vol. III.). He was the model for several of Waugh’s characters, including Anthony Blanche in Brideshead Revisited. Here, Waugh notes that Howard “dazzled me rather 25 years ago but though I hadn’t 179 set eyes on him for 15 years or more, I went rather in terror of him in late years. I was always afraid that the assistance of John Banting, but Waugh notes sengers who may not have been so foresighted”). he would suddenly rush at me in some public place here that it was in fact Tom Mitford who “sat in the He concludes with the observation that the French and hit me and there would be painful publicity wheel-chair” impersonating the fictional painter. clergy, of whom Mitford so approves, have taken ‘Middle aged novelist assaulted in West End hotel’.” Howard was one of Nancy Mitford’s close friends, to murdering their mistresses – a reference to Elsewhere, Waugh noted that in later life Howard and she later paid tribute to him, writing affec- “l’affaire du curé d’Uruffe”, the trial of a French had become “very dangerous – constantly attack- tionately: “It would be too dreadful if that wild, parish priest who had murdered and disembow- ing people with his fists in public places – so I kept original, funny, person were to be forgotten . . . I eled his pregnant lover, and which opened on the clear of him. He was consumptive but the immedi- remember Brian and Sam in Guerlain’s shop just day Waugh wrote this letter. ate cause of his death was a broken heart” (Waugh after the war when scent was £100 a drop. Sam The letter is marked up in pencil for publication to Earl Baldwin, Letters, p. 506). picked up the bottle with which the vendeuse in Christopher Sykes’s 1975 biography of Waugh, Howard (1905–1958) had committed suicide on 15 doled out little samples and began to spray him- though by the time Charlotte Mosley was compil- January, four days after his lover, Sam Langford, self, to the visible horror of everybody in the shop. ing The Letters Of Nancy Mitford & Evelyn Waugh (1996), was gassed in his bath by a faulty water heater. Brian said, ‘Now, my dear, you’re not putting out a “the original of the letter [had] disappeared” and Waugh proceeds to correct David Pryce-Jones’s fire, you know!’” (Thompson, pp. 296–7). she quoted directly from Sykes instead. obituary of Howard (“all he could say was that poor The second part of Waugh’s letter concerns his Amory, The Letters of Evelyn Waugh (1980); Lancaster, Brian showed great promise in impersonating Bru- trip to South Rhodesia to research Daphne Acton’s Brian Howard: Portrait of a Failure (2005); Rolle, Queer Places no Hat”) – a reference to a stunt set up by Howard collection of Knox papers. Having insured his life (2016); Thompson, Life in a Cold Climate. Nancy Mitford: The in 1929: a London art exhibition by an apparently at £50,000 for a “tenner”, he remarks that, as far Biography (2015). unknown German painter “Bruno Hat”, hosted by as his children’s education is concerned, it would £7,500 [123624] Bryan Guinness and his then-wife, Diana Mitford. be better if the aeroplane blows up (“but I suppose Howard created paintings for the exhibition with I might not pray for it on account of the other pas-

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180 first edition, presentation copy, inscribed raised bands, floral centre tool to spines gilt, red cloth boards, marbled endpapers, top edges gilt, others un- WHITE, E. B. The Trumpet of the Swan. Pic- by the author on the front free endpaper, “For Eric Lee, ex journalist, from E. B. White, ex-journalist”. cut. Each volume has a monochrome or colour frontis- tures by Edward Frascino. New York: Harper & White had an extensive journalistic career, stating piece with a captioned tissue printed in brown, further Row, Publishers, 1970 monochrome illustrations throughout. Bookplate to that, “I was a journalist first, an author second” front pastedowns, internally clean, excellent condition. Octavo. Original blue cloth, titles to spine in silver and (Aronson, p. 76). He published his first article in gilt, author’s facsimile signature in gilt to front cover, the New Yorker in 1925, joining the staff in 1927, and blue endpapers. With the dust jacket. Illustrated double continued to contribute for almost six decades, his page title page, black and white illustrations in the text. output enough to total “thirty-six pieces a year; or Spine lightly faded, very minor rubbing to extremities, three per month” (Aronson, p. 72). The Trumpet of faint foxing to fore edge; an excellent copy in the jacket the Swan is White’s third novel for children. John with Doubleday bookseller’s sticker to rear cover and slight creasing to spine ends. Updike wrote of it in his review that “we, and our children, are lucky to have this book” (New York Times, 28 June 1970). Aronson, E. B. White, 2005. £5,000 [123915]

181 WILDE, Oscar. The Writings. London: The Ed- inburgh Society, [1911] 14 volumes, octavo (144 × 220 mm). Contemporary red straight-grain morocco, titles to spines gilt between 180 182

92 Spring Miscellany: Peter Harrington 181 183 184 the cherwell edition, number 149 of 250 cop- influential for its interviews with prominent gay for, and is in a variant binding with printed rather ies intended for sale in America. A particularly writers of the era, including Tennessee Williams. than gilt lettering on the spine, not noted by McIl- handsome set and rare in a contemporary binding. For Leyland, see also items 20 and 66–69. vaine. £5,750 [122422] £475 [122408] McIlvaine A3(a). £2,500 [123377] 182 183 WILLIAMS, Tennessee. Memoirs. New York: 184 WODEHOUSE, P. G. Tales of St. Austin’s. Doubleday & Company, 1975 WOOLF, Virginia. The Years. London: Leonard London: A & C Black, 1903 Octavo. Original green cloth, spine lettered in gilt, gilt and Virginia Woolf at The Hogarth Press, 1937 Octavo. Octavo. Original red cloth, title to spine and facsimile signature to front cover. In the green slipcase Octavo. Original green cloth, titles to spine in gilt. With as issued, with printed label on front. With 144 black and front cover pale brown, vignette stamped to spine and front cover in yellow, black and grey. With 12 black and the dust jacket designed by Vanessa Bell. Newspaper cut- white photographs. Spine very slightly faded. An excel- ting about the opening night of Who’s Afraid of Virginia lent copy. white plates. Bookseller’s ticket to front free endpaper. Spine slightly faded, otherwise bright ends frayed, hing- Woolf (1962) laid-in. Spine a little darkened, extremities signed limited edition, number 97 of 400 es cracked but holding. A very good copy. lightly rubbed. A very good copy in the lightly foxed dust copies signed by the author. The trade edition jacket with toned spine, a few nicks, thin chip to foot of first edition, first issue, inscribed by the front flap joint, overall presenting quite nicely. was published the same year. Though unmarked author to his biographer, David Jasen, on first edition of the final novel to be published as such, from the library of Winston Leyland (b. the front free endpaper, “To David from Plum in Woolf ’s lifetime. 1940), a leading figure in American LGBT publish- P. G. Wodehouse May 26 – 1965”. Inscribed cop- ing who won the Stonewall Book Award in 1980. ies of this, the author’s third published novel, are Kirkpatrick A22a; Woolmer 423. He established the Gay Sunshine Press in 1975, and extremely scarce. It has the first issue point of un- £1,875 [122605] his Gay Sunshine Journal (1970–82) was particularly closed quotation marks on the title page, as called

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185 pencil ownership inscription in volume one of a WORDSWORTH, William. Poems, in two Jeffrey D. Goddard, dated 1843, and an interesting observation contrasting Wordsworth and By- volumes. London: for Longman, Hurst, Rees and ron facing the title page. This copy derives more Orme, 1807 recently from the collection of Professor Saburo 2 volumes, duodecimo (158 × 95 mm). Contemporary Oka of Aoyaina Gakuin University, Tokyo, himself 186 calf, spine gilt in compartments with two brownish a respected Wordsworth scholar who translated green title labels to each, foliate gilt roll bordering sides, The Prelude into Japanese. marbled endpapers and edges. Bound without half-ti- first edition of this foundational text of Ashley VIII, pp. 12–14; Cornell Wordsworth Collection tles, but with the final erratum leaf in vol. I. D11–12 in american libertarianism, “the cornerstone 19; Wise 8. vol. I and B2 in vol. II are cancels are usual. Bookseller’s of a new theory of freedom of the press” (Cornell, tickets to front pastedowns. Cracking to front joints, and £4,250 [122639] p. 254), “the book that Jefferson did not write but rear joints just starting at the ends, but all holding fine, should have” (Levy, p. 283). A New York lawyer, covers otherwise lightly rubbed at extremities and with 186 publisher, and orator prominent in Tammany poli- a few other minor marks and scratches, internally very tics, Tunis Wortman (d. 1822) was one of the lead- fresh but for some very faint occasional spotting, a very WORTMAN, Tunis. A Treatise Concerning ing democratic theoreticians of his time. With this good set indeed. Political Enquiry, and the Liberty of the Press. classic treatise, his most substantial work, Wort- first edition, first state, uncommon thus New York: printed by George Forman for the author, man contributed significantly to the emergence of unrestored in a contemporary binding, 1800 a libertarian theory of the first amendment follow- one of only 500 copies printed. This publication is ing the Sedition Act of 1798, which criminalised one of the finest single-author poetry collections Octavo (208 × 127 mm). Contemporary mottled sheep, rebacked preserving part of the original spine, spine false statements that were critical of the federal in English, containing most of Wordsworth’s best- ruled gilt, red morocco spine label. Housed in a cus- government. Published with the help of Abraham remembered lyrics: poems such as “Daffodils” (“I tom made black quarter morocco slipcase and chemise. Alfonse Albert Gallatin (the Swiss-American poli- wandered lonely as a cloud”), “The world is too Contemporary ownership signature of Henry F. Yates tician who became Secretary of the Treasury under much with us”, “Composed upon Westminster to front pastedown, head of Chapter V (p. 61), and final Jefferson and Madison), who sought subscriptions Bridge”, and his greatest ode “Intimations of Im- page; early inscription of the Canajoharie Library Asso- for it among Republican members of Congress, mortality” (here entitled “There was a time”). ciation, with shelfmark, in ink to front free endpaper. Wortman’s Treatise has become recognised as con- Extremities a little worn, hinges strengthened and front This set has the first issue points, with a full stop free endpaper reinserted, contents with a few creases taining one of the most sophisticated, radical, and after “Sonnets”, p. 103, vol. I, and “fnuction” un- and occasional staining and offsetting, otherwise a very closely reasoned analyses of government and free corrected on p. 98 of vol. II. It also has an early good copy. speech of its time.

94 Spring Miscellany: Peter Harrington 187 188

After its publication, Wortman worked as a New collected edition, with the armorial bookplate of pages, from a total edition of 1,060 sets printed at York City clerk from 1801 to 1807; it is likely that poet Sydney Royse Lysaght (1856–1941) and his the Shakespeare Head Press. The signature to the the contemporary ownership signature of Henry contemporary ink ownership inscription dated half-title of volume eight reads “W. B. Yeats, Nov F. Yates is that of Henry Frey Yates, a fellow clerk October 1895 to the half-title. Lysaght, though he 16 1916” – this volume also bears the illustrated appointed in 1802 for Montgomery County. The lived at Banwell Castle in Somerset, was of Irish bookplate of Lady Violet Leconfield (1892–1952), Frey and Yates families were descended from ancestry. He published his first book of poems, who married Charles Henry, 3rd Baron Leconfield some of the earliest settlers in the county, where The Modern Ideal, in 1886, the same year as Yeats’s (1872–1952) in 1911. They lived at Petworth House the town and library of Canojaharie (in which this Mosada. (shown on her illustrated bookplate), one of Eng- copy once resided) are also located. Wade 16. land’s greatest aristocratic houses. She was friends with numerous authors including Alice Meynell, Evans 39150; Sabin 105514; Shipton & Mooney II, 39150. £2,500 [122811] See Saul Cornell, Other Founders: Anti-Federalism and the and even co-wrote a book of poems, A Petworth Dissenting Tradition in America, 1788–1828 (University of Posie (1918) with Rudyard Kipling. Yeats may have North Carolina Press, 1999); Leonard Levy, Emergence of 188 been introduced to Lady Leconfield through Wil- a Free Press (Oxford University Press, 1985); Liberty & the YEATS, W. B. The Collected Works in Verse frid Scawen Blunt, who was born at Petworth, or American Revolution, Selections from the Collection of Sid Lapi- through Leconfield’s lifelong friend “Ettie” Lady dus (Princeton University Press, 2009), p. 26. and Prose. London: Chapman & Hall Limited, im- printed at the Shakespeare Head Press, 1908 Besborough, who had been attracting Yeats as a £13,500 [124169] party guest since 1911. 8 volumes, octavo. Publisher’s vellum-backed boards, As a production, this collected edition is regarded 187 grey cloth sides, gilt titles to spines and sides, top edges gilt, others untrimmed. With 4 portrait frontispieces in as a marvellous piece of publishing (Yeats himself YEATS, W. B. Poems. London: T. Fisher Unwin, the set. Volumes 1–7 with later bookplates. Spines gen- was proud of it, remarking, “I think nobody of 1895 erally clean, a few boards slightly bowed, light rubbing our time has had so fine an edition – I believe it to fore-corners, some marks or minor abrasion to cloth will greatly strengthen my position”), collecting, Octavo. Original buff cloth, titles and elaborate designs sides, endpapers a little toned or spotted but otherwise with the poet’s own selection and arrangement, a by H. Granville Fell gilt to spine and boards, edges un- internally fresh and entirely sound, a very good set. substantially complete corpus (poems, plays and trimmed. Illustrated title page with tissue-guard. Spine first collected edition of yeats’s work, prose) of his first canon of work, before the find- tanned and a little rolled, ends and corners rubbed, a few marks to covers, superficial cracks to hinges but both signed by yeats on the half-title of the last vol- ing of his later voice. holding, occasional light spotting, still a very good copy. ume and very scarce thus, one of the 250 first is- Wade A75–82. sue sets in the deluxe quarter vellum binding, with first edition, one of 750 copies printed, UK is- £4,000 [124474] the publisher’s imprint on the spines and title sue, an interesting association copy of Yeats’s first

All items are fully described and photographed at peterharrington.co.uk 95 “The ring I always wear” 189 YEATS, W. B. Autograph letter signed to Wil- liam Force Stead. Riversdale, Willbrook, Rath- farnham, Dublin: 26 September [1934] Single leaf with Riversdale letterhead, autograph letter signed to recto only. Framed (370 × 320 mm). Usual folds, excellent condition. a fascinating letter written by yeats to his friend william force stead (1884–1967), expounding the symbolic meanings in the ring that yeats had had made for him by edmund dulac. Stead was an American-born poet, literary scholar, and Anglican clergyman, who studied at Oxford and then became chaplain and fellow at Worcester College from 1926 to 1933, when he was forced to resign due to his conver- sion to Catholicism. He was a friend of C. S. Lewis, Edmund Blunden, and of T. S. Eliot whom he bap- tised into the Anglican faith in 1927. He was later responsible for discovering the manuscript of the insane Christian poet Christopher Smart’s Jubilate Agno, published in 1939 as Rejoice in the Lamb: A Song from Bedlam, and thus for bringing the antics of Smart’s cat Jeoffry to the attention of the world. When Yeats was living in Oxford in 1920, and deeply involved in the occult investigations that would culminate in A Vision (1925), Stead introduced himself by sending him a copy of his latest book of poems. He was invited to come and visit, and remembering their first meeting in a later talk entitled “Oxford Poets”, in which he mentioned his anticipation that “since boyhood I had thought of him as the Magician Merlin harping in the For- est of Brocéliande”. He was likely not disappoint- ed, discovering Yeats in the company of his wife, a Hindu priest with “a long flowing orange coloured robe”, and the Jesuit Father Martindale, “in the midst of a discourse on spiritualism and its evi- dences of survival”. Yeats explained to Stead that he had not read his poems but been compelled 189 to invite him because on touching Stead’s book he had been visited by the odour of violets. Yeats, by his spiritual instructors and began to cultivate a aginative scholar with considerable critical ability ever sensitive to spiritual missives in the form of significant friendship and correspondence. Yeats and knowledge of English literature. His own writ- “sweet smells” (A Vision), and particularly that of later penned a reference to help Stead continue ings show that he is sensitive to rhythm and style. violets which he associated with sanctity, thus felt his academic career in America: “I have known He is a charming personality.” He also did Stead that Stead had been favourably flagged up for him Mr W. Force Stead since 1920. I think him an im- the considerable courtesy of including two of his

96 Spring Miscellany: Peter Harrington poems in the Oxford Book of Modern Verse that he controversially edited in 1936. Stead, for his part, concluded his “Oxford Poets” talk with the following ringing encomium, describing Yeats as: “the greatest poet and also the most remarkable man I have ever known . . . No words can revive the flash and fire of his mind, or his capacity for fill- ing a room with his electric personality, lifting us out of ourselves, and carrying us away into regions of cloud-capped towers and gorgeous palaces and airy tongues that syllable men’s names. Whenever I walked home after an evening with him, I heard the stars singing above me, and the memory of him remains an everlasting example of the truth that a man of genius is far greater than anything his genius creates.” In the present letter, which is apparently the last known from Yeats to Stead, the aged poet explains the meaning of the symbols on the ring designed for him by Edmund Dulac: “The Butterfly is the main symbol in my ring – the ring I always wear – the other symbol is the hawk. The hawk is the straight road of logic, the butterfly the crooked road of intuition – the hawk pounces, the butterfly flutters. I do not know any book upon the subject. I got like you a vision if I remember rightly.” Stead had clearly in his preceding letter mentioned some spiritualist experiment involving a candle, of the type Yeats and Stead are known to have explored together, as Yeats goes on: “I suggest that your 190 candle is knowledge, conscious effort, thought; and the butterfly the wisdom out of ‘the uncon- Stead’s papers are held at the Beinecke Library, first and signed limited variorum edi- sciousness’ that follows. A Japanese describes the Yale, though this letter appears to have escaped tion, number 335 of 375 copies signed by the attainment of Nirvana in these words: ‘something that acquisition. author, published by Macmillan as a Definitive delightful has happened to the young man but he £5,500 [123152] Edition of his work, as stated in the prospectus, can only tell it to his sweetheart’”. Yeats is here re- which is not found with this copy. The edition was ferring to something he read in D. T. Suzuki’s Es- personally overseen by Yeats’s widow, George, the 190 says in Zen Buddhism (First Series). publisher Harold Macmillan, and the publisher’s The letter is highly characteristic of the spiritually YEATS, W. B. The Poems. London: Macmillan reader Thomas Mark. According to the prospec- attuned relationship shared by the two poets and & Co. Ltd, 1949 tus, “For some time before his death [in 1939], W. B. Yeats was engaged in revising the text of this men of faith (though of different sorts), and these 2 volumes, tall octavo. Original green cloth over bevelled edition of his poems, of which he had corrected utterances on the hawk, the candle, and the but- boards, gilt lettered spines, author’s monogram in gilt terfly are certainly of general interest to any reader on front covers, top edges gilt. With the original slip- the proofs, and for which he had signed the spe- of the poetry of Yeats, which relied so strongly on case. Photogravure portrait frontispieces of Yeats by Em- cial page to appear at the beginning of Volume I this sort of symbology especially in his mature ery Walker after John Singer Sargent and Augustus John [the limitation sheet]”. phase. More specifically the notes on the butterfly with tissue guards. Bookplates to front free endpapers. Wade 209 & 210. Spine of vol. 2 lightly faded, tips ever so slightly rubbed, may give a partial clue to the meaning of Yeats’s occasional toning throughout, a few pages unopened. £3,750 [122776] 1934 publication Wheels & Butterflies. An excellent, bright copy.

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