Masterpiece 2019

MASTERPIECE 2019

Peter Harrington london 1 Peter Harrington london

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preview day Wednesday 26 June 2019 11:00−21:00

public fair days 27 June 11:00−21:00 28–30 June 11:00–19:00 1–3 July 11:00–21:00

masterpiece 2019 | london South Grounds, The Royal Hospital Chelsea, London SW3 4LW

mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 usa 011 44 20 7591 0220 www.peterharrington.co.uk BACON, Francis. After Triptych, 1986– DARWIN, Charles. The Different GALILEI, Galileo. Mathematical 1987. Barcelona, 1987. Three etchings Forms of Flowers on Plants of the Same Collections and Translations, transl. and aquatints in colours, one of 15 Species. London, 1877. First edition, Thomas Salusbury. London, 1661. First artist proofs aside from the edition of presentation copy inscribed in edition in English of Galileo’s Dialogo, 99 signed by the artist. Item 55 Darwin’s own hand, original green with other works. Item 4 cloth. Item 24 BACON, Francis. Three Studies of the Male GREENE, Graham. Brighton Rock. Back. Paris, 1987. Three lithographs, The Declaration of Independence. London, 1938. First London edition, edition of 99 signed by the artist. Washington, DC, 1848. Second original cloth with dust jacket, notably Item 54 impression of the Peter Force facsimile, rare thus. Item 41 made from Stone’s copper plate BECKETT, Samuel. En attendant Godot. GUTENBERG, Johann: Bible; Latin. created by direct transmission from the Paris, 1952. First edition of Waiting for Mainz, 1455. A single leaf from the first original. Item 17 Godot in the original French language, complete book printed with movable one of 35 copies only on superior paper, DICKENS, Charles. Pictures from type. Item 1 original printed wrappers. Item 44 Italy. London, 1846. First edition, HAMMETT, Dashiell. The Dain Curse. presentation copy, inscribed by BORGES, Jorge Luis. Inquisiciones. New York, 1929. First edition of a Dickens to his old friend Thomas Buenos Aires, 1925. First edition of his classic of hardboiled detective fiction, Beard. Item 16 first prose work, presentation copy original cloth with dust jacket. Item 39 inscribed to his fellow author and muse FAULKNER, William. Light in HEMINGWAY, Ernest. The Sun Also Norah Lange. Item 37 August. New York, 1932. First edition, Rises. New York, 1926. First edition, presentation copy to a close childhood BOSWELL, James. The Life of Samuel original cloth with first issue dust friend, original cloth with dust jacket Johnson. London, 1791. First edition jacket. Item 38 and glassine wrapper. Item 40 of the most famous biography in any HOMER. Works, in Greek. Florence, language, uncut in original boards. FITZGERALD, F. Scott. The Great 1488. First edition in the original Greek Item 11 Gatsby. New York, 1925. First edition, of the foundational work of literature of presentation copy to “the original CARROLL, Lewis. Alice’s Adventures the western world. Item 2 Gatsby”, Harold Goldman, a fellow in Wonderland. London, 1866. First Hollywood screenwriter. Item 36 HORSBURGH, James. The India published edition, presentation copy Directory. London, 1841–3. Fifth edition to one of the author’s child-friends, FLEMING, Ian. Collection of his of the standard manual for the eastern together with three autograph letters. works, including all the James Bond navigation, a superb copy in an Item 21 books, his non-fiction and children’s American naval officer’s wooden book book, books from his library, and COOK, James. Complete set of the box, with original manuscript coastal related material. 1918–65. Together 81 three voyages. London, 1773–85. First– profiles inserted. Item 13 books and manuscripts. Item 48 second–second editions. Item 9 HUGO, Victor. Les Misérables. Brussels, FREUD, Sigmund. Die Traumdeutung DARWIN, Charles. “On the 1862. True first edition, 10 volumes in (The Interpretation of Dreams). Leipzig movements and habits of climbing original printed wrappers. Item 19 & Vienna, 1900. First edition, one of plants”. London, 1865. First edition, 600 copies, original printed wrappers. JOYCE, James. Chamber Music. London, presentation copy inscribed in Item 31 1907. First edition, inscribed by the Darwin’s own hand, Linnean Society author to a young Jewish lady, probably offprint, bound with 4 other offprints. one of his pupils, in Trieste, original Item 20 cloth. Item 32 JOYCE, James. Ulysses. Paris: MAO (Tse-Tung or Zedung.) Selected SCHIELE, Egon. Portrait of Arthur Shakespeare and Company, 1922. First Works. May 1944. First edition of the Roessler. Vienna, 1914. Drypoint etching, edition, one of 100 copies on Dutch first collection of Mao’s writings, 5 signed and dated by the artist. Item 50 paper signed by the author, original volumes, original wrappers, printed SHAKESPEARE, William. Comedies, wrappers. Item 35 behind Japanese lines. Item 42 Histories and Tragedies. London, 1685. KANT, Immanuel. Critik der reinen MARX, Karl. Unpublished autograph Fourth folio edition of Shakespeare’s Vernunft. Riga, 1781. First edition. letter signed to Lucien-Léopold plays, a superb copy. Item 5 Item 10 Jottrand. Brussels: 2 October 1847. STOKER, Bram. Dracula. Westminster, Item 18 KELMSCOTT PRESS. The History of 1897. First edition, presentation copy, Reynard the Foxe, transl. William Caxton. MILNE, A. A; SHEPARD, E. H. original cloth. Item 28 Hammersmith, 1892. First Kelmscott “Tiggers don’t like honey.” 1961. THATCHER, Margaret. The prime edition, one of ten copies on vellum, in Original drawing of an illustration from minister’s own copy of the official a striking James Brockman binding for The House at Pooh Corner. Item 51 photograph of her first cabinet, May John Paul Getty. Item 27 MONTESQUIEU, Charles Louis de 1979, signed by her and all the cabinet KENNEDY, John F. Inaugural Address. Secondat, Baron de. De l’Esprit des loix. members; from her personal estate. Washington, DC, 1961. First edition, Geneva, 1748. Item 8 Item 53 presentation copy to a member of the NEWTON, Isaac. Opticks. London, THOMSON, John. Illustrations of China White House staff, original cloth. “Ask 1704. First edition of Newton’s major and its People. London, 1873–4. First not what your country can do for you— work on his theories of light and edition, deluxe issue, containing the ask what you can do for your country”. colour. Item 6 most outstanding photographic images Item 46 of China in the 19th century. Item 22 NIGHTINGALE, Florence. Signed KEROUAC, Jack. On the Road. New cabinet photograph. London, [c.1900]. TOLSTOY, Leo. Anna Karenina. Moscow, York, 1957. First edition, presentation Item 30 1878. First edition, 3 volumes in copy inscribed by Kerouac with a full- original cloth. Item 25 page note in red crayon and pencil. ORWELL, George. Archive of Item 45 correspondence relating to Animal Farm, TWAIN, Mark. Adventures of Huckleberry 19 March 1944–15 February 1950. One Finn. New York, 1885. First American LEIBNIZ, Gottfried Wilhelm von. of the great publishing mistakes of edition, presentation copy to his Lehr-Sätze über die Monadologie. Frankfurt the century, from the files of his first lecture-tour manager, one of 500 copies & Leipzig, 1720. First printing of the publisher, Victor Gollancz. Item 43 in half morocco for presentation. Monadology, in a contemporary Item 26 volume with two related works. Item 7 PAVLOV, Pyotr Petrovich. Album of the municipal buildings of Moscow. VERNAY, Arthur Stannard. Collection LOVELACE, Ada, transl. Luigi Federico Moscow, 1912–13. Scarce photographic of 16 photographic albums, with Menabrea. Sketch of the Analytical Engine record of pre-revolutionary Moscow, his typescript diary, 1920s–30s. A invented by Charles Babbage. London, 240 photogravures, original leather remarkable assemblage of over 3,000 1843. First separate edition of the most binding. Item 33 photographs of Africa, the Middle East, important early paper in the history India, and East Asia. Item 34 of computing, from the library of Ada PLATH, Sylvia. Uncorrected proof copy Lovelace’s mathematics tutor. Item 15 of The Bell Jar, with authorial revisions. VESALIUS, Andreas. De humani corporis London, 1962. Original wrappers. fabrica. Basel, 1543. First edition of the MALTHUS, Thomas Robert. An Essay Item 47 founding text of modern anatomy. on the Principle of Population. London, Item 3 1798. First edition. Item 12 ROBERTS, David. The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia. London, WARHOL, Andy. Marilyn Monroe. New MANET, Edouard, illus. Edgar Allan 1842–9. First edition, 6 volumes bound York, 1967. Screenprint, one of 250 Poe. Le Corbeau (The Raven), transl. in 4, original half morocco. Item 14 signed by the artist. Item 52 Stéphane Mallarmé. Paris, 1875. Signed limited edition, the first ROWLING, J. K. Harry Potter and the WILDE, Oscar. The Importance of Being modern French livre d’artiste, original Goblet of Fire. London, 2000. First Earnest. London, 1899. First edition, wrappers. Item 23 edition, dedication copy, inscribed in one of 100 large paper copies signed by gratitude to her friendly neighbour Wilde, in original cloth. Item 29 Susan Sladden, original cloth with dust jacket. Item 49

2 Peter Harrington london

On the Stands

3 A leaf of the Gutenberg Bible, the product of one of the most revolutionary technological changes in human history 1 (GUTENBERG, Johann.) BIBLE; Latin. Single leaf from the New Testament, Acts 21:40 to 23:24. [Mainz: Printer of the 42-line Bible (Johann Gutenberg) and Johannes Fust, about 1455] a single paper leaf from the gutenberg bible, the first complete contents and binding book printed with movable type. This leaf contains one of the most sig- Single leaf (361 × 252 mm), housed in a nificant passages of the New Testament, the end of Chapter 21 through double-glass frame. Together with original portfolio, royal folio (408 × 285 mm), to the middle of Chapter 23 of Acts of the Apostles, including the whole of early 20th-century dark blue morocco by Chapter 22, which details Paul’s own account of his conversion on the road Stikeman and Co, spine and front cover to Damascus, a crucial moment in Christianity. Acts covers the conversion lettered in gilt, covers panelled in blind, in three places; Acts 9 in a third-person narrative, the present Acts 22 in first grey endpapers. person, and finally Acts 26, in Paul’s address to Agrippa. condition Leaf: single tiny wormhole mildly affecting £97,500 [127602] one letter, minor scratch along centre breaking through slightly, a few trivial soiling marks; overall in excellent condition. Portfolio: spine lightly rubbed, endpapers a little chipped, lightly browned in places; in very good condition. provenance Maria Elisabeth Augusta von Sulzbach (1721–1794), wife of Carl Theodore, Electoral Prince of the Palatinate, subsequently Electoral Prince of Bavaria; Mannheim, Hofbibliothek; Munich, Royal Library (their duplicate sale, 1832, sold for 350 guilders); Robert Curzon, Baron Zouche (1810–1873, and by descent until sold); Sotheby’s 9 November 1920, lot 70, to Joseph Sabin; sold by him to Gabriel Wells, who broke up the copy, dispersing it in single leaves and in larger fragments. This leaf was bought by John Lewis and Elizabeth B. Ketterlinus (1852–1932 and 1856–1930), owners of Ketterlinus Lithographic Manufacturing Company in Philadelphia, with their bookplate to front pastedown of portfolio. literature BMC I, 17 (IC.55); BSB-Ink. B–408; Chalmers, Disbound and Dispersed 18; CIBN B–361; DeRicci/Mayence 53 (=78); Goff B–526; GW 4201; Hain *3031; Needham P18; Printing and the Mind of Man 1.

4 5 First printing in Greek of two of the earliest, most important and influential works of European literature, the Iliad and the Odyssey 2 HOMER. [In Greek:] Works. Florence: Demetrius Damilas for Bernardus and Nerius Nerli, 1488 editio princeps of the writings attributed to Homer, including the Iliad contents and binding and the Odyssey. “The Iliad and the Odyssey are the first perfect poetry of the 2 volumes, folio (312 × 216 mm). Late 18th- western world. They spring fully grown, their predecessors lost, and the century red long-grain morocco, spine lettered and tooled in gilt, double raised magic has persisted ever since. The legends of the siege of Troy and the bands; an English binding, decorated in the return of Odysseus are the common heritage of all . . . The form, the action style of Roger Payne. and the words have had incalculable influence on the form, action and condition words of poetry ever since; the composition of the Aeneid, the Divine Come- 16th-century annotations throughout, dy, Paradise Lost, and many others, has been determined by the Iliad and the mainly in Latin and Greek, perhaps some in Italian. Binder’s mistake resulting in Odyssey. Their popularity never diminishes” (PMM). preliminary leaves for the Iliad bound at the The editor Demetrius Chalcondylas was professor of Greek at the Flor- start of the Odyssey; blanks E10 and ETET6 entine Studio from 1475 until 1491. The type is that of Demetrius Damilas, not preserved. A beautiful copy. a scribe who had previously been active in the printing of Greek books in provenance Milan since 1476. It was based on the handwriting of Michael Apostolis, This copy once belonged to George which was simpler and more distinct than Damilas’s own elegant but elab- Shuckburgh (1751–1804), a well-known English bibliophile who owned a Gutenberg orate hand. This monumental printing is the first large-scale printing in Bible, the first to reach the United States. Greek, and also probably the first Greek book printed in Florence. (The The copy was then offered, through rare Erotemata by Emanuel Chrysoloras, which survives in only two copies, Goodspeed, to William Wyatt Barber, Jr, was printed in Florence either in 1475 or c.1488–94.) The text of Homer was principal of St Mark School. Finally, it appeared in Christie’s New York auction of 7 not printed again in Greek until Aldus’s octavo edition of 1504, which was December 2012 (#86). based directly on Chalcondylas’s text. literature The Batrachomyomachia (“Battle of the Frogs and Mice”), a pseudo-Ho- HCR 8772; BMC VI 678 (IB 27657a); Goff meric text, which is also included here with the Iliad, Odyssey and Homeric H300; Printing and the Mind of Man 31. Hymns, had been earlier printed in an unsigned Greek-Latin edition printed perhaps at Brescia or Ferrara, which is known only from the unique copy in the John Rylands University Library, Manchester. Despite the lengthy and circumstantial colophon, bibliographers have had trouble in agreeing on the correct imprint and date. Robert Proctor (The Printing of Greek in the Fifteenth Century, 1900, p. 66 sqq.) argued that the edition was actually printed in the shop of Bartolommeo di Libri, whose type was used to print the dedication to Piero de’ Medici on the first page. BMC assigned the edition rather to the Nerli brothers, but Roberto Ridolfi (La stampa a Firenze nel secolo XV, 1958, p. 95 sqq.) has pointed out that the Nerli were well-born and wealthy Florentines whose role would have been a purely financial one. He has instead assigned the Homer to the anonymous Florentine shop, the Printer of Virgil (Copinger 6061, Goff V183), which flourished from 1488 to 1490 or so. Ridolfi supposes that only the first, dedication page was printed in di Libri’s shop, more than a month after the completion of the edition proper, this page hitherto having been planned as a blank. £250,000 [131684]

6 7 The birth of modern anatomy, one of the most beautiful scientific books ever printed 3 VESALIUS, Andreas. De humani corporis fabrica libri septem. Basel: Johannes Oporinus, June 1543 first edition of vesalius’s magnum opus, the founding text of mod- contents and binding ern anatomy, which revolutionized the science and teaching of medicine Folio (433 × 295 mm). Early 19th-century and practice of surgery. “This is the work that, by breaking the strangle- sprinkled half sheep, marbled boards, two green morocco labels to spine hold in which the writings of Galen had gripped anatomical research for lettered gilt, smooth spine divided into the previous twelve centuries, was instrumental in turning researchers compartments by double gilt dotted lines away from his pages and sending them back to the prime source: the hu- and chain links. Housed in a custom man body itself ” (Richardson, p. ix). Over 200 pioneering anatomical il- slipcase. Woodcut pictorial title page (laid down on thin paper), full-page portrait lustrations were incorporated into the text: the highly technical woodcuts, of Vesalius, probably after Jan Stephan groundbreaking in their realism, were all carefully executed under Vesa- Calkar, 7 large, 186 mid-sized, and 22 small lius’s supervision in Venice. In an unprecedented coalescence of scientific woodcut initials, more than 200 woodcut exposition, art, and typography, the De Fabrica became “one of the most illustrations, including 3 full-page skeletons, 14 full-page muscle-men, 5 large diagrams beautiful scientific books ever printed” (Grolier). “Galen was not merely of veins and nerves, 10 mid-sized views of improved upon: he was superseded; and the history of anatomy is divided the abdomen, 2 views of the thorax, 13 of into two periods, pre-Vesalian and post-Vesalian” (PMM). the skull and brain, and numerous smaller views of bones, organs and anatomical £250,000 [126301] parts, and 2 double-page folds, one of veins and one of nerves. condition Faint ownership signature of “Ippolito Guarisci” to title page. A little worming to boards and joints, mainly superficial, joints a little tender, tips slightly worn, title page with small holes to edges, sometime repaired with concomitant browning, a few small marginal tears with old neat repairs, folding plates with small reinforcement to verso, old ink stains at outer edge of pp. 335–80, p. 356 mounted on stub, occasional finger-mark, some foxing and marginal dampstaining throughout, more evident at final few leaves, withal presenting well. literature Cf. Adams V–603; Choulant-Frank, pp. 178– 80; Cushing VI.A.–1; Dibner, Heralds of Science 122; Garrison-Morton 375; Grolier Medicine 18A; Heirs of Hippocrates 281; NLM/Durling 4577; Norman 2137; Printing and the Mind and Man 71; Richardson, William Frank (trans.), On the Fabric of the Human Body, 1998; Stillwell Science 710; Wellcome 6560.

8 9 Galileo’s Dialogo in English, the first vernacular translation, with others of his works 4 (GALILEI, Galileo.) SALUSBURY, Thomas (trans.) Mathematical Collections and Translations: The first Tome. In two parts . . . London: printed by William Leybourn, 1661 first edition in english of galileo’s dialogo, the major work to be contents and binding included in volume I, and the first vernacular translation in any language. 2 parts in 1 volume as issued, folio (338 × The Systeme of the World, followed by the short but important Epistle to the 219 mm). 19th-century half calf, brown cloth sides with the emblem of University Grand Dutchesse Mother concerning the Authority of Holy Scripture in Philosophical College London stamped in gilt, marbled Controversies (known today as the Letter to Christina), was only the second endpapers. With 4 folding plates, numerous work of Galileo’s to be published in England. It preceded the Latin edition, printed diagrams and woodcut and copper published in London by Thomas Dicas, by two years and remained the only engravings in text. Bound without half-title and errata leaf. vernacular translation for two centuries. Apart from the two works by Gal- condition ileo, Salusbury included seven other translations from Italian and Latin in Minor rubbing to binding, trivial splits volume I of his Collections. The second volume, including an extensive life to first plate folds, tiny chip to PP1, XX1, of Galileo in part two, was published in 1665 but almost totally destroyed HHH, XXX2 FFFF1, small chip to corner of in the Great Fire of London. The Brereton-Macclesfield copy is apparently MMM4, small burnhole to GGGG2, none of these affecting text. Stain in bottom corner unique in containing both parts. of final section, with last few leaves a little £50,000 [128763] frayed, creased and soiled. A well-preserved, crisp copy. provenance Benjamin Robert Mulock (1829–1863), presented by to him by University College London in 1849 as a prize in mathematics, with their presentation bookplate and gilt supralibros to covers; Mulock was one of the earliest photographers of Brazil, and documented the construction of the Bahia and San Francisco railroad. The copy was subsequently sold at Sotheby’s in 1969 where it was bought by Quaritch, and later entered the private collection of the art collectors Howard and Linda Knohl, with their Fox Pointe Collection bookplate. literature ESTC R19153; PMM 128 for first edition; Taylor 268; Wing S517.

10 11 A handsome copy of the Fourth Folio, the largest of the 17th-century editions of Shakespeare’s works 5 SHAKESPEARE, William. Comedies, Histories and Tragedies. London: for H. Herringman, E. Brewster, and R. Bentley, 1685 a notably tall and handsome copy of the fourth folio, the contents and binding last of the 17th-century editions of Shakespeare’s works, edited by John Folio (369 × 234 mm). Late 18th-century Heminge (d. 1630) and Henry Condell (d. 1627), and with seven plays diced russia, spine divided in six compartments by double raised bands, added by Philip Chetwin (d. 1680), publisher of the Third Folio. A reprint gilt-lettered direct in second, third and of the ill-fated Third Folio, this edition was issued by Henry Herringman fourth compartments, first, fifth and sixth in conjunction with other booksellers, and has three settings of the ti- with central ornament in blind; sides with tle-page. Of the seven additional plays, also included in the Third Folio, wide borders of a thick-and-thin rule in gilt enclosing a blind roll of leaves and acorns only Pericles is today recognised as the work of Shakespeare. In common and a gilt wavy roll incorporating leaf with the Third, the Fourth Folio dropped the final “e” from Shakespeare’s sprays, gilt acorn roll to turn-ins and leather name, a spelling that persisted until the beginning of the 19th century. inner hinge, drab endpapers, gilt edges; the The most immediately striking aspect of the Fourth Folio is its height: binding unsigned but quality work. Housed in a brown quarter morocco fleeced-line Herringman and his co-publishers used a larger paper size to increase the folding case by Sangorski & Sutcliffe. number of lines per page and decrease the bulk of the book. Although this Engraved portrait by Martin Droeshout is the only edition in which each play does not start on a fresh page, it is above the verses To the Reader on verso in a larger fount and more liberally spaced than the three earlier editions. of the first leaf, title with fleur-de-lis device (McKerrow 263), double column text within (The two pages of L1 are set in smaller type, presumably after the discovery typographical rules, woodcut initials. that some text had been omitted.) The printer of the Comedies has been condition identified from the ornaments as Robert Roberts. The Fourth Folio re- Engraved bookplate of T. Allen, FSA. mained the favoured edition among collectors until the mid-18th century, Small wormhole(s) in lower inner margin, when Samuel Johnson and Edward Capell argued for the primacy of the from beginning through to quire Uu and the extreme lower outer of corner of leaf First Folio text. Hhh5 to end, never touching text area; £185,000 [133696] small hole in title leaf neatly repaired, not touching letters, consequent to a bookplate being sometime removed from the verso; small spill-burns in F3, Dd5,6, Eee1, Ttt5, and Vvv4 affecting the odd word or letter; a few letters marked by a contemporary hand on Bb6r; paper flaw in outer margin of *Ddd5, Ttt5 not affecting text; occasional faint browning; the odd isolated rust mark; notwithstanding these relatively trivial flaws, an exceptionally good unsophisticated copy. literature Bartlett 123; Gregg III, p. 1119; Jaggard p. 497; Pforzheimer 910; Wing S-2915.

12 13 Newton on light, the most influential work on experimental science in the 18th century 6 [NEWTON, Isaac.] Opticks: or, A Treatise of the Reflexions, Refractions, Inflexions, and Colours of Light. London: Printed for Sam Smith, and Benj. Walford, Printers to the Royal Society, 1704 first edition, first issue, without Newton’s name on the title. New- contents and binding ton’s Opticks expounds his corpuscular or emission theory of light, and first Quarto (245 × 191 mm). Contemporary panelled calf, spine gilt in compartments, contains his important optical discoveries in collected form. It also prints red morocco label. Housed in custom brown two important mathematical treatises (published here for the first time but morocco-backed slipcase and chemise. With omitted in later editions) describing his invention of the fluxional calculus, 19 folding plates, title printed in red and which are the grounds for his claim for priority over Leibniz. black with double ruled border. Newton had arrived at most of his unconventional ideas on colour by condition about 1668; but when he first expressed them (tersely and partially) in pub- Neat restoration to extremities, one plate dust-soiled at outer edge, an excellent copy, lic in 1672 and 1675, they had provoked hostile criticism, especially on the the paper clean and fresh. continent. The publication of Opticks, largely written by 1692, was held over literature by Newton until his most vociferous critics—especially Robert Hooke— Babson 132 (1); ESTC T82019; Gray 174; were dead and, unusually for him, was first published in English, perhaps Horblit 79b; Norman 1588; Printing and the a further defensive measure. Nevertheless, Opticks established itself, from Mind of Man 172. about 1715, as a model of the interweaving of theory with quantitative ex- perimentation. The great achievement of the work was to show that colour was a mathematically definable property. Newton showed that white light was a mixture of infinitely varied coloured rays (manifest in the rainbow and the spectrum), each ray definable by the angle through which it is re- fracted on entering or leaving a given transparent medium. “Newton’s Op- ticks did for light what his Principia had done for gravitation, namely place it on a scientific basis” (D. W. Brown, cited in Babson). £95,000 [132039]

14 15 Leibniz’s most mature philosophical work in its earliest form 7 LEIBNIZ, Gottfried Wilhelm von. Lehr-Sätze über die Monadologie . . . Aus dem Frantzösischen übersetzt von Heinrich Köhler; [bound with two other works on Leibniz.] Frankfurt & Leipzig: Widow of Johann Meyer, 1720 exceedingly scarce first appearance in print of the monadolo- contents and binding gy, considered one of the most important philosophical texts of the 18th 3 works bound in 1 volume, octavo (172 × century. Written in 1714 and published in the original French as late as 100 mm). Contemporary full vellum over paste paper boards, edges sprinkled red. 1814, it first appeared in print in this very rare German translation in 1720, Housed in a custom book-form quarter calf then in a Latin translation by Christian Wolff a year later. The title was box. Engraved head- and tailpieces, initials. coined by the work’s first editor, Heinrich Köhler; Leibniz himself never With the engraved folding plate of Leibniz’s settled on a title, though one of the surviving manuscripts was annotated calculating machine at p. 119 of the third and final work, but without the engraved by a copyist, “The principles of philosophy, by Mr Leibniz”. The Monadology portrait frontispiece. was also one of the first of Leibniz’s philosophical works to be translated The Monadology is bound first of three texts, into English, in 1867 by Frederick Henry Hedge. the other titles being: This appealing contemporary Sammelband gathers the earliest Monad- a) LEIBNIZ, & Clark. Merckwürdig ology with two other related works published the same year: the German Schrifften, welche zwischen dem Herrn translation of the renowned correspondence between Leibniz and Clark, Baron von Leibniz und dem Herrn Clarcke, über besondere Materien der natürlichen and that of Fontenelle’s account of Leibniz’s life and work, with the plate Religion . . . Frankfurt & Leipzig: Widow of illustrating his most famous invention: the calculating machine. A 16-page Johann Meyer, 1720. contemporary Leibniz bibliography is appended. b) FONTENELLE, Bernard le Bovier de. Though relatively well-represented at leading institutions in the US and Lebens-Beschreibung Herrn Gottfried Europe (17 copies located by OCLC), the Monadology rarely appears in com- Wilhelm von Leibnitz . . . Amsterdam: [s.n.], 1720. With 1 engraved folding plate of merce, with only four recorded instances at auction since 1980 (Zisska and Leibniz’s calculating machine, without the Schauer 2011; Reiss and Sohn 2010; Kiefer Buch und Kunstauktionen 2010; portrait frontispiece. Sotheby’s 1984). condition “Few works of philosophy can rival Leibniz’s Monadology in terms of Library shelf mark, “Bibl no 121” in ink to sweep: it begins with an account of the most basic substances, monads, front pastedown, pencil annotations to and ends with God’s intimate relation to the most exalted of these sub- verso of each title page Some loss of vellum to head of spine and top edge of front board, stances, namely minds . . . It is difficult not to be struck by both its scope vellum otherwise somewhat spotted and and its size, and in particular the apparent disparity between the two. In marked as often, faint evidence of removed the entire history of philosophy there is little else like it” (Strickland, p. 1). label to front pastedown, contents evenly browned, else a very good, well-preserved £95,000 [127048] copy of the Monadology bound with two relevant contemporary works literature Printing and the Mind of Man 177(b); Ravier 349; 351; 352. See Lloyd Strickland’s introduction to Leibniz’s Monadology: A New Translation and Guide (Edinburgh University Press: 2014).

16 17 A classic of political theory, establishing the basis for the separation of powers 8 [MONTESQUIEU, Charles Louis de Secondat, Baron de.] De l’Esprit des loix. Geneva: chez Barrillot & Fils, [1748] first edition of this classic of social science. Montesquieu began contents and binding work on his magnum opus in 1734, and took fifteen years to finish. The 2 volumes, quarto (249 × 186 mm). book is in six sections: the first dealing with law in general and the differ- Contemporary mottled calf, red morocco labels, spines gilt to compartments, ent forms of government, the second with the means of government, the gilt floral roll border to covers, marbled third with climate and the effect on national character, the fourth and fifth endpapers, red speckled edges. with economic matters and religion, and the sixth with Roman, feudal and condition contemporary French law. Though not the most radical of Enlightenment Neat 18th-century notations to front free texts—leaning overall to a liberal monarchy limited by institutions, law, endpaper of vol. I. Lightly refurbished with gilt and colour retouched, very minor and safeguards for personal liberty—Montesquieu’s treatise established craquelure to calf with faint crease to spine on a secular, rational basis the revolutionary idea of the separation of pow- of vol. II, some light toning and faint foxing ers and a system of checks and balances, a system eventually implemented to contents, a few instances of light staining by the Founding Fathers in the US Constitution. Indeed, Donald Lutz’s and creasing; half-titles and errata present (the latter bound between vol. I sigs. c4 and study of citations by the Founding Fathers places Montesquieu as the A1). A very appealing copy. second most cited thinker, behind only St Paul, and ahead of Blackstone, provenance Locke and Hume (Lutz, “European Works Read and Cited by the American From the library of Charles-Auguste Le Founding Generation,” in A Preface to American Political Theory, 1992). Three Quien de La Neufville (1726–1805), with of the other great political texts of the next hundred years—Blackstone’s his stylish armorial bookplate to the front pastedown of vol. I. Le Quien was Commentaries, Hamilton’s Federalist Papers, and Tocqueville’s Democracy in appointed Bishop of Dax in 1771 (with his America—are also all thoroughly imbued with Montesquieu’s theories. mitre and crosier on the bookplate) and Several emendations were made to the text after some copies had been held the office until it was suppressed issued, including cancelling certain leaves which had risky statements on by the Civil Constitution of the Clergy in 1791; he then became an émigré, returning monarchy, on Richelieu, and on the government of the Netherlands. This after the Concordat of 1801, and was copy has most of the cancels outlined by Tchemerzine, and has the errata offered the Bishopric of Poitiers, which he leaves in the final state with 47 corrections. A counterfeit—and more com- refused because of his age and health. It mon—edition was produced in Paris in 1749, but the present first edition is interesting to note that a bishop had De l’Esprit des loix in his library, despite the fact can be distinguished by the spelling of “Barrillot” on the imprint. the book was placed on the Index Librorum £32,500 [131773] Prohibitorum in 1751. literature Barbier II, p. 190; Books That Made Europe, p. 130; En français dans le texte 138; Goldsmiths’ 8375; Kress 4920; Printing and the Mind of Man 197; Tchemerzine IV, p. 929.

18 19 Captain Cook—“the ablest and most renowned navigator this or any country hath produced” 9 COOK, James. Complete set of the three voyages. London: W. Strahan and T. Cadell, 1773–85 first edition of the first voyage, second edition of the second and contents and binding third voyages. This is certainly one of the finest sets of Cook’s celebrated 11 volumes: 8 quarto text volumes (294 × 229 mm), plates and maps bound in 2 voyages that we have handled, presented here in a restrained and elegant landscape quarto volumes (288 × 415 mm) period binding, most unusual in having the majority of plates and maps and folio atlas (550 × 410 mm). Uniformly for the first and second voyages—a number trimmed and mounted— bound in early 19th-century diced russia, elegantly and practically presented in two landscape quarto volumes. Such vol. I skilfully rebacked to style, spines with five pairs of double raised bands, sets are decidedly uncommon, on auction records we have traced only one gilt lettered and numbered in second and comparable, offered at Christie’s New York in 1996, with plates for both the fifth compartments, gilt tooled between first and second voyages bound in atlas format, as here. These plate volumes the bands with a hexagonal motif, other have at some point been uniformly bound to style in half russia preserving compartments filled with a repeated wave motif, sides with double fillet border the original drab green paper sides and, importantly, the original endpapers, enclosing a scrolling foliate panel, gilt edge which retain the same signs of ownership as the text volumes, reflecting a roll, gilt scrolling roll decoration to turn-ins, high degree of connoisseurship at an early date. speckled edges, drab green surface paper The second edition of the final voyage has long been considered the best, endpapers; plate volumes uniformly bound to style in half russia preserving the original the title pages enhanced by the addition of the medallic vignettes of Cook’s drab green paper sides and endpapers. With Royal Society medal, a portrait medal of Captain King and the text entirely all plates, maps and plans as called for. reset, Forbes points out that it was always considered “typographically condition superior”. Thirty-five years after publication, Cook’s widow sent a copy to Bindings professionally refurbished, her doctor with an inscription noting that “the letter press of the second judicious repairs to joints and extremities of spines, caption to Cook portrait edition [is] much superior to the first both in paper & letter press”; George cropped, customary scattered foxing, a III’s copy, held at the British Library, is also a second edition. few gatherings lightly toned; a particularly handsome, tall set with some strong impressions of the plates. provenance Mid-19th century engraved armorial bookplates of Henry Mussenden Leathes (1789–1864), of Herringfleet Hall, Suffolk, a veteran of the Peninsula and Waterloo, where he served as first lieutenant RHA with Mercer’s battery; a philanthropist, his mansion at Lowestoft became “quite a hospital” for French fishermen, for which he was presented with a gold medal by Napoleon II (obituary Gentleman’s Magazine, March 1865). Ownership inscriptions on front pastedowns of Henry Devereaux Whiton (1870–1930), American industrialist and financier, keen yachtsman, member of the New York, Larchmont, Eastern, and Bellport yacht clubs.

20 “Cook earned his place in history by opening up the Pacific to western civilisation and by the foundation of British Australia. The world was given for the first time an essentially complete knowledge of the Pacific Ocean and Australia, and Cook proved once and for all that there was no great southern continent, as had always been believed. He also suggested the existence of antarctic land in the southern ice ring, a fact which was not proved until the explorations of the nineteenth century. Cook was a brilliant navigator and hydrographer, an excellent administrator and planner, and probably the first sea captain to realise the importance of preserving the health and well-being of his crew. He did everything possible to maintain their physical fitness and the cleanliness of both men and ships. He conquered the hitherto prevalent scurvy by cutting down the consumption of salt meat and by always having literature fresh vegetables and fruit on board” (Printing and the Mind of Man). The Beddie 650, 1217, 1544; Forbes 85 (third voyage); Hill 782, 358 and 361 (for the first National Maritime Museum catalogue points out that the third voyage “was editions); Howgego I C173–6; National Mar- so eagerly awaited by the public that it was sold out on the third day after itime Museum Catalogue, Voyages & Travel, publication, and although the published price was £4 14s. 6d, as much as 10 565, 577 and 586 (for the first editions); guineas was offered by would-be purchasers”. Printing and the Mind of Man 223 (second voyage); Sabin 30934, 16245, 16250; Leathes: £65,000 [132740] Dalton, Waterloo Roll Call, pp. 216–17.

21 The inception of modern philosophy, Kant’s Critique of Pure Reason 10 KANT, Immanuel. Critik der reinen Vernunft.Riga: Johann Friedrich Hartknoch, 1781 first edition of one of the most influential philosophy books contents and binding ever published, the first version of the Critique of Pure Reason. “Kant’s Octavo (200 × 120 mm). Contemporary great achievement was to conclude finally the lines on which philosophical half calf, spine label lettered in black, compartments decoratively tooled with central speculation had proceeded in the eighteenth century, and to open up a floral motifs in blind, raised bands, sprinkled new and more comprehensive system of dealing with the problems of phi- paper boards, edges red. Housed in a black losophy. Of the two main systems which preceded his own, Kant had little quarter morocco solander box by the Chelsea or no sympathy with the metaphysical categorization of the Cartesians, Bindery. Woodcut title vignette, decorative woodcut head- and tailpieces, and initials. and inclined more to the empirical methods of Locke and Leibniz . . . The condition influence of Kant is paramount in the critical method of modern philoso- Extremities rubbed, joints starting, phy. No other thinker has been able to hold with such firmness the balance endpapers a little browned from turn-ins between speculative and empirical ideas. His penetrating analysis of the and a few lower corners of pages tanned, elements involved in synthesis, and the subjective process by which these very minor occasional spotting, else a bright, fresh copy. elements are realized in the individual consciousness, demonstrated the provenance operation of ‘pure reason’; and the simplicity and cogency of his argu- Bookplate of prominent Swiss collector ments achieved immediate fame” (PMM). Emanuel Stickelberger (1884–1962) to front pastedown, who included a sketch of Kant’s £35,000 [125333] life in his 1952 semi-fictional critical history, Dichter im Alltag: Bilder zu einer unbekümmerten Literaturgeschichte. Contemporary ownership inscriptions in ink to front free endpaper, small ink annotation to p. 379 (correcting “sceptisch” to “specifisch”), clipping from bookseller’s description neatly pasted to rear pastedown. literature Adickes 46; Norman 1197; Printing and the Mind of Man 226; Warda 59.

22 The most famous biography in any language, a fine copy uncut in the original boards 11 BOSWELL, James. The Life of Samuel Johnson. London: by Henry Baldwin for Charles Dilly, 1791 first edition. “Boswell’s Life of Johnson remains the most famous biog- contents and binding raphy in any language, one of Western literature’s most germinal achieve- 2 volumes, quarto (295 × 225 mm). Uncut in original blue-grey paper boards, cream ments: unprecedented in its time in its depth of research and its extensive paper spines lettered in ink at a later date. use of private correspondence and recorded conversation, it sought to dram- Housed in later red morocco-backed atize its subject in his authorial greatness and formidable social presence, chemises and morocco-tipped slipcase. and at the same time treat him with a profound sympathy and inhabit his Portrait frontispiece engraved by James Heath after Sir Joshua Reynolds. inner life” (ODNB). This copy has p. 135, vol. 1, in the first, uncorrected state, reading “gve”. condition Boards a little soiled and worn at edges, This is not an issue point for the whole book; the correction was made in the spines rubbed and with superficial vertical press, and 1,750 copies with either state were available on publication day, 16 cracks, front joint of vol. I imperceptibly May 1791, the 28th anniversary of Boswell’s first meeting with Johnson. Of repaired, repaired marginal tear in the first printing, 800 copies were sold in the first two weeks. frontispiece, minor localised marginal worming in vol. I, without initial blank in The survival of such large, heavy quarto volumes in the relatively flimsy vol. II, occasional light spotting or soiling, paper-backed boards is unusual, yet the paper spines show signs of both a fine copy. volumes having been read, indicating that this copy was not a freak, lying provenance around disregarded for years. It supports the point made by Jonathan E. Hill From the libraries of F. E. Smith, 1st Earl of in his article “From Provisional to Permanent: Books in Boards 1790–1840” Birkenhead (1872–1930), British politician and barrister, Winston Churchill’s greatest (The Library, vol. s6–21, issue 3, Sept. 1999) that books in boards from this personal and political friend, notorious period were increasingly kept by readers in this state, without being rebound for his biting wit, his bookplates to front in some more durable material, typically leather. Keeping the book uncut in pastedowns; and of Victor Rothschild, boards ensures the preservation of the attractive mise-en-page, the leaves in 3rd Baron Rothschild (1910–1990), his bookplates to front free endpapers. their untrimmed state showing the widest possible margins. literature £35,000 [122700] Courtney 172; Grolier, English, 54; Pottle 79; Rothschild 463; Tinker 338.

23 One of the most influential texts in the history of economic thought 12 [MALTHUS, Thomas Robert.] An Essay on the Principle of Population. London: printed for J. Johnson, 1798 rare first edition of one of the most important and influen- contents and binding tial works in the history of economic thought. “Malthus was Octavo (210 × 128 mm). Early 19th-century not the first writer to make the obvious point that the growth of population black polished half sheep, dark red morocco spine labels, spine divided by is ultimately limited by the food supply. He was, however, the first to bring dot-and-lozenge role and double rules with it home to readers with the aid of a simple, powerful metaphor: population fleurons to first, third, fourth and fifth when allowed to increase without limit, increases in a geometrical ratio, compartments, marbled paper boards and while the food supply can at best increase at an arithmetical ratio; so, endpapers. Housed in a custom brown half morocco book-form box. A very good copy whatever the plausible rate of increase of the food supply, an unchecked in a provincial binding. multiplication of human beings must quickly lead to standing-room only” condition (Blaug, Great Economists before Keynes, p. 141). Minor professional refurbishment, one “The central idea of the essay—and hub of the Malthusian theory—was a small area of wear to top edge of rear board, simple one . . . If the natural increase in population occurs the food supply later endpapers sometime repaired at hinges with gutter exposed at title page, early ink becomes insufficient and the size of the population is checked by ‘misery’— inscription, stamp, and pencil marks to title that is the poorest sections of the community suffer disease and famine. page sometime discreetly removed, a few Malthus recognises two other possible checks to population expansion: first minor chips to fore edges of sigs. G7 and ‘vice’—that is, homosexuality, prostitution, and abortion (all totally unac- L5, contents occasionally foxed and marked (see fore edge of sigs. A1–2) with a few neat ceptable to Malthus); and second ‘moral restraint’—the voluntary limitation pencil annotations to margins (including an of the product of children by the postponement of marriage” (PMM). addition to the errata), else fresh internally. “For today’s readers, living in a post-Malthus era, the world’s population literature problems are well known and serious, but no longer sensational. It is dif- Carpenter XXXII (1); Einaudi 3667; Garri- ficult therefore to appreciate the radical and controversial impact made by son-Morton 1693; Goldsmiths’ 17268; Kress B3693; McCulloch, pp. 259–60; Norman the Essay at the time of publication. It challenged the conventional notion 1431; Printing and the Mind of Man 251. that population growth is an unmixed blessing. It discussed prostitution, contraception, and other sexual matters. And it gave vivid descriptions of the horrendous consequences of overpopulation and of the brutal means by which populations are checked” (ODNB). Despite its unpopularity with liberal critics, Malthus’s principle of population became accepted as a central tenet of classical political economy and Charles Darwin acknowledged Malthus’s influence in the development of his theory of natural selection. Malthus was subsequently appointed Professor of History and Political Economy at the East India Company’s Haileybury College. £150,000 [127772]

24 25 Horsburgh’s directory housed in an American naval officer’s book box 13 HORSBURGH, James. The India Directory, or, Directions for Sailing to and from the East Indies, China, Australia, and the Interjacent Ports of Africa and South America. London: Wm. H. Allen and Co., 1841–3 An exceptionally well-preserved copy, presented here in an American na- contents and binding val officer’s portable book box—as such remarkably uncommon—with 2 volumes, quarto (268 × 213 mm). Contemporary speckled calf, spines with the additional appeal of a series of original holograph coastal profiles. five low raised bands, gilt rules, black and This is the fifth edition of this important publication, much enlarged in dark green twin labels, two-line blind successive editions from the first of 1809–11, which was to become the border on sides with corner rosettes, red standard manual for the eastern navigation, with a most attractive prov- speckled edges, yellow coated endpapers. Housed in a contemporary wooden carrying enance, dating to a period of expanding America-Asia trade, before the case, brass drop bar swan-neck handle on ruinous effects of the Civil War took their toll on the American merchant marine. This copy was in the possession of an American naval officer and contains a number of holograph notes and carefully sketched coastal profiles by him. His dating of the profiles show that he was on board the schooner Pontiac “from Boston to Madras” with dates spanning the years 1850 to 1852. Included here is a fascinating 2-page letter (dated 9 October 1857) addressed to “Dear Nelly”, which gives details of dangerous shoals in the Java Sea and mentions the possibility of our officer serving on the USS Powhatan, which was Commodore Perry’s flagship in November 1853, during his visit to Whampoa (modern day Huangpu District). In August 1855 the Powhatan accompanied HMS Rattler and HMS Eaglet in a successful engagement, known as the Battle of Ty-ho Bay, against Chinese pirates off Kowloon and returned to America on 14 February 1856. The Treaty of Am- ity and Commerce between the United States and Japan was signed on her deck (29 July 1858). Intended for use at sea, all editions of the Directory are uncommon; of this fifth, Copac cites only the copy at the National Maritime Museum among British and Irish institutional libraries; OCLC adding below two dozen in international holdings. The size of Horsburgh’s book and its status as an essential “bible” for mariners on the often treacherous run out to the South Seas means that those copies that do survive are more often than not found in rather compromised condition. James Horsburgh (1762–1836) was first mate on the Atlas in the Bay of Bengal when the ship was wrecked on Diego Garcia, and this incident may have been key in resolving him collate as much accurate navigational information on the region as he could. The Horsburgh lighthouse at the eastern entrance to the Straits of Singapore was erected as a memorial to him and is still in service today. £30,000 [126537]

26 lid, pair of brass hook-and-eye catches on front, internal wooden partition (one with pale reddish-brown russia leather liner tacked in place). condition Inner joints cracked to cords but perfectly sound, index to supplement at end of vol. II loose, some light abrasions to case and bindings otherwise in remarkably good condition. literature Ferguson 481.

27 The apotheosis of the tinted lithograph—with annotations by a talented female Egyptologist and artist 14 ROBERTS, David. The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia. London: F. G. Moon, 1842–9 first edition of “one of the most important and elaborate ventures of contents and binding nineteenth-century publishing, and the apotheosis of the tinted lithograph 6 volumes bound in 4, large folio (613 × 430 . . . there is pleasure to be had from many of the individual plates, where mm). Publishers’ dark purple half morocco, gilt-blocked arms of Jerusalem on front Haghe’s skillful and delicate lithography, and his faithful interpretation covers, gilt panelled spines, gilt edges. of Robert’s draughtsmanship and dramatic sense, combine in what are condition undoubtedly remarkable examples of tinted lithographic work” (Abbey). Some skilful restoration to spines and Roberts had toured Eqypt, Alexandria, Jerusalem, Palestine, Lebanon, and corners, some spotting, chiefly marginal; a Baalbec during 1838 to 1839 making detailed drawings of the most signifi- very good copy. cant sites, from which he worked up the final pictures for his master work. provenance Peter Carthew (1808–1870), of 15A Kens- £65,000 [132004] ington Palace Gardens, with his bookplate, presumably bought at publication; passed on to his daughter Alice Grace Elizabeth Carthew (1867–1940), with her notes in pencil initialled “A.C.” Alice Carthew was a noted collector of William Blake prints and antiquities, subsequently donating her abundant collections to institutions including the British Museum, the Hunte- rian, the Victoria & Albert Museum, and the Tate Collection. She donated Mycenean antiquities and a Cycladic figurine to Girton College, Cambridge, and made a number of watercolours for the Egypt Exploration Society of artefacts from their excavations at Deir el-Bahari. Alice Carthew’s pencil annotations in the Holy Land volumes (dated 1914 and 1926) relate to the topographical accuracy of Roberts’s views, presumably after visits she had made to the actual loca- tions. For example next to “The Ravine” she notes “steps not steep enough”, and beside “Petra Looking South” “good picture . . . far too much water”. literature Abbey Travel 385 and 272; Blackmer 1432; Tooley 401–2.

28 29 The world’s first computer programmer, from the library of her proud mathematics tutor 15 (LOVELACE, Ada.) MENABREA, Luigi Federico. Sketch of the Analytical Engine invented by Charles Babbage, Esq. With Notes by the Translator. Extracted from the ‘Scientific Memoirs,’ vol. iii. London: printed by Richard and John E. Taylor, 1843 First separate edition of the most important early paper in the history of contents and binding computing, remarkably rare, this copy with an especially pertinent asso- Octavo (212 × 134 mm), pp. [1], 666–731, [1], 1 folding table. Contemporary dark ciation, being from the library of Dr William King, the early mathematics red morocco, rebacked to style, alternating tutor of Ada Lovelace, the world’s first computer programmer, with a page floriate-and-scrollwork border within double- of meticulously compiled notes on Ada’s life in King’s hand to the flyleaf, ruled frame to boards in blind, “LOVELACE” and annotated on the title page to identify the anonymous translator of the lettered in gilt to centre of front board, light brown endpapers, edges sprinkled work as “Lady Lovelace”. red. Housed in a dark red quarter morocco At the age of 27, Ada Lovelace (1815–1852) translated into English the first solander box by the Chelsea Bindery. 1 published account of Babbage’s unbuilt general-purpose computer, Notions folding table to the rear, “Diagram for the sur la Machine Analytique de M. Charles Babbage by the Italian mathematician computation by the Engine of the Numbers of Bernoulli”, numerous tables to the text (1 Luigi Menabrea. Babbage suggested that Lovelace expand the work with a full page, p. 711). number of appendices. In the resulting Sketch, Lovelace’s substantial explan- condition atory appendices far surpassed the original, and nearly trebled the length of Professionally recornered and refurbished, the piece. Her final appendix, “Note G”, famously presented an algorithm some minor knocks and rubbing to to compute the Bernoulli numbers, and was illustrated using a large folding extremities, gutters reinforced with cloth, table, which aimed to present a complete and simultaneous view of all the contents toned and occasionally foxed, short closed tears and chips to the fore edge engine’s successive changes. Proof of Ada’s obsessive attention to detail and of the folding table. Overall a very good copy her astute understanding of the Engine’s potential, this table is now often with a splendid association. described as the first computer programme. Her translation appeared in provenance volume 3 of Taylor’s journal Scientific Memoirs, and was shortly thereafter sepa- Binder’s ticket, Manderson of Brighton, rately issued as an offprint(of which the present copy is an example). to front pastedown; previous bookseller’s pencilled notes (“PJ/-, 35/-”) to front free The Sketch is undeniably a keystone in the history of computing. Ada her- endpaper verso; the blank page opposite self is distinguished as the only person to see the true potential of Babbage’s annotated in ink at two or more times by Analytical Engine beyond its envisioned capabilities. As King proudly con- Dr William King, one of the dates neatly cludes in his handwritten notes which preface this fine association copy of corrected in pencil; later typed slip laid in at front detailing provenance, reading: the Sketch, “Babbage said of this translation and notes that nothing but geni- “The notes on the fly leaf of this vol are us could have done it”. undoubtedly by Wm King the Co-operator (1786–1865) who was a great friend and adviser of Lady Lovelace. His periodical ‘Co-operator’ was published by Sickelmore of Brighton and this vol was bound by Manderson of Brighton. Lady Lovelace was daughter of Byron. She trans[lated] the notes in this vol”. literature Grolier, Extraordinary Women in Science & Medicine, p. 122; Origins of Cyberspace 61. See Christopher Hollings, Ursula Martin & Adri- an Rice, Ada Lovelace: The Making of a Computer Scientist (Bodleian Library, 2018).

30 The reader’s marks in the margins of pages 693 to 696, which we can presume to be King’s, draw attention to some of the work’s most important offerings: the definitions of “operation” and “Analytical Engine”; a compar- ison of the functions of Babbage’s two machines; and the paragraph that has become one of the most well-known sections of Ada’s translation: her metaphysical discussion of the “intrinsic beauty, symmetry and logical com- pleteness” of mathematical science. King’s notes on Ada’s chronology and family history, made long after his responsibilities as an advisor had concluded, indicate an affection for his former pupil and a more than passing interest in her developing career. He was engaged as a tutor in the late 1820s when Lovelace’s mother, Anne Isa- bella Noel Byron (neé Millbanke)—an educational reformer in her own right but perhaps best known for her unhappy marriage to the poet Lord Byron— sought out several of her old friends to advance her daughter’s education in basic mathematics and science, natural history and astronomy. Dr William King (1786–1865), a physician and philanthropist whom she consulted for her numerous health problems, was one such acquaintance, as was the mathematician and nonconformist social reformer William Frend, who had been Lady Byron’s own childhood tutor.

31 Though recurring bouts of illness disrupted Ada’s educational pursuits, when Ada and King resumed regular correspondence in March 1834— prompted by her eagerness to engage with Babbage’s ideas on a more technical level—it was clear that the student had outstripped the teacher. In response to Ada’s request for instruction in arithmetic, algebra, and geom- etry, King advised a rather outdated course of instruction which relied heav- ily upon his own classical Cambridge education 25 years prior and valued memorisation over total and applied understanding. In a letter on 15 March King advised that “the only mode of study of any use” was, after mastering the proposition in question, to “repeat all this by heart, without book or figure. . . this must be repeated daily with the same proposition till it is as familiar to the mind as your own name . . . so that you could repeat the Book through” (Bodleian Lovelace-Byron papers 172, King to Ada, ff. 128v–129r). Ada was content for a time to approach her work in this manner, but her wish to cultivate a deeper understanding became obvious, as was King’s inability to provide her with the answers she sought. For example, to Ada’s conjectures on Pythagoras’s theorem King could only apologetically reply with “You will soon puzzle me in your studies . . . When I was at College we had few problems deduced from Euclid. We got up a set of books and sel- dom went out of them, except the high men” (LB 172, King to Ada, 24 April 1834, f. 133r). As Hollings, Martin, and Rice conclude in their recent biography of Lovelace, “in just seven weeks she had reached the boundaries of her new tutor’s expertise” (2018, p. 30). Determined to tackle more advanced mathematics, Ada began to work with more progressive academics such as Scottish polymath Mary Somerville and eminent logician Augustus De Mor- gan, who engaged with newer and more rigorous continental approaches. Under their tutelage Ada greatly improved her skills in areas such as calculus and established more reflective habits of study; it was also they, particularly Somerville, who introduced Ada to London’s scientific and literary society, which included both her future husband, William King-Noel, 1st Earl of Lovelace, and Charles Babbage Lovelace’s translation is notably scarce. Just five other copies have sur- faced at auction. Four were in the offprint format as here, and another copy was the journal issue. According to OCLC and Copac, eight institutions hold copies of the Sketch in either the offprint or journal issue, none outside the UK or US. Lovelace left a legacy that all successive computer scientists have engaged with. Alan Turing famously challenged Ada’s dismissal of artificial intelligence—which he called “Lady Lovelace’s objection”—in his ground-breaking paper, “Computing machinery and intelligence” in 1950. The survival of the present copy of the Sketch bears testament to her greatness and offers a rare connection to the very beginnings of Ada’s mathematical and scientific endeavours.

£250,000 [127810]

32 Dickens’s colourful travelogue, inscribed the day after publication to one of his oldest friends 16 DICKENS, Charles. Pictures from Italy. The Vignette Illustrations on Wood, by Samuel Palmer. London: published for the author, by Bradbury & Evans, 1846 first edition, presentation copy, inscribed by the author at the contents and binding head of the half-title, “Thomas Beard Esquire, From his old friend Charles Small octavo. Original moderate blue fine- Dickens, Devonshire Terrace, Nineteenth May 1846”. The inscription is diaper cloth, spine lettered in gilt, spine and covers stamped in blind, pale yellow dated the day after publication. Thomas Beard (1807–1891) was almost the coated endpapers. Housed in a custom blue oldest of Dickens’s friends, and their friendship was uninterrupted until morocco-backed folding case. Title vignette the novelist’s death in 1870. Dickens joined Beard as a reporter on the and 3 wood-engraved vignettes in the text. Morning Chronicle in August 1834 through Beard’s recommendation; Beard condition was best man at his wedding and godfather to his eldest son (Letters of Rebacked with original spine laid down, Charles Dickens, eds. Madeleine House & Graham Story, p. 3, vol. 1, 1965). light toning to margins, a very good copy. provenance £85,000 [130416] The Suzannet copy, with the engraved bookplate of Alain de Suzannet (Sotheby’s, 22 Nov. 1971, lot 87, to J. E. Teale; subsequently resold at Sotheby’s, 1984.) literature Smith II, 7.

33 “Life, Liberty, and the pursuit of Happiness” 17 The Declaration of Independence. Washington DC: W. J. Stone, Sc. [1823, printed by Peter Force,] 1848

Second impression of the most accurate and beautiful early printing of medium the founding document of the United States, made from Stone’s copper Folio broadside (753 × 640 mm), on rice plate which had been created via direct transmission from the original paper. document, a striking commemoration of America’s arrival as an independ- framing ent nation. Presented in a handmade dark stained elm veneer and gold leaf frame with In 1820 Secretary of State John Quincy Adams commissioned a facsimile conservation acrylic glazing. of the Declaration of Independence from Washington printer-engraver condition William J. Stone. Over the next three years Stone worked on creating a Creased where folded, minor paper flaws at copper plate for the printing of the facsimile, which was effected using the left edge, just a touch of peripheral foxing, wet ink transfer process, which procedure removed much of the ink from very light offsetting. In excellent condition. the original and caused considerable degradation of the paper, leading to literature Printing and the Mind of Man 220 for Dunlap’s its near illegibility by the middle of the nineteenth century. From the plate original Philadelphia 1776 printing. “The produced at such cost, an edition of just 201 copies was run, printed on vel- intent of the Declaration of Independence lum and distributed according to a formula agreed by Congress, examples was not to formulate a new political going to the surviving signers, the president and vice-president, Lafayette, philosophy but to explain in terms of already accepted ideas the justness of the colonists’ the Houses of Congress, the state governors, and other worthy recipients, action . . . The philosophy of natural rights Stone retaining one copy which is now at the Smithsonian. to which the Declaration looked for its main Of the original 201 copies, only 31 examples are currently known to support had been used by Locke . . . in 1690 exist, 19 of which are permanently housed in museums. The origins of to justify another revolution and had been further expanded by later writers . . . most the present facsimile go back to 1833, when historian and printer Peter notably by Rousseau . . . By 1776 it had Force was contracted by the Department of State, authorized by an Act gained wide enough acceptance that of Congress, to produce a vast compilation to be known as the American Jefferson could appeal to it as common Archives, expected to run to at least 20 volumes and containing legislative sense, ‘Neither aiming at originality of principles or sentiments, nor yet copied records, documents, and historic private correspondence, and including a from any particular and previous writing, facsimile of the Declaration inserted into vol. I, series 5. To this end Force it was intended to be an expression of used Stone’s original copperplate—having erased the original imprint the American mind’ . . . It remains as information which ran along the top, adding “W. J. Stone, SC, Washn.” at a continuing embodiment of both an important historical event and of those the bottom left—printing on fine rice paper as close in colour and texture truths we hold self-evident” (PMM). to the original parchment as possible. Against an authorized print run of 1500, subscriptions were extremely disappointing, and estimates for the numbers issued of the 9 volumes produced by 1853 (which covered only the years 1774–6) vary between 500 and 1000. Thereafter, Force was refused permission to continue the series and Congress looked into the distri- bution of existing sets “to literary institutions in the several States and Territories”. What is certain is that only a few hundred copies of Force’s facsimile are known to still exist. Although retaining the remains of the creases from insertion in the original volume, and with some trace of the consequent off-setting, this is a very good, clean, bright, example. £30,000 [127460]

34 35 To the president of the Democratic Association in Brussels, shortly before Marx’s election as vice president 18 MARX, Karl. Autograph letter signed to Lucien-Léopold Jottrand. Brussels: 2 October [1847] An unpublished autograph letter signed in French, Marx’searliest known contents missive to the Belgian radical journalist and politician Lucien-Léopold Octavo. Single bifolium (sheet size 214 Jottrand, president of the Democratic Association in Brussels, of which × 138 mm) of plain paper, blindstamped “Angouleme” at top left, the content Marx became vice-president. Under the influence of Marx and Engels, the comprising approximately 6 lines of text Democratic Association would become one of the principal hubs of the in Marx’s hand (47 words total), with the international democratic movement, and the present letter constitutes integral address leaf present, addressed “M. Marx’s formal introduction to its president. A veteran and leader of the Jottrand avocat. 66. rue royale exterieure”. Belgian Revolution of 1830, the lawyer Lucien-Léopold Jottrand (1804– condition Small oval ownership stamp with the 1877) was president of the Democratic Association from 1847 to 1848, as initials “SSP” inked in dark blue below well as one of the founders of the Brussels newspaper Le Débat Social. Marx’s signature. Folded for mailing with In the letter, Marx states his intention of sending Jottrand the manu- subsequent vertical and horizontal folds, script of a piece he had written for Engels’s Northern Star and his recently some light browning, one tiny puncture to bottom left corner of bifolium not affecting published Misère de la philosophie: “Monsieur! J’ai l’honneur de vous faire any text and a short nick to fore edge of parvenir l’original de mon petit discours inséré au Northern-Star. Je me fais second leaf; in all a well preserved letter in un plaisir d’y ajouter un exemplaire de mon livre contre M. Proudhon.” very good condition. Misère de la philosophie, Marx’s attack on Proudon’s philosophy of poverty, literature was a pivotal work in Marx’s thinking. In it, he memorably described his This letter not published in MEGA III/2 (Letters May 1846–December 1848). For opponent as “petit bourgeois”—an epithet which resounded in all later Jottrand see ibid., p. 1176; Draper, The Marx- Communist literature. Misère de la philosophie also paved the way for the Engels Glossary, p. 105. Also see Haenisch, Communist Manifesto, written between December 1847 and January 1848. Walter, “Karl Marx and the Democratic Marx has dated the letter to Jottrand “2 octobre” from his Brussels Association of 1847”, Science & Society, Vol. 2, No. 1 (Winter 1937), pp. 83–102. Together address in the rue d’Orléans, though the letter has been erroneously dock- with two newspaper articles about Marx: eted “1848” in another hand. Five days prior to the writing of this letter, at the first a long, colour-printed biographical the “Workers’ Banquet” held in Brussels on 27 September 1847 and led by article by Hubert Kay clipped from Life Engels and Jottrand, it had been decided to found a “Democratic Associa- Magazine, 18 October 1948; the second a book review by Bernard Iddings Bell of tion”. Though Engels was elected to its organising committee, he warned Alexander’s Miller’s The Christian Significance Jottrand that he might have to leave Belgium and thus would be unable to of Karl Marx, clipped from The New York Times, serve; his suggested replacement was Marx. Marx was elected vice-presi- 10 August 1947. dent on 15 November 1847. Jottrand and Marx’s views were not always compatible, and they had several public disputes, mostly enacted through a number of warring articles published in Le Débat Social and the Deutsche Brüsseler Zeitung. After an argument (the topic of which is unknown) between the two leaders at an Association meeting on 22 February Marx resigned, before a conciliatory letter from Jottrand convinced him to stay. Despite these disagreements, their working relationship and friendship survived—Jottrand was one of the principal figures who attempted to negotiate a delay of Marx’s expul- sion from Belgium on 3 March 1848, and he made a number of vehement speeches on his exiled friend’s behalf. In Marx’s second known letter to Jottrand, dated 13 March 1860, he genially offers to send Jottrand the first part of his Kritik. £130,000 [132140]

36 37 The true first edition, in the original wrappers 19 HUGO, Victor. Les Misérables. Bruxelles [Brussels]: A. Lacroix, Verboeckhoven & Ce, éditeurs, 1862 first edition. The Brussels edition of Les Misérables takes precedence as contents and binding the first published edition, as the first two volumes were issued in Brussels 10 volumes, octavo. Uncut in original pale blue-green printed wrappers, edges on 30 or 31 March 1862, preceding the Paris edition by four or five days. untrimmed. Housed in five black quarter The remaining volumes appeared on 15 May 1862. morocco solander boxes by the Chelsea Copies in the original wrappers are rare in commerce. ABPC locates two Bindery. copies only in the last 40 years, omitting the latest, that sold in Brussels at condition Henri Godts Auction, 11 December 2012, wrappers chipped in places, for With all half-titles, the text illustration in vol. IV and the 2 pp. advert announcing €36,000. this as the first edition at the end of vol. V, £45,000 [127594] as issued; complete. Wrappers with a few faint marks, a little more noticeable on final vol., light creasing to spines, that of vol. I skilfully and imperceptibly repaired, a couple of minor chips, small hole to front wrapper of vol. 3; very occasional faint spotting, a few light creases, but the contents generally fresh and clean, a fine set in the original printed wrappers.

38 Presentation copy from Darwin to his son 20 DARWIN, Charles. “On the movements and habits of climbing plants”. Offprint from The Journal of the Linnean Society; [bound with 4 other offprints]. London: Taylor and Francis; The Linnean Society, 1862–9 first edition of the rare author’s issue, presentation copy contents and binding from darwin to his son william, inscribed “from the author” on the Octavo. 5 offprints bound without wrappers title page. in contemporary half calf, marbled paper boards. “Climbing Plants” is bound with The printing of the monograph took three forms: a double number of four related offprints by Darwin: the Journal of the Proceedings of the Linnean Society of London, and two offprints, a) “On the two forms, or diomorphic one for commercial sale, and one (as here) for the author. Darwin had long condition, in the species of Primula . . . “. been intrigued by the more energetic aspects of plant physiology, and this Offprint from The Journal of the Proceedings of monograph (subsequently published in a second edition by John Murray in the Linnean Society, 1862; b) “On the Existence of two forms, and on 1875) is the result of his study of more than 100 species of climber, which, their reciprocal sexual relation, in several he was convinced, demonstrated how climbing adaptation aided survival species of the genus Linum . . . “. Offprint in dense vegetation, showing how plant movement had been intensified by from The Journal of the Proceedings of the Linnean the process of natural selection. Society, 1863; c) “On the Sexual Relations of the three William Erasmus Darwin (1839–1914) was the first of the naturalist’s forms of Lythrum salicaria”. Offprint from ten children. From 1861 to 1870 he was his father’s main scientific assis- The Linnean Society Journal, 1864; tant for his outstanding research on plant forms and floral mechanisms d) “Notes on the fertilisation of orchids”. for cross-fertilisation, and the different methods they have evolved for Offprint from The Annals and Magazine of Natural History, 1869. climbing. This volume contains three of Darwin’s classic botanical works, to each of which William made significant contributions. In his later life condition Some light spotting to text, binding slightly William Erasmus championed the cause of university education for all, rubbed on spine and at extremities, overall and played a leading role in the initiatives which led to the foundation of a in very good condition. university college in Southampton in 1902. provenance With a Southampton binder’s label, £75,000 [128453] authorial inscription “From the author” on the title page of the first work. Armorial bookplate of the author’s son William E. Darwin. literature Freeman 835; 1717; 1723; 1731; 1748.

39 Presentation copy to one of his child-friends, whom the author photographed between May and July 1866, together with three letters 21 CARROLL, Lewis. Alice’s Adventures in Wonderland. London: Macmillan and Co., 1866 first published edition, presentation copy, inscribed by the contents and binding author to one of his child-friends on the half-title, “Ella Chlora Octavo (178 × 117 mm). Recent red morocco Williams from the author”, together with three letters from the author by Bayntun-Riviere of Bath, title to spine gilt, marbled endpapers, edges gilt, with, mounted on the third, fourth, and fifth blanks. Ella Chlora Faithfull Bick- mounted on three blanks: autograph letter, ersteth (née Monier-Williams, 1859–1954) was the only daughter of Sir pp. 3, bifolium, signed from the author Monier Monier-Williams, the second Boden Professor of Sanskrit at the to Mrs Julia Monier-Williams, dated 31 University of Oxford, where Charles Dodgson, who wrote under the pen- January 1879; facsimile circular letter, one page, signed in autograph from the name Lewis Carroll, taught mathematics. Dodgson first mentions meeting author to Ella Monier-Williams, Oxford, Ella in his diary entry for 1 May 1866: “Dined at Prof. Monier Williams’s. dated 25 February 1880; autograph letter, We had each called on the other twice, but never met before. I thought pp. 3, bifolium, signed from the author to him pleasant, and Mrs. Williams particularly so. Also I saw the little Ella, Ella Monier-Williams, Oxford, dated 29 April 1880, envelope laid onto following whom I had noticed before, and wished to photograph” (Diaries, vol. V, leaf. Frontispiece with tissue-guard and 41 p. 146). Dodgson took several photographs of little Ella between May and illustrations by John Tenniel. Housed in a July 1866, a few months after Alice’s Adventures was first published (see be- custom red cloth slipcase. low). The photographs included some of Ella wearing items of clothing condition borrowed from the Ashmolean Museum, held today in the Pitt Rivers Mu- A little scattered foxing and soiling, small ink stains to seventh blank and half-title, seum. Bickersteth recalled the photography sessions later in life: “among tiny repair to tip of frontispiece and p. 19 my earliest recollections is being taken by my mother to his rooms in Tom (partly affecting text). A very good copy, Quad at Christ Church, again and again, to be photographed by him in attractively bound. some mood, costume, or attitude which caught his fancy or in which his provenance discerning eye saw the unconscious expression of childish pleasure, hope, See main note. or awe” (Collingwood, p. 224). literature Dodgson refers to these photographs in the first of the three letters Williams-Madan-Green-Crutch 44. Bickersteth, letter to The Times, 22 March contained in this copy. On 31 January 1879, Dodgson writes to Bickersteth’s 1928; Wakeling (ed.) 1993–2007, Vol. mother, Julia Monier-Williams, to congratulate her on the news of Ella’s 5: 146; Wakeling, E. Lewis Carroll: The engagement to the Revd. Dr Canon Samuel Bickersteth, and suggest that Man and his Circle, 2015; Bickersteth, Ella, one of his photographs might be gifted to Ella’s fiancé: “if Miss Williams “Some reminiscences from the pen of Mrs Samuel Bickersteth (Miss Ella Monier wishes to present him with any photographs of my doing of which the neg- Williams)” in Collingwood (ed.) The ative still exists, it will gratify me if she will accept prints of them (if you Lewis Carroll Picture Book, 1899. For a full have not enough of them)”. discussion of Dodgson’s photographs of The other two letters are from the following year, directly from Dodg- Ella Monier-Williams, see: Coote, Jeremy and Christopher Morton, “‘Dressed as son to Bickersteth (still Miss Williams; she married in 1881). The first of a New Zealander’, or an ethnographic the letters, dated 25 February, is a facsimile circular letter, opening and mischmasch? Notes and reflections on two closing in autograph (“My dear Ella . . . yours electrically and affectionately photographs by Charles Dodgson (Lewis C. L. Dodgson”). In it, Dodgson requests that she set him a word puzzle Carroll)” in Journal of Museum Ethnography, no. 28 (March 2015), pp. 150–172. of chain-words (“made on words of from 3 to 6 letters . . . There should always be some connection in meaning between the first word and the last”). The second, dated 29 April 1880, is an autograph letter signed from him, expressing mock-horror at the manner in which she closes her letters: “it is a great shock to my sensitive feelings to find young ladies (of a certain age and engaged) persist in signing themselves ‘very affectionately’”. Dodgson proceeds invites her to tea (“that unwholesome thing”), compar- ing his composition of the letter to “an elephant doing crochet”, and asks

40 her to bring “the infants you mention, if you think it would . . . serve, even for an hour, to lessen their sadness”. Dodgson’s friendship with Bickersteth, as evidenced in these teasing letters, was unusual for its continuance into her adult life. Dodgson’s child-friendships often evolved into a distant acquaintance as the child grew up. Bickersteth herself remarked on the fact that she was “one of the ‘children’ whose love for him endured into adulthood” (Collingwood, p. 222). At seventy years old, when it was announced that Alice’s Adventures Un- der Ground, the original manuscript of Alice’s Adventures in Wonderland, was to be sold at auction, Bickersteth was one of a number of people who wrote to The Times to express the hope that the manuscript would remain in Britain. In her letter, she recalled her final interaction with the author: “the last time I saw Mr. Dodgson, not long before his death, was at the Indian Insti- tute at Oxford when, full of his characteristic teasing, as usual, he tried to prove to me, the mother of six sons, how infinitely superior he considered girls to boys; and that was indeed a settled conviction he was always ready to defend” (Bickersteth, 1928). The book was originally printed in Oxford at the Clarendon Press in June 1865, but suppressed when Dodgson heard that the book’s illustrator was dissatisfied with the quality of the printing. It was entirely reset by Richard Clay for this authorized Macmillan edition which, although dated 1866, was in fact ready by November 1865, in time for the Christmas market. £75,000 [127698]

41 42 The deluxe edition of this splendid photographic survey of China, one of the most extensive of any region taken in the 19th century 22 THOMSON, John. Illustrations of China and its People. A Series of Two Hundred Photographs, With Letterpress Description of the Places and People Represented. London: Sampson Low, Marston, Low, and Searle, 1873–4 first edition, deluxe issue in a variant publisher’s binding. “My contents and binding design in the accompanying work is to present a series of pictures of China 4 volumes, folio. Original publisher’s half and its people, such as shall convey an accurate impression of the country morocco, dark green pebbled cloth sides, covers with gilt titles and gilt vignettes of I traversed as well as of the arts, usages, and manners which prevail in the Confucian Temple at Peking, spine different provinces of the Empire. With this intention I made the camera gilt, edges gilt. With 218 photographic my constant companion of my wanderings, and to it I am indebted for views and portraits by Thomson on 96 the faithful reproduction of the scenes I visited, and of the types of races collotype plates, each with guard and leaf of descriptive text. which I came into contact” (Thomson, introduction). condition The Scottish photographer and travel writer, John Thomson (1837–1921) Ownership signature of J. M. Walford to captured some of the most outstanding images of China during the nine- front free endpapers of first 2 volumes. A teenth century, beginning at Singapore in the 1860s, where his brother few marks to cloth, an excellent set. was established in business. He then travelled to Cambodia, obtaining literature permission from King Mongkut to photograph the temples at Angkor and Parr & Badger I, 32. Phnom Penh, the results of which were published in his first major work, The Antiquities of Cambodia (Edinburgh, 1867). Returning to the Far East in late 1867, he visited Vietnam and then set up a studio in Hong Kong. “Be- tween 1870 and 1872 he [Thomson] undertook four distinct journeys, up the north branch of the Pearl River, up the River Min to the area around Foochow (Fuzhou), to Peking (Beijing), and finally up the great Yangtze (Yangzi) River. The photographs taken on these journeys form one of the most extensive photographic surveys of any region taken in the nineteenth century. The range and depth of his photographic vision mark Thomson out as one of the most important travel photographers” (ODNB). The present volumes, published on his return to London in 1872, established his reputation as a photographer, traveller and authority on China. The first two volumes were printed apparently in an edition of only 600 copies, a restricted run that was increased to 750 copies for volumes 3 and 4; the volumes were sold for £3 3s. each, a substantial amount at the time, which reflects the high standards of production. £75,000 [95456]

43 One of the first modern French livres d’artiste, signed by both translator and illustrator 23 (MANET, Edouard.) POE, Edgar Allan. Le Corbeau. The Raven. Poëme. Traduction française de Stéphane Mallarmé, avec illustrations par Edouard Manet. Paris: Richard Lesclide, 1875 signed limited edition, number 198 of a stated edition of 240 copies, contents and binding signed by both Mallarmé and Manet. Often cited as one of the high points Folio. Original Japanese vellum wrappers, of French book illustration (Ray 369), it is one of the first modern French text and plates loose as issued. Housed in a custom brown quarter morocco flat-backed livre d’artiste. “An astonishingly modern illustrated book for 1875”, Le Corbeau folding case. With 4 full-page lithographs represents liberation from literal interpretation (Artist and the Book). Mal- (signed E.M. on the stone), inserted larmé’s translation of Poe’s narrative poem, first published in 1845 in the parchment “ex libris” leaf, front wrapper New York Evening Mirror, was illustrated by Manet using transfer lithography. with lithograph raven head, all by Manet; title printed in red and black. “A method ideally suited to the brush-and-ink drawing style . . . [Manet] condition brushed in his designs with transfer ink on sheets of paper that Lefman, Wrappers faintly spotted and lightly rippled, the specialist printer for this technique, then transferred to zinc plates for spine sometime expertly repaired, almost printing” (Manet exhibition catalogue, Metropolitan Museum of Art, 1983, imperceptibly, occasional faint spot to p. 384). contents. A lovely copy of this vulnerable publication. Manet first met Mallarmé in 1873 and the two became close friends. literature Manet’s portrait of Mallarmé, held today in the Musée d’Orsay, was paint- Artist and the Book 178. ed in 1876, the year the second collaboration, L’Après-midi d’un faune, was published. £100,000 [132602]

44 45 Inscribed by Darwin, unusually in his own hand 24 DARWIN, Charles. The Different Forms of Flowers on Plants of the Same Species. With illustrations. London: John Murray, 1877 first edition, presentation copy, inscribed by darwin at the head contents and binding of the title: “With the respects of the Author.” Most unusually for a Darwin Octavo. Original green cloth, spine lettered presentation, the inscription is in Darwin’s own hand rather than one of in gilt and with gilt decorative bands at head and foot, sides blocked in blind, Murray’s clerks. dark brown coated endpapers, Simpson & Different Forms of Flowers was published in a first edition of 1,250 copies on Renshaw binder’s ticket. Housed in a dark 9 July 1877. There was only a single issue, with adverts dated either January green quarter morocco solander box by the or March (the only other presentation copy of this edition we have handled Chelsea Bindery. 15 text woodcuts, 38 tables. Inserted adverts dated March 1877. also had March adverts). “Had Darwin not chosen such genetically com- condition plex examples, he might have approached more nearly to an understand- With green floral inkstamp and manuscript ing of the laws of particulate inheritance” (Freeman). It was translated only ownership mark of Willem Overmars, into French and German in Darwin’s lifetime, though into four further herfst [autumn] 1985 to front free endpaper. languages since his death. Extremities rubbed, front inner hinge skilfully restored, endpapers a little £50,000 [131722] browned, overall very good. provenance The modern Dutch ownership inscription in this copy is interesting, and hints that the original recipient may have been Dutch. The only Dutch scientist on the list of copies for presentation made by Darwin was Pieter Harting (1812–1885), the noted zoologist, who had been one of the first Dutch scholars to accept the theory of evolution. For Darwin’s 68th birthday, his continental supporters had sent him albums containing photographs of 217 distinguished professors and lovers of science from Holland and 154 German scientists. The German album was arranged by Ernst Haeckel, who was a recipient of a presentation copy of Forms of Flowers. At the same time, Pieter Harting sent Darwin a copy of a Dutch testimonial honouring him and sent copies of his correspondence with Darwin for publication in Nature. The Dutch album was widely reported in the British press. literature Freeman 1277.

46 One of the greatest works of literature ever written, three volumes in the original cloth 25 TOLSTOY, Leo. Anna Karenina. Moscow: Typ. T. Ris., 1878 first edition in book form, one of 6,000 copies printed, and rare in contents and binding publisher’s cloth. Since 1975 only one copy in any kind of publisher’s bind- 3 volumes, octavo. Original brown cloth, ing has appeared at auction, a copy in original wrappers sold at Sotheby’s, front covers lettered in gilt, gilt and blind stamping to covers. Housed in a recent 3 Dec. 1998. This was the only book edition of Anna Karenina to be pub- custom solander box by Bayntun-Riviere of lished during Tolstoy’s lifetime. Bath. The present edition was published in early January 1878, after Tolstoy condition had revised the text with the aid of his close friend Nikolay Strakhov. The Partial circular ink stamp, apparently novel had previously been serialized from 1875 to 1877 in the Russian peri- Italian, to outer edge of rear endpaper of vol. 1. First two volumes generally rubbed odical Russkiy Vestnik (Russian Herald). The serialization lacked the conclud- and faded with loss of gilt, perhaps skilfully ing section, however, owing to a dispute between Tolstoy and Russian Herald tightened, third volume a little rubbed publisher Mikhail Katkov. As Tolstoy was writing Part VIII (the Epilogue), at extremities, all three volumes with Serbia and Montenegro revolted against Ottoman rule and Russia declared occasional pencil markings, typically a single letter or mark in the margin struck war on the Ottoman Empire on 24 April 1877. As a pacifist Tolstoy refused through, some underlining, roman letters the demands of Katkov to omit passages that could now be considered as indicating that the annotations are not unpatriotic. In response Russian Herald only printed a short note as a con- those of a Russian speaker and perhaps clusion to the serial. Tolstoy published his preferred ending as a separate suggesting preparation for a translation, overall very good. pamphlet in July 1877 (Thornby, Tolstoy: Anna Karenina, 1987, pp. 9–10). literature £38,500 [125525] Kilgour 1196.

47 “The first copy that the author ever set his eyes on”, inscribed to the manager of the lecture tour on which he gave his first public readings from the novel 26 TWAIN, Mark. Adventures of Huckleberry Finn (Tom Sawyer’s Comrade). New York: Charles L. Webster and Company, 1885 first u.s. edition, first printing, presentation copy, inscribed contents and binding by the author in the month of publication on the preliminary Octavo (214 × 164 mm). Publisher’s half morocco, marbled edges, marbled blank, “To Major J. B. Pond With the affections of Mark Twain Feb. 21/85”, endpapers, rebacked with original spine laid and further extensively inscribed by Pond (“This is the first copy that the down. Housed in a custom red morocco- author ever set his eyes on …”) Major James Burton Pond (1838–1903) be- backed slipcase and chemise. Photogravure came a lecture manager after a distinguished career in the Union Army portrait frontispiece (second state, with the imprint of the Heliotype Printing Company during the American Civil War. Pond was hired by Twain in the summer and with “Karl Gerhardt, Sc.” added to the of 1884 to oversee his lengthy 1884–5 lecture tour which would encompass finished edge of the shoulder), illustrated eighty cities and number over a hundred performances. The tour was a throughout with 173 text illustrations after critical and commercial success, earning Twain $17,000, and included E. W. Kemble. some of Twain’s first readings from Huckleberry Finn. condition Only three substantive changes were introduced after the first printing: Boards slightly rubbed, one spot of soiling above text on title page, pp. 147–152 with at p. 13 the erroneous page reference “88” was changed to “87”; at p. 57 the minor loss from each upper corner not misprint “with the was” was corrected to “with the saw”; and at p. 9 the affecting text. misprint “Decided” was corrected to “Decides”. This copy has all these in literature first state. The frontispiece was printed separately and inserted at random, BAL 3415; Grolier, 100 American, 87; Johnson, and has no relation to the order of the printed sheets. pp. 43–50; Kevin MacDonnell, “Huck Finn among the Issue-Mongers”, Firsts; The Book Copies in the original half morocco binding are the least often met with. Collector’s Magazine, Volume 8, Number 9 Less than two weeks before publication, the publisher Webster announced (September 1998), pp. 28–35. that he was binding 20,000 copies in cloth, another 2,500 in sheep, and 500 copies in half morocco. Webster’s own copy, also half morocco, was dated by him as having been received from the binder on 26 November 1884. At some stage it was realised that the Uncle Silas illustration on page 283 had been mischievously tampered with. In this copy, the illustration is in first state. £150,000 [131671]

48 49 One of ten copies on vellum, in a striking James Brockman binding for John Paul Getty 27 (KELMSCOTT PRESS.) CAXTON, William (trans.) The History of Reynard the Foxe. Hammersmith: The Kelmscott Press, sold by Bernard Quaritch, 1892 [1893] limited edition, one of ten copies on vellum, from a total contents and binding edition of 310, in a striking binding that was commissioned by Quarto (280 × 205 mm). Finely bound by john paul getty, and bound by the innovative british book- James Brockman, gilt stamped on the rear turn-in “James R. Brockman 1980”, smooth binder james brockman (b. 1946), who studied under Ivor Robinson spine gilt lettered vertically, multicoloured and Sydney Cockerell. In 1987 Brockman was appointed the first visiting calf bands extending around spine to both lecturer at the Institute of Fine Binding and Book Conservation, Univer- covers each divided by a gilt rule, large vellum sity of Texas. He is a former President of Designer Bookbinders and The inset to both covers striated with intersecting gilt rules (the vellum mottled blue-green and Society of Bookbinders. His design here draws on the fable of Reynard representing the moon), white calf turn-ins tricking the wolf Isengrim, “the fox, at night, under a full moon, leads the ruled in black, pale green silk doublures, gilt wolf to a well, then quite deliberately gets into the upper bucket, causing edges. Printed in Troy type in black and red; it to descend and to raise the lower one. The wolf asks the fox why he has glossary in Chaucer type. Woodcut title-page and facing page with full woodcut page- done this. Now at the bottom of the well, the fox calls up, ‘Look here’, and border, numerous 8-line and smaller initials points to the reflection of the moon: ‘Here’s a big cheese’. The wolf then and partial borders. asks how he can join the fox to get at the cheese. The fox points to the oth- condition er bucket, and invites the wolf to get in, which he does” (Varty), Reynard Bookplate of “W.L.G.” to front free then rises in his bucket as Isengrim descends, hops over the side of the endpaper. A fine copy in a striking binding. well and away. literature Peterson A10; Varty, Kenneth, “The Fox and In his note requested by Quaritch as a puff, Morris commented: “this the Wolf in the Well: the Metamorphoses translation of Caxton’s is one of the very best of his works as to style; and of a Comic Motif ” in Reynard the Fox: Social being translated from a kindred tongue is delightful as mere language. Engagement and Cultural Metamorphoses in the In its rude joviality, and simple and direct delineation of character, it is a Beast Epic from the Middle Ages to the Present, thoroughly good representative of the famous ancient Beast Epic” (cited in 2000, p. 247. Elisabeth Luther Cary, William Morris, 1902). £50,000 [132605]

50 51 A masterpiece of Gothic horror, inscribed for an old friend 28 STOKER, Bram. Dracula. Westminster: Archibald Constable and Company, 1897 first edition, first issue, presentation copy, inscribed by the contents and binding author on the front free endpaper, “Henry Williams from his old friend Octavo. Original yellow cloth, blocked and Bram Stoker July 1897”. With the relevant issue points: printed on thicker lettered in red. Housed in a quarter black morocco clamshell case with red morocco paper stock, without the advert for The Shoulder of Shasta which appears in spine label. later impressions on the verso of the final integral leaf [392]. The book was condition published in May 1897. Collector’s bookplate of Jean Hersholt of Beverly Hills, California, on the front £135,000 [130449] pastedown. Some light thumbing and soiling to cloth, but less than usually seen, spine somewhat darkened and faded as often, small stain at foot limited to first few leaves, otherwise clean and bright internally, an excellent copy. condition Dalby 10a.

52 His last and greatest play, one of 100 signed large paper copies 29 WILDE, Oscar. The Importance of Being Earnest. London: Leonard Smithers and Co, 1899 first edition, signed limited issue, number 46 of 100 large paper contents and binding copies signed by the author. The Importance of Being Earnest opened to Square octavo. Original pale purple cloth, huge acclaim on Valentine’s Day 1895 but was withdrawn after Wilde’s failed gilt lettered spine, gilt floral motifs from designs by Charles Shannon on spine and libel suit against Lord Queensbury led to his arrest. The subsequent “utter covers, edges untrimmed, pages uncut. social destruction of Wilde” (ODNB) meant that the play was not published Housed in a custom brown quarter morocco in book form until February 1899, after Wilde’s release from prison. Richard and cloth solander box and matching Ellmann comments that Smithers’s handsome editions of Earnest and An Ideal chemise. Husband “brought Wilde a little money”. The play was issued in a standard condition Cloth very slightly faded at spine and upper edition of 1,000 copies, this large paper edition, and 12 copies on vellum, and inner edge of front board, a couple of most of which the author presented to his few loyal friends. small areas of cockling to front board, free endpapers browned as usual from reaction £50,000 [132907] to pastedowns, still a near-fine copy, fresh and clean internally, with one unopened top edge. literature Mason 382.

53 The best known image of “The Lady with the Lamp”, exceptionally rare signed 30 NIGHTINGALE, Florence. Signed cabinet photograph London: London Stereoscopic Company, [c. 1900] a superb large format signed photograph, one (and perhaps the medium largest) of only very few examples of a signed photographic portrait of Original albumen print mounted on grey Florence Nightingale to have appeared on the market, auction records re- heavy card stock studio mount printed in dark grey, tipped to a cream-coloured cording no examples. There are signed cartes-de-visite at the Florence Night- textured paper album leaf (image: 147 × 101 ingale Museum in London (dated 1861, photographer H. Lenthal) and Co- mm; mount: 166 × 107 mm; album leaf 254 lumbia University (dated 1867, photographer A. A. Turner), but those are × 201 mm). smaller in size than this cabinet photograph. condition This has a detailed note of provenance, having been garnered by the Remains of album leaf on verso of mount (where lifted), otherwise in very good noted American autograph hunter Charles Elmer Rice (1862–1939), whose condition. autograph inscription appears on the verso of the mount and below the provenance image on the album leaf: “Signed for me on May 15th 1903—on my 2nd vis- See main note. it to her, in her home No 10, South Street, Park Lane, London—just after her 84th birthday anniversary—She died Aug 13th, 1910—in her 92nd year, Chas. E. Rice”. Dr Rice, of Alliance, Ohio, amassed an impressive collection of auto- graphs and manuscripts, auctioned in 1917 by Henkels of Philadelphia. It comprised a “full set of the presidents of the United States, cabinet officers, presidents of the Senate and speakers of the House, signers of the Declaration of Independence, members of the Continental congress, signers of the Constitution, Supreme Court of the United States, governors of the states, Confederate government, and Hartford convention etc., etc.” He also donated an important group of papers, now the Charles Elmer Rice Collection, to the Ohio Historical Society. This portrait, the likeness chosen to appear on the 1975 Bank of England £10 note, is the best known and most widely circulated image of Florence Nightingale. The head-and-shoulders and full-length versions, both of which are held by the National Portrait Gallery, are more familiar repro- ductions, rather than this three-quarter length image. It was originally taken in around 1856 by William Edward Kilburn (1818–1891), shortly after the conclusion of the Crimean War. “William Kilburn opened his portrait studio on London’s Regent Street in 1846. He was commissioned to make daguerreotype portraits of the Royal Family between 1846 and 1852, and was awarded a prize medal for his photographs at the 1851 Great Exhibi- tion” (National Portrait Gallery). £35,000 [125693]

54 55 The founder of psychoanalysis on the Interpretation of Dreams 31 FREUD, Sigmund. Die Traumdeutung. Leipzig & Vienna: Franz Deuticke, 1900 [1899] First edition of Freud’s greatest single work, The Interpretation of Dreams, contents and binding one of only 600 copies printedl very rare in the original wrappers. “Die Octavo (238 × 152 mm). Original paper wrappers. Housed in a box. Diagrams to Traumdeutung contains Freud’s general theory of the psyche, which he had text. developed during the past decade. Using his refined understanding of the condition operation of the unconscious, Freud interpreted dreams on the basis of Wrapper extremities creased, some sunning wish-fulfilment theory and discussed displacement (the appearance in to spine and rear wrapper, small nick to conscious thought of symbols for repressed desires), regression, Oedipal top edge of pp. 371-2 and a couple of pencil marks to margins, a few leaves unevenly impulses, and the erotic nature of dreams . . . Freud gave an unprecedent- opened; in all a near-fine copy, excellently ed precision and force to the idea of the essential similarities of normal preserved.. and abnormal behaviour, opening up the door to the irrational that had provenance been closed to Western psychology since the time of Locke” (Norman). “It From the library of Jo. Weber, with the contains all the basic components of psychoanalytic theory and practice” red inked “Bibliothek Jo Weber” stamp (PMM). The book was published on 4 November 1899 (though post-dated and shelfmark label to the front wrapper; subsequently from the library of Pierre by the publisher) but sold so slowly that the second edition did not appear Bergé, with his library label to the inside of until nine years later. the solander box. literature £50,000 [131686] Garrison-Morton 4980; Grinstein 227; Grolier/Horblit 32; Grolier Medicine 87; Norman F33; Printing and the Mind of Man 389.

56 His first book, inscribed in Trieste 32 JOYCE, James. Chamber Music. London: Elkin Mathews, 1907 first edition, inscribed by the author on the front free endpaper, contents and binding “To Beatrice Ricchetti [sic], 25–X–911 James Joyce”, that is, on 25 October Small octavo (158 × 110 mm). Original green 1911. At the time of this inscription, Joyce was supporting himself by giving cloth, spine and front cover lettered in gilt, thick wove endpapers. Illustrated title page. private lessons and by teaching in the evening school of the Società degli condition impiegati civili. Beatrice (Bice) Richetti was most likely one of his private Slight rubbing to spine ends and tips, faint pupils. “The young Triestine ladies who took English lessons from Joyce offsetting to endpapers; else a near-fine were highly educated and independent and showed a range of qualities not copy. always common in women of their age. They studied music, often attended literature university (in Vienna, Graz, or Florence); they spoke, in addition to Triesti- Slocum & Cahoon A3. John McCourt, The Years of Bloom, Dublin, Lilliput Press, 2001; no, at least three languages (Italian, German, and English or French), and James G. Nelson, “James Joyce’s First were usually widely read . . . They were emancipated young ladies, who Publisher: Elkin Mathews and the Advent of showed little or no interest in religion, and who were well aware of the sex- ‘Chamber Music’”, James Joyce Quarterly, Vol. ual and intellectual attraction they could exercise over a young man such 23, No. 1 (Fall 1985), pp. 9–29. For the John Bowring Spence copy, see the library of H. as Joyce” (McCourt, p. 199). Whether or not Bice was one of the alluring, Bradley Martin, sold at Sotheby’s NY, 1 May precocious young Jewish ladies who inspired the portrait of Joyce’s “dark 1990, lot 2963. lady” in his Triestine novella Giacomo Joyce, written sometime between 1911 and 1914, she certainly belonged in that milieu. In 1914 Bice married Henry Victor Randegger (d. 1930), nephew of Al- berto Randegger (1832–1911), the famous composer, conductor, and sing- ing teacher who was born in Trieste but lived in London from 1855 until his death. In Joyce’s earliest days in Trieste, in a postcard to Stanilaus of 27 May 1905, Joyce cites Randegger as proof of the city’s musical credentials. Bice was one of the daughters of Ettore Richetti, a prominent lawyer and head of the Jewish community in Trieste. Ettore Richetti owned the building at via Vincezzo Scussa, no. 4–6, the neighbouring property to no. 8, where Joyce and Nora rented a first-floor apartment from 25 April 1909 to 24 August 1910. He was a guardian of the Revoltella school where Joyce taught English and business correspondence from October 1913 to the school’s temporary closure in June 1915, and again in 1919–20. Professor Giorgio Morpurgo, acting director of the Revoltella who surprised Joyce by hiring him to teach there, was a relation of Ettore’s wife, born Clotilde Morpurgo. Joyce’s first commercially published work, Chamber Music was first printed in a small edition intended to be of 500 copies (Gorman says 509 were printed) and bound up in one of three binding variants, of which this is the second. The first is a little larger (162 × 110 mm), in a slightly lighter shade of green cloth, and has thick laid endpapers with horizontal chain lines and the poems in signature C well centred on the page. The second and third are each trimmed slightly smaller, and the poems in signature C are poorly centred (that is, the upper and lower margins are unequal). The second variant has thick wove endpapers, the third has thin wove transparent endpapers. An explanation for this unusual state of affairs is offered by Arthur Free- man: “What must have happened is that some (most, I think) of the small sheets ‘C’ were misfolded, discovered to be out of register, and put aside or

57 reserved—one may bear in mind Joyce’s notorious fastidiousness in such matters. When copies of the book were actually issued with the misfolded sheet, all the sheets were trimmed to take care of the maladjustment” (Bernard Quaritch Bulletin 5). The issue dates and relative numbers of the three binding variants can only be guesswork. The contract allowed Joyce a royalty after 300 copies had been sold, so Mathews may have thought it necessary to have at least that many copies bound at first. There is no evidence that first and second binding variants were not both available at first publication, though Mathews may have thought it prudent to ensure that Joyce was sent the first binding variant for his own personal use: one of the first copies, that inscribed by Joyce to Vincent Cosgrave from Trieste on 10 May 1907, is the first binding variant. But Joyce, who was not afraid of challenging Mathews on other matters, never seems to have noticed the variation in the bindings. The copy he inscribed to John Bowring Spence from Trieste on 16 Oc- tober 1912, almost a year after this inscription on a second binding variant, is a first binding variant, so it is also clear Joyce did not distribute them in the strict order suggested by his bibliographers. In July 1908 Mathews reported to Joyce that 205 copies had been dis- posed of: 61 to reviewers, 12 author’s copies to Joyce, 1 for British Museum Copyright, 4 to public libraries, and 127 sold. In spring 1910, Joyce had his own advertisement leaflet for the book printed in Trieste (Letters II 332–3, no. 3; 283) and purchased copies from Mathews to sell there. By these efforts, he shifted another 64 copies between 7 September 1909 and Febru- ary 1913, still well short of his royalty target of 300 copies. Notwithstanding slow sales, in January 1918 Mathews printed a second edition, bound in grey laid paper wrappers, priced 1s. 3d. Cloth copies at 2s. were also offered at the same time, and Slocum and Cahoon, never having seen a copy, conjectured that these might have been copies of the first edition. These could plausibly be the remaining 200 or so copies bound up in 1918 in the third variant binding, with cheaper endpapers. The earliest inscription on a third variant binding we can trace is that to James Semper, 8 February 1918. Of the copies we have been able to trace, this is the earliest dated presentation on a copy of the second binding variant. £65,000 [133107]

58 59 Superb photographs of pre-revolutionary Moscow by one of the foremost Russian photographers of the period 33 PAVLOV, Pyotr Petrovich, photographer. A’lbom zdaniy, prinadlezhavschih Moskovskomy gorodskomu upravleniyu. Album des bâtiments municipaux de Moscou. (Album of the municipal buildings of Moscow.) Moscow: P. P. Pavlov, [1912–13] extremely scarce photographic record of pre-revolution mos- contents and binding cow, captured in a series of stunning images by the photographer Pyotr Pet- Landscape folio (403 × 541 mm). Original rovich Pavlov. Among the many subjects featured here are schools, hospitals, dark reddish-brown morocco-grain skiver over bevelled boards, neatly rebacked, white orphanages, public housing, gasworks, tram depots, abbatoirs, and admin- moire-effect endpapers, green cloth inner istrative buildings, focusing on the progressive aspects of the city and offer- hinges. 240 photogravure plates printed on ing a panoramic view of the Russian capital at the dawn of the 20th century. 220 leaves of heavy stock card (20 leaves with Included here are two views of Tolstoy’s house (plates 51 and 52), today the two plates), captions in Russian and French, studio credit of P. P. Pavlov on each mount Tolstoy Estate-Museum, bearing the caption “acquis par la ville” (acquired leaf. Larger images: 260 × 358 mm, smaller: by the city), nicely dating these images to after 15 November 1912, when 200 × 272 mm. the Moscow municipality bought the writer’s home with all its furniture for condition 125,000 roubles, and with the intention that the courtyard should accommo- A few scrapes and abrasions to back date a Tolstoy School of sixteen classes. cover, corners a little worn, prelims a little dusty and with closed tear at foot, 3 plates Pavlov (1860–1924) was born into a peasant family in Feodorovskaya remargined, occasional marginal soiling yet village, Olonetsky District, Republic of Karelia, on the western fringes of a very good complete copy.

60 Russia. In 1881 he arrived in Moscow from St Petersburg and joined the well-established photographic studio of Scherer, Nabholz and Co., serving a ten-year apprenticeship. In 1891 Pavlov opened his own studio where he was mostly engaged in portrait and group photography; famously capturing An- ton Chekhov in 1899. In 1898 he was commissioned by the Imperial Moscow Archaeological Society (Imperatorskoye Moskovskoye Arkheologicheskoye Obshchestvo or IMAO) to photograph both the historical and monumental fabric of Moscow and later, as presented here, the city’s fine municipal archi- tecture. Interestingly, Pavlov was also responsible for a series of photographs recording the damage sustained by Moscow’s buildings during the Bolshevik shelling of the city in 1917. His work was the subject of a 2011 exhibition at Rosphoto, Moscow, Pyotr Pavlov: Views of Old Moscow. It is rare: among British and Irish institutional libraries Copac locates only the copy at the British Library, and OCLC cites just Harvard and Columbia worldwide. No copies appear on auction records. £45,000 [131502]

61 The premier issue, one of 100 copies signed by the author on Dutch paper 34 JOYCE, James. Ulysses. Paris: Shakespeare and Company, 1922 first edition, first issue, number 82 of 100 copies signed by contents and binding joyce and printed on dutch handmade paper. Ulysses was pub- Small quarto. Original blue wrappers, titles to cover in white. Housed in a custom blue lished in imitation of the traditional three-tiered French format aimed at quarter morocco and cloth solander box and both connoisseurs and readers: 100 signed copies on Dutch handmade pa- blue cloth chemise. per; 150 large paper copies printed on heavier vergé d’Arches, and 750 copies condition on vergé à barbes forming the smaller trade issue. The lithographed colour has failed to print Ulysses was published on 2 February 1922. Sylvia Beach’s notebook along the edge of the inside rear flap, a print shop accident not affecting the external records that this copy was sold to the Chelsea Book Club on 8 June, a appearance. Wrappers a little darkened, bookshop and art gallery in Cheyne Walk that stocked English and French slightly rubbed and nicked to extremities, literature. It was the first bookshop in England to sell Ulysses in 1922. Leslie skilful paper restoration visible only under Seymour, who took over management of the shop from Aldous Huxley, raking light to short split at head of rear joint and at a narrow angle across the spine, noted: “‘we’ve sold in advance twenty-one copies of the first edition of tiny repair to nick at head of front joint, James Joyce’s book at £3.10.0 a copy . . . and the Chelsea Book Club will be faint offsetting to endpapers, contents the only people in England to have it, for I was in Sylvia Beach’s little shop fresh with a couple of leaves unopened. An in the Rue de l’Odeon today and took a packing-case of copies from her. excellent copy. She explained it had been returned from some other London bookshop, provenance badly damaged apparently by a pick wielded by the Customs, I would have See main note. to take the risk of any spoilt copies’” (Leslie, p. 110). literature Slocum & Cahoon A17. See Seymour Leslie, £250,000 [133648] The Jerome Connexion, 1964.

62 A superlative presentation copy inscribed to “the original Gatsby” 35 FITZGERALD, F. Scott. The Great Gatsby. New York: Charles Scribner’s Sons, 1925 first edition, first printing, a superb presentation to “the contents and binding original gatsby”, inscribed by the author on the front free endpa- Octavo. Original dark green linen-grain cloth, titles to spine gilt, to front board in per, “For Harold Goldman, The original ‘Gatsby’ of this story, with thanks blind. for letting me reveal these secrets of his past. Alcatraz, Cell Block 17 (I’ll be condition out soon, kid. Remember me to the mob. Fitzgerald)”. Few minor stains and two short closed Harold Goldman (1889–1956) was a screenwriter at MGM from about tears, cloth a bit rubbed/faded with a few 1935 until 1940. He and Fitzgerald worked together on A Yank at Oxford, scrapes, hinges weak, a good copy. 1938, starring Robert Taylor and Vivien Leigh. Jay Gatsby, of course, was literature another “Yank at Oxford,” famously claiming to Nick Carraway that “all my Bruccoli A11.1.a. ancestors have been educated there”. Fitzgerald did not enjoy his brief and unsuccessful time in Hollywood—“Cell Block 17” is a sardonic reference to his office in the writers’ building and “Alcatraz” the MGM lot—although he used his experiences there in his last, unfinished novel, published in 1941 as The Last Tycoon. According to family history, Fitzgerald and Goldman knew each other prior to their time together at MGM. This seems to be corroborated by the warmth of the present inscription. Both writers attended Ivy League schools (Goldman at Columbia) and both spent a good amount of time in France among the ex-pat community of writers. Inscribed copies of this novel are notably rare. There were no presentation copies inscribed by the author in the book at publication date, as Fitzgerald was in Europe at the time. £275,000 [102632]

63 An outstanding contribution to the recording of the natural world, offering insight into Vernay’s developing conception of the relationship between hunting, collection, and conservation 36 VERNAY, Arthur Stannard. Collection of 16 photographic albums; [together with:] typescript diary. 1920s–30s extraordinary personal archive of over 3,000 original pho- contents and binding tographs assembled by one of the most renowned travellers, Together 17 volumes. 16 quarto and naturalists and big-game hunters of the inter-war years, Arthur landscape quarto albums, bound in variations of contemporary morocco-grain Stannard Vernay (1877–1960). Panoramic in scope—spanning Africa, the Mid- skiver and pebble-grain cloth; 1 quarto dle East, India, and East Asia—these albums offer an unrivalled and unique typescript diary. Containing approximately insight into some of the most significant scientific expeditions of the period, 3,300 original silver gelatin prints, some many undertaken at the behest of the American Museum of Natural History. with sepia-finish, often captioned. The centrepiece of the collection is perhaps the four volumes covering the 1924 condition A few scuffs and marks to bindings, some Vernay–Faunthorpe Expedition to India, the results of which were housed in leaves loose but overall in remarkably good the “first major hall of mammal habitat dioramas”, the South Asiatic Hall, condition. opened at the AMNH in 1930. “These expeditions were important to the devel- provenance opment of the Museum and its collection, providing an estimate of over 1275 1) Arthur Stannard Vernay; 2) Stephen J. specimens, including 976 bird skins, and 299 mammals. Numerous films and Jussel (1898–1981), Vernay’s business partner and long-time associate, to whom Vernay photographs were also added to the Museum collection. It was hoped that this left many of his possessions, including these would be an example of the camaraderie that may exist between peoples of dif- albums; 3) thence by descent.

64 65 ferent nations. Both Vernay and Faunthorpe were made honorary members of the American Museum of Natural History, and Vernay would go on to organize and fund many other expeditions for the Museum” (AMNH). The photographs—well preserved and presented across sixteen strong, cogently compiled and extensively captioned albums—reflect Vernay’s awareness of the importance of the visual record and his cultivated eye; his employment of professional photographers and high quality apparatus; his obvious concern for “thoroughness and perfection”. The images are consist- ently well composed and printed, displaying good contrast, excellent tonal range and fine detailing. The approach to the photographing of animals and birds is more forensic, stressing the scientific and taxonomic importance of these expeditions. Vernay was a remarkable, multi-faceted man of protean energy and tremen- dous acumen; from a standing start he built up one of New York’s premier antique and interior design businesses, numbering among his clients Mrs J. P. Morgan, Consuelo Vanderbilt, Solomon R. Guggenheim, the Waldorf-Astoria (for whom he developed a series of apartments), and perhaps most importantly Henry Francis du Pont, who worked closely with Vernay in the foundation of the Winterthur Museum, where Vernay’s business papers are held. £125,000 [133409]

66 His first work of prose, a unique copy specially bound and inscribed to his fellow Argentine author and muse 37 BORGES, Jorge Luis. Inquisiciones. Buenos Aires: Editorial Proa, 1925 first edition, first impression, a superlative presentation contents and binding copy of the author’s first work of prose. One of 505 copies print- Octavo (175 × 130 mm). Specially bound for ed, this is a uniquely untrimmed, unnumbered, and specially bound pres- presentation in contemporary tan cloth, red morocco title labels to spine, marbled entation copy inscribed by Borges on the first blank to his fellow Argen- endpapers. tine author, and muse, Norah Lange (1905–1972). condition Borges’s inscription, using the nickname reserved only for family Title label at the head a little chipped, cloth and his most intimate friends, reads, “a la aureolada Nora, muy cordial- somewhat spotted with a few other marks, mente—Georgie” (“to the radiant/haloed Nora, very warmly, Georgie”). light rubbing to extremities, some foxing within, a very good copy. A pencil note below, apparently in the hand of Lange’s sister, observes “no pudo, para ti, encontrar mejor adjetivo” (“he could not have found a better adjective for you”). This radiance may be read either in reference to the light colouring afforded by Lange’s exotic Scandinavian blood (she was three-quarters Norwegian), or a sign of Borges’s worship of her at this time. Edwin Williamson asserts Lange’s central significance as Borges’s early muse in his 2011 biography, identifying her as the focus of a love triangle involving Borges and his literary rival the poet Oliverio Girondo. Borges went so far as to propose marriage to Lange in March 1927, but she turned him down, and eventually married Girondo in 1943. The time around the publication of Inquicisiones, however, marks the peak of Borges and Lange’s flirtation. A piece praising Lange is included among the essays of Inquisi- ciones, gushing for three pages of poetic prose about “the double brilliance of her hair and her haughty youth”, affirming their shared comradeship as poets of the Ultraist movement, and likening the appearance of her poems to a “luna nueva”. This piece was printed in the same year as the prologue to Lange’s debut books of poems, La Calle de la Tarde. Lange’s importance to Borges is well-documented, but her novels and poems have recently received renewed attention in their own right, with Profes- sor Kay Sibbald hailing Lange’s “vanguard feminism”, and a translation into English of her novel The People in the Room just published in August 2018. The published copies were trimmed and bound in blue wrappers, but the text block of this copy is almost a centimetre longer from gutter to fore edge, and the edges much more roughly cut. Borges had a set of untrimmed sheets specially bound for presentation to Lange. We are unaware of any other copy thus presented, making this copy perhaps the primary presentation copy of Borges’s first experiment with short prose pieces, the medium in which he would decades later achieve his monumental status in world literature. £35,000 [129496]

67 Hemingway’s early masterpiece, in the first issue jacket 38 HEMINGWAY, Ernest. The Sun Also Rises. New York: Charles Scribner’s Sons, 1926 first edition, first printing, first issue, with the first issue contents and binding dust jacket, incorrectly citing Hemingway’s earlier title as In Our Times. Octavo. Original black cloth, gold labels to Hemingway’s second novel is a roman à clef, drawing on his and Hadley’s spine and front board. With the dust jacket designed by Cleonike Damianakes. Housed tumultuous time in France in the 1920s. “The Sun Also Rises did not rock in a black quarter morocco solander box by the country, but it received a number of hat-in-the-air reviews and it soon the Chelsea Bindery. Title page vignette by became a handbook of conduct for the new generation . . . how much Damianakes. With the misprints “stoppped” of the novel seems as marvelously fresh as when it first appeared! Count on p. 181, l. 26, “down-staris” on p. 169, line 34, and the third book being designated as Mippipopolous, his wound, and his champagne; the old couple from “BOOK THREE” instead of “BOOK III” (p. Montana on their first trip abroad; the busload of Basque peasants; the [235]) as called for in the first printing. whole beautiful episode of the fishing trip in the mountains, in the harsh condition sunlight, with bright water tumbling over the dam; then by contrast the Bookseller’s ticket to rear pastedown. A dark streets of Pamplona crowded with riau-riau dancers, who formed a beautiful copy, spine a touch rolled, in the bright jacket, with a couple of small chips to circle round Brett as if she were a revered witch—as indeed she was, and as spine ends, a few creases, nicks and slight Jake in a way was the impotent Fisher King ruling over a sterile land—in all rubbing, front flap price-clipped. this there is nothing that has gone bad and not a word to be changed after literature so many years. It is all carved in stone, bigger and truer than life; and it is Grissom A.6.1.a; Hanneman 6A; Cowley, A the work of a man who, having ended his busy term of apprenticeship, was Second Flowering, pp. 70–3. already a master at twenty-six” (Cowley). £65,000 [118495]

68 A classic of hard-boiled detective fiction and a sensational example of golden age book production 39 HAMMETT, Dashiell. The Dain Curse. New York: Alfred A. Knopf, 1929 first edition, first printing, of Hammett’s second book and the final contents and binding Continental Op novel, one of the two hardest to find in the dust jacket and Octavo. Original yellow cloth, spine thus genuinely uncommon in such a well-preserved, unrestored state. A decoratively stamped and lettered in black and red, black single-line border stamped masterpiece by any standards, it is a sensational example of golden age to front board with skull-and-crossbones book production. ornament in red, rear board stamped with The Dain Curse was originally serialised in four parts in Black Mask from black rectangular Borzoi Books device, top November 1928 to February 1929 but, at the suggestion of Knopf, Hammett edge purple, fore edge untrimmed. With the dust jacket illustrated by F. H. Horvath, with revised it for publication as a novel. a plot summary of this title on rear panel and blurbs of Red Harvest on the front panel, £47,500 [132576] priced $2.00. Housed in a custom flat-back blue cloth box. Title page printed in brown and black, with skull-and-crossbones vignette in brown. With the misprint “dopped in” for “dropped in” in line 19 of page 260 as called for in the first printing. condition A near-fine copy, with a very slight lean and fade to spine and faint traces of soiling to extremities, in an about near-fine jacket, the spine sunned, extremities worn with some chipping and a few short closed tears, the front panel remaining notably bright. literature Layman A2.1.a.

69 Inscribed to a valued childhood friend to whom Faulkner sent his work for critique 40 FAULKNER, William. Light in August. New York: Harrison Smith & Robert Haas, 1932 first edition, first printing, presentation copy, inscribed by contents and binding the author to a close childhood friend on the front free end- Octavo. Original grey cloth, spine lettered paper, “For Myrtle Ramey, Oxford Miss 30 May 1934, William Faulkner”. in blue and front board in orange, top edge orange, fore edge uncut. With the dust Myrtle Ramey and Faulkner met in third grade of Oxford Graded Public jacket and glassine wrapper. Housed in School. Faulkner skipped second grade at the age of eight and joined a custom black cloth chemise and black Ramey’s class in September 1906. Ramey was only permitted to attend quarter morocco slipcase. school part time due to her ill health, but nevertheless the two struck up a condition close friendship. Beginning with The Marble Faun in 1924, Ramey was one A little offsetting to front free endpaper; a of a very select few to whom he sent copies of his books; despite Ramey’s fine copy in the notably bright dust jacket, spine ends a little nicked and a little rubbing marriage in 1926, the majority of his inscriptions persisted in using her to extremities, and retaining two remnants maiden name. Faulkner clearly valued Ramey’s opinion on his writing, also of the scarce glassine jacket. sending her in 1924 a sheaf of twelve typewritten poems (his “Mississippi provenance Poems”) and a seven page essay entitled “Verse, Old and Nascent: A Pil- From the library of Louis Daniel Brodsky grimage”, for her to critique. Light in August is widely considered one of the (1941–2014), American poet and Faulkner great novels of the 20th century. “Few American novels are so lavish in dra- scholar. matic incident, so infused with images of sensation, so precisely fixed in literature Massey 103; Irving Howe, William Faulkner: place and weather” (Howe, pp. 200–14). Inscribed copies of this work are A Critical Study, 1957. notably uncommon, with just four other such copies traced at auction. £50,000 [131629]

70 One of the greatest rarities of 20th-century book collecting—the “black tulip” of Graham Greene’s oeuvre 41 GREENE, Graham. Brighton Rock. London: William Heinemann Ltd, 1938 first uk edition, first impression. The Heinemann edition of Bright- on Rock represents probably the greatest disparity in a modern first edition contents and binding of value with and without dust jacket. The original pink jacket, intended Octavo. Original red cloth, spine lettered in to replicate the lurid pink of the titular confectionery, is liable to fade and gilt, publisher’s device in blind to rear cover. chip, and is a noted rarity. The novel itself, the first of Greene’s overtly With the dust jacket. Housed in a custom grey cloth folding box, spine lettered in gilt Catholic novels, is “his most successful attempt to create a work that is as on green morocco label. fast-paced as a thriller and as complex as a more leisurely character study” condition (ODNB). Contents a little toned, very minor wear at extremities. Folds of dust jacket expertly and £87,500 [130190] discreetly repaired on the verso, spine panel darkened with 6 cm tear, minor chipping to extremities reinforced on the verso, light soiling to rear panel. Still a superior copy in the exceedingly rare dust jacket. literature Miller 17b.

71 The first collection of Mao’s writings, printed behind Japanese lines, a remarkable survival 42 MAO (Tse-Tung or Zedung.) Mao Zedong Xuan Ji. [Selected Works of Mao Tse Tung.] Compiled and printed by Jin Cha Ji Daily Newspaper. Distributed by Jin Cha Ji Xin Hua Bookstore, May 1944 first edition of the first collection of mao’s writings, rarely contents and binding found complete in five volumes. This seminal work was selected from Together 5 volumes, small octavo. Original the writings, lectures, and recorded speeches of Mao Zedong by Deng Tuo, cream wrappers, titles to spines and front covers printed in red. Each volume in a red the editor of the Jin-Cha-Ji Daily newspaper (originally Resistance News, and cloth chemise and housed together in a renamed in 1940). Deng Tuo, who wrote the anonymous “Editor’s Preface” red quarter morocco solander box by the for the work, was given the responsibility of compiling and editing it in re- Chelsea Bindery. Portrait frontispieces to sponse to Central Party directives that Mao Zedong’s writings be systemati- each volume, title page, and colophon. cally published. condition In one volume, the title has failed to print. The Selected Works was printed during the Second Sino-Japanese War on Some loss or old repairs to spines, one the newspaper presses of the Jin-Cha-Ji Daily. “Published behind Japanese restored front wrapper, wrappers somewhat lines, the newspaper’s goal was to give more power to the peasantry and soiled and marked, contents toned with the to disenfranchise the local elite . . . Technical problems in publishing the occasional small mark. In all a remarkable survival of this vulnerable and rare newspaper alone were enormous” (Stranahan). The quality of both paper publication.

72 and craftsmanship of these volumes is consequently not high. Supplies for literature the newspaper were scarce: the staff had to cope with paper shortages and Timothy Cheek, Propaganda and Culture in Mao’s China: Deng Tuo and the Intelligentsia, the problems of finding presses and type. They also had to be responsive to Clarendon Press, 1997; Patricia Stranahan, Japanese attacks, forcing the paper to move location regularly. “The Jin-Cha- Moulding the Medium: Chinese Communist Party Ji journalists took a practical approach, based on their limited resources. and the “Liberation Daily”, Routledge, 2016. Together with the print shop workers they devised a way to break the press down into portable sections that could be transported on three horses. Due to a shortage of type, they settled on a 3,000-word vocabulary limit for all stories, which was also in line with the Party calls to make papers readily understandable to the newly literate. Finally, the paper had three foundries for type and paper factories for newsprint (all quite primitive) set up in mountain areas, where the ‘guerrilla publishers’ were likely to pass through” (Cheek, pp. 74–6). Printed in a run of 2,500 copies, this is a notably rare survival of such a fragile publication: no copies recorded at auction; just four copies traced in OCLC (one in Japan; three in the US). It ran to five editions between 1944 and 1948. Following the liberation of Peking in 1949, an official Chinese version was subsequently compiled, the first volume of which was published in October 1951. “The Selected Works has a special status among all of Mao’s writings, which is largely due to its mas- sive publication and extremely wide circulation . . . For a time it was almost Mao’s only work available to most of the Chinese people” (Pellatt, pp. 34–5). £75,000 [130907]

73 A significant archive of correspondence charting one of the great errors of British publishing history, the rejection of Animal Farm 43 ORWELL, George. Correspondence with Victor Gollancz. victor gollancz’s archived correspondence relating to contents their infamous decision to reject george orwell’s animal farm Together 12 items of correspondence due to its implicit criticism of stalin and the soviet union. between Orwell, Gollancz, Orwell’s literary agents Christy and Moore, and Jonathan Orwell had been with the left-wing publisher Victor Gollancz since his Cape: 3 typed letters signed, 6 carbon first work, Down and Out in Paris and London (1933). Gollancz published a copies, 1 autograph letter signed, and further six Orwell titles over the next decade. Orwell wrote Animal Farm, his 2 typed copies, dated 19 March 1944–15 anti-Stalinist political fable, in an intense burst from November 1944 to February 1950. February 1945. He anticipated that Gollancz would be unwilling to publish condition Very good condition. the novel due to its content and the pro-Soviet political environment of the provenance Second World War, but was contractually obliged to offer Gollancz his next See main note. two novels. literature The archive includes Orwell’s original typed letter signed to Gollancz, dat- For the publication history of the novel see Fenwick A10. ed 19 March 1944, announcing the completion of Animal Farm: “a little fairy story, about 30,000 words, with a political meaning. But I must tell you that it is—I think—completely unacceptable politically from your point of view (it is anti-Stalin)”. Gollancz indeed declined to publish the novel, as did several other major publishers. By mid-July 1944, Orwell was on the verge of self-publishing the book, but it was at last taken up by Secker & War- burg, and published in August 1945, by which point the war was over and the British public were rapidly turning against Stalin and the Soviet Union. However, Orwell’s relationship with Gollancz had been permanently damaged by his decision. To Orwell’s annoyance, Gollancz had refused to rec- ognise the work as a novel on the grounds that it was too short—a carbon letter from Gollancz to Moore is here preserved, dated 1 June 1944, assert- ing this—and consequently they did not count it as a novel offer under the contract, which had required Orwell to offer Gollancz his next two novels. Fenwick records a letter from Orwell to Leonard Moore showing Orwell’s irritation with Gollancz: “I frankly would prefer not to give or offer him any more books if we can get out of it. I have no quarrel with him person- ally, he has treated me generously and published my work when no one else would, but it is obviously unsatisfactory to be tied to a publisher who accepts or refuses books partly on political grounds” (cited in Fenwick, p. 96). Orwell used the rejection of Animal Farm to negotiate a termination of his contract with Gollancz, and he did not publish any future works with the publishing house; his next novel, Nineteen Eighty-Four, was also published by Secker & Warburg. Gollancz’s rejection of Animal Farm is often cited as one of the greatest mistakes made by a modern publishing house. Yet Gollancz remained ad- amant that his decision was the right one. In 1950 Frederick Warburg con- tributed an obituary of Orwell to The Bookseller, in which he claimed to be Orwell’s undisputed publisher. An incensed Gollancz drafted and signed a three-page letter to the editor, dated 15 February 1950, preserved here,

74 though he did not send it. Gollancz claims that he rejected Animal Farm solely due to the necessities of war. He “read it with the greatest delight and agreed with every word of it . . . [but] to publish so savage an attack on Russia at a time when we were fighting for our existence side by side with her could not be justified . . . As to my decision itself, there are, of course perfectly honourable arguments against it. But I believe myself to have been right”. £100,000 [131760]

75 The exceptionally rare “l’édition originale” of one of the most influential plays of the 20th century 44 BECKETT, Samuel. En attendant Godot. Pièce en deux actes. Paris: Les Éditions de Minuit, 1952 “l’édition originale”, that is, first edition, first printing, contents and binding number 25 of 35 copies on vélin supérieur. The original French text Octavo. Original white wrappers, titles to spine and front cover in blue and black, was composed between 9 October 1948 and 29 January 1949, although the edges untrimmed. In the original glassine. full theatrical premiere was not until 5 January 1953, at the Théâtre de Bab- Housed in a custom card slipcase and ylone, Paris. Beckett’s translation into English, Waiting for Godot, premiered blue morocco-backed card chemise by de in London in 1955 and was published the same year. Vauchelle. condition £75,000 [129700] The slightest tanning to spine, but a fine copy. literature Federman & Fletcher 259.

76 Presentation copy of this classic of Beat literature 45 KEROUAC, Jack. On the Road. New York: The Viking Press, 1957 first edition, first printing, presentation copy to pieter w. contents and binding fosburgh and his wife liza, inscribed by the author in red cray- Octavo. Original black boards, titles to spine and front board in white. With the on, “To Peter [sic] and Liza Fosburgh, Writing in red crayon in memory dust jacket. Housed in a custom red quarter of the Red House, Jack Kérouac [sic] (Idiot) (St. Jack of the Germs)” [the morocco solander box. last five words in pencil]. This is a fascinating and thoroughly charac- condition terful presentation. The remembered “Red House” is likely to be to the Spine a little rolled but overall an excellent large redbrick St Louis elementary School in the Centralville section of copy in the slightly creased and lightly Lowell, Massachusetts, which Kerouac attended from April 1929 through frayed dust jacket. to the fourth grade. Pieter Whitney Fosburgh (1915–1978), author of the proto-conservationist book, The Natural Thing: the Land and its Citizens (New York: Macmillan, 1959), was editor of New York State’s Department of Conservation magazine. As his middle name indicates he was descend- ed through his mother from the socially prominent Whitney family of Massachusetts, and seems likely to have also attended the “Red House” elementary. His brothers James and Hugh were also naturalists, art critics, writers, and artists, and his wife Liza wrote children’s books. £67,500 [124324]

77 “Ask not what your country can do for you—ask what you can do for your country”—one of the finest speeches of the 20th century inscribed by President Kennedy to a member of the White House staff 46 KENNEDY, John F. Inaugural Address. [Washington, DC: United States Government Publishing Office,] 1961 first edition, presentation copy, of one of the most famous contents and binding speeches of the 20th century, inscribed by president kenne- Octavo. Original cream cloth, spine lettered dy on the front free endpaper, “For Chief Martinell, from John Kennedy, in gilt, presidential seal in gilt to front cover. In the original matching slipcase. Housed in Christmas 1961”. The recipient, Chief Petty Officer William Martinell, was a black quarter morocco solander box by the a member of the White House medical staff. Loosely inserted is Martinell’s Chelsea Bindery. Title page printed in blue delegate’s pass to the Bermuda Meeting between Kennedy and British and black, date printed in blue, presidential Prime Minister Harold Macmillan in December 1961. seal and calligraphic initial gilt. Around 100 copies of Kennedy’s inaugural speech were printed for pres- condition Very light soiling to cloth and slipcase, else entation to friends of the administration. Kennedy’s address, considered a fine copy. one of the finest speeches in American history, is best remembered for the line, “Ask not what your country can do for you—ask what you can do for your country”. £35,000 [129446]

78 The author’s proof copy, with her final corrections 47 [PLATH, Sylvia; as] LUCAS, Victoria. Uncorrected proof copy of The Bell Jar, with authorial revisions. London: William Heinemann, 1962 the author’s own proof copy of her first and only published contents and binding novel, with her final corrections to the text before publica- Octavo. Original white wrappers, title to tion, and her ownership inscription on the first page, “Sylvia spine and front cover in black. Housed in a black quarter morocco solander box by the Plath, Court Green, North Tawton, Devonshire”, where she worked on the Chelsea Bindery. proofs. Plath has made in all 78 textual corrections and edits to this copy, condition which were corrected in the first edition. They include two corrections to Wrappers a little marked and foxed, couple of the name of the novel’s heroine, Esther Greenwood, mistakenly printed tiny spots to contents, in excellent condition. as Miss Lucas. Victoria Lucas was the pseudonym under which Plath pub- provenance lished the novel, but when she initially submitted the draft to Heinemann From the library of Frieda Hughes, Plath and Ted Hughes’s daughter, though unmarked it was also the name of the heroine. Her editor James Michie, however, as such. felt it was a mistake for the author’s and heroine’s names to be the same, literature and Plath agreed to alter the heroine’s name. Plath has also changed the Luke Ferretter, Sylvia Plath’s Fiction: A Critical name of one of her characters, striking out “Plato” and replacing it with Study, 2010; Peter K. Steinberg, Textual “Socrates” (p. 53): “I collected men with interesting names. I already knew Variations in The Bell Jar Publications (online a Socrates. He was tall and ugly and intellectual and the son of some big resource, Indiana University); Gayle Greene, Changing the Story: Feminist Fiction and the Greek movie producer in Hollywood, but also a Catholic, which ruined it Tradition, 1991. for both of us.” The proof is closely revised, with Plath correcting spelling, grammar, and punctuation, inserting words, altering the font style, and in six instances, alterations to words. The proof has a copyright date of 1962, although it was not published until the start of 1963. The publication date was was postponed after Plath was awarded the Eugene F. Saxton grant, worth $2,000. With the final in- stalment of the grant due in August 1962, the delay enabled her to collect the stipend for the novel she had already completed. The arrival of this proof copy coincided with Plath’s discovery of Hughes’s affair with Assia Wevill: on 9 July Plath intercepted a phone call from Wevill to Hughes at her Devon house, and ripped out the telephone cord in rage. Hughes left for London the next day. In a letter to her psy- chotherapist, Ruth Beuscher, Plath notes that receiving the proofs the day after Hughes left “saved the day for me: I roared and roared, it was so fun- ny and good . . . I can talk to no-one about this—mother of course, least of all. She does not even know I have written a novel” (Letters, vol. II, 11 July 1962). The Bell Jar was published on 14 January 1963, just five weeks before Plath died. £150,000 [125788]

79 “The name is Bond, James Bond” 48 FLEMING, Ian. A collection of his works, including all the James Bond novels, his non-fiction and children’s book, books from his library, and related material. Various places and publishers, 1918–65 Highlights of the collection include:

Casino Royale – first edition, presentation copy to Leonard Russell, features contents and condition editor of the Sunday Times, where Fleming worked; first American edition, Together 81 items. A full description of the the property of CBS who televised Bond for the first time; binder’s retained collection is available separately on request. copy; an early version of the screenplay for the first film adaptation; provenance This collection has been formed over 30 Live and Let Die – first edition, presentation copy to Winston Churchill; first years by two private collectors, one building edition, presentation copy to William Plomer; first American edition; first on the work of the other. edition in Italian, presentation copy to John Hayward; Moonraker – first edition, presentation copy to his literary hero Raymond Chan- dler; first edition, presentation copy to the lexicographer Eric Partridge; Diamonds Are Forever – the final revised typescript marked up by Fleming and his copy-editor; first edition, presentation copy to W. A. (“Bill” or “Biffy”) Dunderdale, the MI5 agent; first American edition; From Russia, With Love – first edition, presentation copy to his wife “with love and lashes”; first edition, presentation copy to his dust jacket designer Rich- ard Chopping, together with original correspondence relating to the jacket design; uncorrected proof copy; first American edition; Dr No – first edition, presentation copy to Philip Brownrigg, who advised him on the diamond trade; uncorrected proof copy; advance issue in card wrappers; first American edition; Goldfinger – first edition, presentation copy to William Plomer; first edition, presentation copy to Raymond Chandler; uncorrected proof copy; first American edition; For Your Eyes Only – first edition, presentation copy to John Hayward; an archive of correspondence between Fleming, his agent, and Richard Chopping relating to the dust jacket design; Thunderball – first edition, presentation copy likely to TV producer Norman Felton; uncorrected proof copy; first American edition; Gilt-Edged Bonds – first collected edition, presentation copy to James Bond, with two letters; advance copy; The Spy Who Loved Me – first edition, presentation copy to Robert Kennedy; first edition, presentation copy to Philip Brownrigg; uncorrected proof copy; first American edition; Richard Maibaum typescript for the film adaptation; You Only Live Twice – first edition, presentation copy to John Hayward; original manuscript notebook from Fleming’s Japanese tour, with material later incorporated into the novel; uncorrected proof copy; first American edition;

80 On Her Majesty’s Secret Service – first edition, presentation copy to Philip Brownrigg; signed limited edition, presentation from Amherst Villiers to Fleming’s secretary, Beryl Griffie-Williams; uncorrected proof copy; first American edition; Louis Armstrong’s manuscript lyrics to the song “We have all the time in the world”, from the film adaptation; The Man With the Golden Gun – first edition, first state with the golden gun blocked on the front board; first American edition; Octopussy & The Living Daylights – first edition; uncorrected proof copy; first American edition; Non-fiction, including – Fleming’s very rare first book, the Kemsley News- papers Reference Book; The Diamond Smugglers, first edition, presentation copies to both Sir Percy Sillitoe and another to John Collard, who each helped with the book; Thrilling Cities, presentation copy to Richard “Dikko” Hughes, his hard-drinking guide to Tokyo; Books from Fleming’s library – the Boy’s Own Annual given to him as a Christmas gift in 1918; books from his Eton schooldays, including his copy of The Taming of the Shrew; two poetry books, with original poetry by him; a book dating from his unhappy spell at Sandhurst; two presentation copies from Phyllis Forbes Dennis, his first literary mentor; a trio of books presented to him by his brother, Peter; and a presentation copy of Raymond Chandler’s last Philip Marlowe book, Playback; Flemingiana – a book given by Fleming to his mistress Clare Blanshard; James Bond’s Field Guide of Birds in the West Indies signed by the author; the original lease to Fleming’s writing office in Mitre Court; a letter of praise to the American novelist Kit Reed; the hardback issue of William Plomer’s memorial address at Fleming’s funeral. £2,500,000 [133697]

81 One of two dedication copies, inscribed by Rowling to the close friend who enabled her to finish the Philosopher’s Stone 49 ROWLING, J. K. Harry Potter and the Goblet of Fire. London: Bloomsbury, 2000 first edition, first impression, one of two dedication copies, contents and binding inscribed by the author “and, though we didn’t want it in print, Octavo. Original pictorial boards, titles to helped me out of my cupboard. With unending gratitude and equal love Jo spine and front board in blue and black. With the dust jacket. Housed in a purple a.k.a. (again) JK Rowling x”, on the dedication page, with an arrow from quarter morocco solander box by the the printed dedication, which reads: “To Peter Rowling, in memory of Mr. Chelsea Bindery. Ridley and to Susan Sladden, who helped Harry out of his cupboard.”Su- condition san Sladden was a close friend of Rowling’s in Edinburgh who enabled her A fine copy. to finish the Philosopher’s Stone by babysitting her daughter Jessica. literature In December 1993, Rowling had returned to the UK with her daughter Errington A9(a). “Charmed, I’m Sure: The and three chapters of Harry Potter, and decided to give her writing one Enchanting Success Story of Harry Potter’s Creator, J. K. Rowling”, Washington Post, 20 serious try, thinking she might never again have the opportunity. She October 1999. moved to Edinburgh to be near her sister and attended a local Church of Scotland congregation, where she met Susan Sladden. Rowling was new to the city, and had no friends and no-one to look after her daughter: her sister worked full-time, her mother had died several years previously, and she was ineligible for state-funded childcare. “We were not ‘dead certs’ for friendship” Rowling recalled, but Sladden became an invaluable friend. “The elderly woman would take care of Jessica for an afternoon and en- courage Rowling to get out a little, kick up her heels, see an art show, do some window shopping. Instead, Rowling would find an empty table at a coffee shop and work on Harry Potter” (“Charmed, I’m Sure”). The other dedication copy was inscribed by Rowling to her father for Father’s Day. It came up for sale at Christie’s New York in 2003 and made $48,000. £75,000 [128864]

82 Peter Harrington london

On the Walls

83 50 SCHIELE, Egon. Bildnis Arthur Roessler. (Portrait of Arthur Roessler.) Vienna: Arthur Roessler, 1914 signed and dated by the artist in pencil lower right below the image, medium numbered lower left, and additionally signed in pencil lower right in the Drypoint etching printed in black on thin image by Roessler. One of an unknown edition, first state before steel fac- yellowish Japan paper. Plate size: 24.2 × 32 cm. Sheet size: 31.8 × 39.2 cm. ing. Jane Kallir’s catalogue raisonné of Schiele’s works records four different framing impressions on various papers and in various sheet sizes, with the highest Presented in a dark grey stained frame with recorded limitation being 32. conservation acrylic glazing. Roessler was a friend and advisor of Schiele and financed the artist’s print- condition Excellent condition. making by supplying the tools and plates he needed for etching. Schiele literature created his entire oeuvre of six drypoints in late spring and early summer Kallir 8a. 1914. £35,000 [125608]

84 51 (MILNE, A. A.) SHEPARD, E. H. Tiggers don’t like honey. 1961 original artwork from the house at pooh corner, signed and dat- medium ed 1961 by shepard in ink lower right and inscribed by him lower middle Original artwork in black ink on artist’s “Tiggers don’t like honey”. The House at Pooh Corner was first published in board. Image size: 10 × 12 cm. Sheet size: approximately 13 × 17 cm. 1928; this image accompanied the text on page 23: “Tigger took a large framing mouthful of honey . . . and he looked up at the ceiling with his head on one Presented in a gilt frame. side, and made exploring noises, and what-have-we-got-here noises . . . condition and then he said in a very decided voice: ‘Tiggers don’t like honey.’ ‘Oh!’ Excellent condition. said Pooh, and tried to make it sound Sad and Regretful.” The artwork is accompanied by a two-page autograph letter signed “Er- nest H. Shepard”, dated 21 June 1961, to the recipient, one Miss Shirley: “I send you two drawings that I have specially made for your school library . . . most of my illustrative work is done in pen and ink . . . I like to keep my original drawings”. £47,500 [109941]

85 52 WARHOL, Andy. Marilyn Monroe. New York: Factory Additions, 1967 edition of 250, signed by the artist in pencil to verso lower left, medium number stamped in black lower right. One of ten prints from Warhol’s Screenprint on heavy wove paper. Sheet iconic Marilyn Monroe portfolio, the image derives from a publicity photo- size: 91.4 × 91.3 cm. Framed size: 101.5 × 101.5 cm. graph by Gene Kornman for the 1953 film Niagara. It was printed by Aetna framing Silkscreen Products, Inc., New York. Presented in a conservation acrylic box £110,000 [110019] frame. condition Small dampstain to verso of lower sheet edge, verso adhered to mount with double- sided tape, a very tiny closed tear to centre of right sheet edge which has been repaired, light scratch about 10 cm into Marilyn’s hair on the right hand side, light scuff marks to edges caused by previous framing, small indentations to lower right, all only visible on very close inspection, otherwise a very bright image. literature Feldman & Schellmann II.29.

86 53 (THATCHER, Margaret.) Official cabinet photograph. May 1979. an outstanding relic of the thatcher period: margaret medium thatcher’s own copy of her first cabinet photograph, taken Colour photograph with white mount, the month she was elected prime minister, and signed by her- printed label at head, with posthumous Thatcher printed library label pasted on self and every other member of the cabinet. The photograph was reverse. Image size: 30 × 38 cm. Frame size: kept by Thatcher until her death in 2013, and here appears on the market 48 × 56 cm. for the first time after acquisition directly from her estate. Thatcher was framing elected on 4 May 1979, and chose and confirmed her cabinet the next day; Framed and glazed in a black wooden frame. this official photograph was taken on 24 May prior to that day’s cabinet condition meeting. The new prime minister sits as the only woman among 24 men, Very good condition. with her Conservative-blue dress contrasting with the surrounding black provenance and grey suits, in a somewhat regal setting under a dewdrop chandelier, See main note. with an Axminster carpet at her feet, and a Gainsborough portrait behind her. Her new ministers, some looking cheerful, others apprehensive, include most of the big Conservative figures of the period: Michael Hesel- tine, who would eventually launch the leadership challenge that toppled her, Geoffrey Howe, who would rigidly stick to a firm monetarist policy against fierce opposition, Keith Joseph, her ideological mentor to whom she would dedicate the second volume of her autobiography, Jim Prior, who tried and failed to convince her of a moderate trade union policy, and Peter Carrington, who would resign over the Falklands invasion. Thatcher accumulated various cabinet photographs over the years as she reshuffled and was re-elected, but this is unquestionably the most desira- ble, a snapshot of the new leader and her cabinet as they embarked on 11 tumultuous years. £27,500 [133380]

87 54 BACON, Francis. Three Studies of the Male Back. Paris: Michael Peppiatt for Art International, 1987 edition of 99, each plate signed by bacon in pencil lower right, medium numbered lower left. This triptych is after an oil on canvas executed in Three lithographs in colours on Arches 1970 depicting Bacon’s lover George Dyer sitting in front of a mirror. wove paper. Image sizes: 60.5 × 45 cm. Sheet sizes: 80.8 × 59 cm. £50,000 [132482] framing Presented in three grey wash wooden frames with conservation acrylic glazing. condition Excellent condition. literature Sabatier 21.

88 55 BACON, Francis. After Triptych, 1986–1987. Barcelona: Poligrafa, 1987 one of 15 artist proofs aside from the edition of 99, each print medium signed by bacon in pencil lower right, numbered lower left. This trip- Three etching and aquatints in colours on tych was painted in tribute to President Woodrow Wilson, John Edwards, Arches wove paper. Image sizes: 65.2 × 48.6 cm. Sheet sizes: 89.5 × 62.5 cm. and Leon Trotsky respectively. framing £50,000 [133043] Presented in three gold leaf frames with conservation anti-glare acrylic glazing . condition Excellent condition. literature Sabatier 6.

vat no. gb 701 5578 50 Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, 133–137 Alexandra Road, Wimbledon, London sw19 7jy. Registered in England and Wales No: 3609982

Front cover image taken from Vladimir Nabokov’s Nikolai Gogol. Design: Nigel Bents. Photography: Ruth Segarra.

89 mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs