Ma S Terpiece 2018

2018 MASTERPIECE

Peter Harrington london

All items are fully described and photographed at peterharrington.co.uk 1 We are also exhibiting at these fairs: 8–9 September 2018 brooklyn Brooklyn Expo Center Brooklyn, NY www.brooklynbookfair.com

4–7 October frieze masters Regent’s Park, London frieze.com/fairs/frieze-masters

13–14 October seattle Seattle Center Exhibition Hall Seattle, WA www.seattlebookfair.com

2–4 November chelsea Old Town Hall, London www.chelseabookfair.com

16–18 November boston Hynes Convention Center Boston, MA bostonbookfair.com

30 November – 2 December hong kong China in Print Hong Kong Maritime Museum www.chinainprint.com

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 on pages 82 – 3 Design: Nigel Bents; Photography: Ruth Segarra. Peter Harrington london

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stand d4

preview day Wednesday 27 June 2018 11:00−21:00

public fair days 28–30 June 11:00−21:00 1–2 July 11:00–19:00 3–4 July 11:00–21:00

masterpiece 2018 | 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 4 Peter Harrington at Masterpiece 2018 PART 1

ON THE BOOK STANDS The first complete collected edition of Chaucer, and the first collected volume of any English author CHAUCER, Geoffrey. [The workes, newlie printed, with dyvers workes whiche were never in print before: as in the table more playnly dothe appere.] London: by Thomas Godfray, 1532 first complete collected edition of chaucer poet’s pivotal role in the development of the English lan- and the first attempt to collect into a single volume the guage. Thynne’s “was the first attempt at a critical edition complete writings of an English author. The editor was and for over 200 years provided the standard text of The William Thynne, clerk of the kitchen and of the green Canterbury Tales” (Hayward). cloth to Henry VIII, and recipient of numerous grants and The publisher Thomas Godfray was associated with some appointments. Thynne provides the first printed editions of the more radical propagandists of the Tudor revolution of a number of Chaucer’s major works in verse and prose, and Thynne’s edition began a gradual process in the 16th including The Book of the Duchess, The Legend of Good Women, century by which Chaucer was both established as the fa- Boece, and The Treatise on the Astrolabe. He also printed a ther of English poetry and claimed for the nation as a pro- large number of works not by Chaucer, including poems to-Reformer, so that John Foxe the martyrologist would by John Lydgate, Thomas Hoccleve, Richard Roos, and later acclaim him as “a right Wycliffian”. In its care and Robert Henryson, giving the volume an additional value attention lavished on primarily secular literature, it also as a poetical miscellany. The introductory materials to the provided the model for the folio editions of the Jacobean edition are prefaced by an unsigned dedication to Henry dramatists. VIII by Sir Brian Tuke, the king’s secretary, arguing for the

4 Peter Harrington at Masterpiece 2018 contents and binding Folio (312 × 213 mm). 394 (of 397) leaves (lacking A1–3, supplied in good quality facsimile). Black letter, text in double columns. 20 woodcut illustrations from 15 blocks, section-titles within woodcut compartments (McKerrow & Ferguson 19) for “The Romaunt of the Rose,” “Troylus and Creseyde,” “Boetius de con- solatione philosophie,” “How Pite is Ded and Beried in a Gentyll Hert,” and “The Testament of Love,” all with continuous foliation and signatures, QQ3 cancelled as usual and replaced by four leaves incorporating Robert Henryson’s Testament of Criseyde. Contemporary blind-tooled calf lifted from the original binding and relaid on heavy boards, rebacked to style (a pencilled note dates the restoration 1946), the sides panelled with a stylised wheatsheaf roll and a decorative roll incorporating heads, the fore edges showing the marks where clasps and catches were formerly attached. condition A few minor marks or stains, last leaf with paper restoration at upper outer corner and loss of part of the foliation number and just touching one letter of the colophon, a very good copy. Housed in a dark brown cloth flat-back box. provenance Early ownership inscriptions of John Rappe in French, one in The Romaunt of the Rose (foot of sig. Ee3v) dated 8 June 1583; early ownership inscriptions of Ro: Tirell (=Tyrell) at head of The Canterbury Tales part-title and again at head of the The Canterbury Tales alone had been first printed by Cax- Knight’s Tale, and of Thomas Lanham ton, first without and then with woodcuts, before Pynson at foot of Troylus and Creseyde part-title; attempted something like a collected edition in three some early underlines and contemporary separate publications of c. 1526. In this edition, only The marginalia throughout; front free end- Canterbury Tales is illustrated: the cuts of the Knight and paper with pencilled note (in the hand Squire are copies from Pynson’s 1526 edition (Hodnett of Lord Kenyon?) stating that the book 2066, 2067), while the remaining 13 were cut for Caxton’s was bought at the sale of Captain Walter 1483 edition (Hodnett 214–236). Tyrell’s books, Christie’s 1891; modern bookplate of Robert S. Pirie. This is much the most complete copy to have appeared in literature commerce in the past 40 years. The only other substantially Grolier/Langland to Wither 28; Hayward complete copy in that period was the William Morris–Rich- 2; Pforzheimer 173; STC 5068. ard Bennett–Michael Tompkinson–Albert May Todd copy, lacking six leaves (A1, A4, Uuu1, Uuu2, Uuu5 & Uuu6) and the lower outer portion of Ttt4, sold at Sotheby’s, 10 July 2003, lot 76. Though Morris used Skeat’s Victorian edition as his copy text, his own copy of the 1532 Thynne folio sure- ly supplied inspiration for the Kelmscott Chaucer. £150,000 [108308]

All items are fully described and photographed at peterharrington.co.uk 5 First edition of the English Catholic Bible, the Old Testament in a contemporary Douai binding for presentation (BIBLE; English, Douai–Rheims version.) The New Testament of Jesus Christ translated faithfully into English . . . In the English College of Rhemes. Rheims: John Fogny, 1582; [together with:] The Holie Bible [Old Testament] faithfully translated into English . . . By the English College of Doway. Douai: printed by Laurence Kellam, 1609–10 first edition of the roman catholic version together comprising the first Roman Catholic version of of the bible, the Old Testament in a contemporary the Bible in English. Douai binding, presentation copy from John Knatchbull, The English College at Douai was founded in 1568 by vice-president of the English College at Douai to Lady William Allen. In September 1579 Allen announced the Joanna Berkeley (1555/6–1616), abbess of the Benedictine project of a new English translation of the Bible. The Convent of the Assumption of Our Blessed Lady, Brussels, translation was primarily the work of Gregory Martin with his inscription at the head of the title page of vol. 2: (1542?–1582), with the revisions of Allen, Richard Bris- “John Knatchbull to the honorable Lady and his most re- tow, and William Reynolds. Martin translated the entire spected mother the Lay [sic] Barkley Abbesse of the Eng- Vulgate between September 1578 and July 1580 but the lish Monastery in Bruxells”. Offered here with a pleasing book was published episodically, the New Testament with copy of the Rheims New Testament in 17th-century calf, Bristow’s notes at Rheims in 1582 and the Old Testament

6 Peter Harrington at Masterpiece 2018 contents and binding Together 2 works in 3 quarto volumes. NT: quarto (214 × 155 mm). Woodcut initials and ornaments; woodcut title from an early 17th-century Geneva Bible bound-in as frontispiece. Late 17th-century calf, covers with a gilt rule border and gilt panel with a small fleuron at the corners, spine with 6 panels, the 2nd and 3rd with early 19th-century contrasting morocco labels; early 19th-century wove paper endleaves; sprinkled edges. OT: 2 volumes, quarto (225 × 168 mm). Titles within typographic ornament borders, woodcut headpieces and decorative initials. Contemporary gilt-tooled calf, central gilt-stamped oval “IHS” with cru- cifix surrounded by flames, frames with elaborate scrollwork, spines gilt-stamped with repeated floral stamp; rebacked with original spines laid down, corners mended. condition NT: Title and following leaf somewhat soiled and browned and repaired on the verso along the inner margin, text lightly browned throughout with some minor dampstaining, minor grubby marks and soiling in places, inner margin of the final leaf repaired, a very good copy. OT: An occasional minor marginal spot in two volumes at Douai in 1609–10. As a result complete or smudge, a very good copy. sets are not found in uniform contemporary bindings. provenance NT: Old ink initials “AK” at the foot of “The appearance of a Catholic Bible in English undermined the title; Rev. Joseph Abbot, perhaps the traditional protestant criticism that the Roman church kept Catholic priest of St Chad’s, Birmingham, scripture out of the hands of the laity. Instead protestant c. 1838–40, with his early 19th-century theologians such as Thomas Cartwright, William Whitak- signature on the front pastedown; pencil er, and William Fulke attacked the credentials of the trans- purchase note on the front flyleaf “Hodg- lators and denounced their work as filled with error. De- son 423 10/10/69 AMX”. OT: Lady Joanna spite such criticism, revised versions of Martin’s translation Berkeley (1555/6–1616), as noted left; re- remained extremely popular throughout the English-speak- cent bookplates of Robert S. Pirie. ing world for nearly four hundred years” (ODNB). literature NT: Darlow–Moule–Herbert 177; £45,000 [108480] Pforzheimer 68; STC 2884. OT: Darlow– Moule–Herbert 300; STC 2207.

All items are fully described and photographed at peterharrington.co.uk 7 The largest book ever seen through the English press at the time, a collection of travels that remains an indispensable resource PURCHAS, Samuel. Purchas his Pilgrimes. In five bookes . . . [together with:] Purchas his Pilgrimage. London: William Stansby for Henrie Fetherstone, 1625–6 first edition of Purchas his Pilgrimes, with the preferred the English press. “Unlike Hakluyt, Purchas attempted to fourth edition of the Pilgrimage; together this is the de- construct an argument upon geographical and historical sired state of the complete set of Purchas’s important col- evidence that was cosmopolitan, pan-European, global, lection of travel and exploration narratives from ancient and transhistorical . . . John Locke even-handedly advised times up to and including the recent accounts of Virginia in 1703 that for ‘books of travel . . . the collections made by John Smith. by our countrymen, Hakluyt and Purchas, are very good’” (ODNB). “Today, Pilgrimes remains an indispensable re- The Pilgrimes was conceived as a continuation of Hakluyt, source for geographers, anthropologists, and historians based in part on Hakluyt’s remaining manuscripts, which alike, providing, among other things, prime sources for Purchas had acquired about 1620, augmented by almost the early history of the Jamestown colony, and perhaps 20 years’ collecting oral and written accounts of travels in the best defence ever composed to justify England’s Europe, Asia, Africa, and the Americas. The four-volume claims to North America” (James William Kelly in Speake folio took more than three years to print; at the time of ed., Literature of Travel and Exploration, p. 985). its publication it was the largest book ever seen through

8 Peter Harrington at Masterpiece 2018 contents and binding Together 5 volumes (the supplemental Pil- grimage comprising the fifth volume), folio (330 × 207 mm). Engraved additional title to vol. I (second issue, dated 1625; usually absent), 88 engraved maps (7 double-page or folding: the Virginia map in vol. IV in Verner’s state 7, that of China in vol. III loosely inserted and on a slightly smaller sheet; 81 half-page in the text), plus the additional double-hemisphere map tipped in at p. 65 in vol. 1 (see Sabin, p. 118), numerous illustrations, mostly woodcut, but some engraved. Uniformly bound in mid-18th-century calf, rebacked with original decorative gilt spines laid down, red and green morocco labels, blind roll- tool border on sides, marbled edges and endpapers. condition Bindings professionally refurbished, a few light abrasions and shallow scratches, occasional light browning, a few marginal tears, some light offsetting of engraving onto letterpress, a few natural flaws and rust-holes, and the following minor defects: vol. I, H1 lower fore-corner torn away without loss of text, closed-tear in 2C4, old splash marks on 4Q2 (recto and verso); vol. II, old repaired tear at inner corner of 4Y just touching edge of map of Barbaria and Egypt, paper flaw at upper fore-corner of 6F2, paper flaw at fore-edge of 6H frayed with very minor loss to map of “Terra Sancta” on verso, map of Germany (6L3v) just shaved to neat line along outer edge, closed-tear in 6Y along lower platemark of map of Europe (but with no loss), small hole in 8P3; vol. IV, repaired closed-tear at lower margin of 5V6, paper flaw at lower fore-corner of 6C3 and lower edge of 7D6, printing flaw at edge of map of England (8B2v), faint dampstaining and a small stain on double-page map of China. A In this set Pilgrimes has the engraved title page (often very good set, with the blank leaf R4 in lacking) dated 1625, the map of Virginia in vol. IV in the vol. I (frequently wanting). 10th state according to Burden, with the whole engraved provenance area present (often trimmed with loss). Pilgrimage, fourth Late 17th-century ownership inscriptions edition, issued concurrently as a supplement, is the usual of “Rob. Williams his booke” on title issue with the first quire reset, the title beginning Purchas pages of vols. II and III; engraved armorial bookplates of Sir Charles Tennant (the other setting has Purchase), and the added dedication (1823–1906), industrialist, who amassed to King Charles. First published in 1613, the Pilgrimage a notable library at his Scottish Borders gives Purchas’s account of the various religions encoun- estate, The Glen, Peeblesshire. tered throughout the world. literature £125,000 [120132] Alden & Landis 625/173; Borba de Moraes II, pp. 692–3; Church 401A; Hill 1403; Sa- bin 66682–6; STC 20509 & 20508.5.

All items are fully described and photographed at peterharrington.co.uk 9 The Second Folio, the earliest practically obtainable edition of the greatest single volume in English literature, bound in red morocco by James Hayday, Dickens’s favourite binder SHAKESPEARE, William. Comedies, Histories, and Tragedies. The second Impression. London: Printed by Tho. Cotes, for Robert Allot, and are to be sold, 1632 the second folio, that is, the second edition, first issue, page from a corrected copy of the First Folio, 1623, edited of the collected edition of Shakespeare’s plays, set page-for- by John Heminge (d. 1630) and Henry Condell (d. 1627).

10 Peter Harrington at Masterpiece 2018 contents and binding Median folio (327 × 219 mm). Engraved portrait of Shakespeare by Martin Droe- shout (third state) on title page, woodcut initials and head- and tailpieces, text printed in two columns within rules. Mid-19th-century red crushed morocco by Hayday, spine divided into six compartments by double raised bands, gilt-lettered direct in second, dated in third, others with gilt cornerpieces, sides with wide gilt frames enclosing centrepiece, board edges and turn-ins gilt, marbled endpapers, edges gilt over earlier red. condition Spine faded, extremities a bit rubbed, a few scuffmarks; the first leaf with Jon- son’s “To the Reader” inlaid, title lightly soiled and with marginal repair, Aa6 with marginal repair touching 2 letters and costing a bit of rule, marginal repairs to last several leaves, occasional tiny rust- holes or light soiling, a number of minor corrections in an early hand. A tall, very fresh copy. Red morocco-backed case. provenance Richard Manney (bookplate; his sale, So- theby’s New York, 11 October 1991, lot 279); Richard L. “Rick” Adams, Jr. (book label). literature Gregg III:1113; Pforzheimer 906; STC 22274a; Todd, “The Issues and States of the Second Folio and Milton’s Epitaph,” in Studies in Bibliography V (1952–53), pp. 81–108.

This is the edition of which William Prynne complained The binder James Hayday (1796–1872) ran one of the larg- that it was printed on best crown paper. It is estimated that er London firms for nearly 30 years from 1833. His work the original edition was of 1,000 copies, shared between was always good quality, even on occasion spectacular. the five publishers listed in the colophon, all of whom were Dickens and his publishers used him for luxury presenta- proprietors of rights to one or more of the plays. This copy tion bindings. Hayday went bankrupt in 1861, unable to is one of those printed for Robert Allot, who took the lion’s compete against cheaper binders, and sold the use of his share. The book is also notable for containing “An Epitaph name to William Mansell of Oxford, who succeeded to his on the admirable Dramaticke Poet, W. Shakespeare” by bookbinding establishment. John Milton, printed on the Effigies leaf, the first of his English-language poems to be printed. £275,000 [122965] As shown by William Todd, only the true first issue was published in 1632. The imprint of this copy is Todd’s state Ia; the page with Milton’s verse (i.e., the inner forme of the same sheet) is his state Ib, corrected to read ‘‘Com- icke’’ ‘‘Laugh’’ and ‘‘passions’’ with ligatured double-s. In 1641 and later, remainder sheets were sold with this sheet (A2.5) in two distinct re-settings.

All items are fully described and photographed at peterharrington.co.uk 11 The greatest medical discovery of all time, the first edition in his native tongue HARVEY, William. The Anatomical Exercises, Concerning the Motion of the Heart and the Blood. London: by Francis Leach, for Richard Lowndes, 1653 first edition in english of Harvey’s De motu cordis, in and Harvey’s discoveries clashed with his teachings. De which he first announced the circulation of blood, con- motu cordis incited considerable controversy within the sidered by many authorities to be the greatest medical medical community as a result, but in retrospect he is discovery of all time. Not only did it initiate the field of celebrated as the author of a major medical discovery and physiology, but it also introduced the principle of experi- universally admired for overcoming the dead weight of mentation in medicine. At the time of publication, Galen ancient authority and revealing the truth. was the foremost medical authority, largely uncontested,

12 Peter Harrington at Masterpiece 2018 contents and binding Small octavo (155 × 92 mm). Without initial blank. The title page a cancel, as usual, with Francis Leach’s name on one line. Contemporary sheep. condition Rebacked to style with fully gilt spine and red morocco label, relined, corners restored. Two short ink lines in margin of p. 45, small nick in upper blank margin of approximately 20 leaves, a little close in the gutter, but a very good copy. literature ESTC R20704; Keynes, Harvey 19; Kri- vatsy 5338; Norman 1008; Wellcome 12104823; Wing H1083.

The translation, described by Keynes as “a vigorous, if unpolished, version . . . in contemporary language”, was based upon the Latin edition published at Rotterdam in 1648. Also included in this edition are a translation of James De Back’s treatise on the blood in which he offers a “defence of Harvey’s circulation”, and Harvey’s essays (“Two anatomical exercitations”) written in response to Jean Riolan’s criticisms. The 1628 first edition in Latin is now exceptionally rare and out of the reach of most collectors. The last copy at auction fetched a shade under $750,000 in 2001. £42,500 [122821]

All items are fully described and photographed at peterharrington.co.uk 13 One of the principal sources of empiricism in modern philosophy, a huge influence on many Enlightenment philosophers [LOCKE, John.] An Essay concerning Humane Understanding. London: by Eliz. Holt, for Thomas Basset, 1690 first edition, the holt issue, traditionally convince us that we are not at the mercy of pure chance, considered the first. Locke worked for nearly two and can to some extent control our own destiny” (PMM). decades on his investigation of “the certainty and the ad- The significance of his Essay was immediately recognized: equacy of human knowledge,” concluding that “though it quickly ran to several editions and was popularized on knowledge must necessarily fall short of complete the continent by French translations. “Few books in the comprehension, it can at least be ‘sufficient’; enough to literature of philosophy have so widely represented the

14 Peter Harrington at Masterpiece 2018 contents and binding Folio (320 × 190 mm). Bound to style sometime in the 20th century in full blind-panelled calf, brown morocco spine label, retaining old free endpapers. condition Binding rubbed, internally very good. provenance Neat early ink annotations in the wide margins throughout, and a couple of corrections to the text; early ownership inscription of R. Styleman at head of title; ownership inscription of Robert Dixon on both free endpapers. literature Attig 228; Garrison–Morton 4967; Gro- lier One Hundred 72; Grolier English 36; Pforzheimer 599; Printing and the Mind of Man 164; Norman 1380; Wing L–2738.

spirit of the age and country in which they appeared, or have so influenced opinion afterwards” (Fraser). This issue has the Elizabeth Holt imprint, and the “ss” of Essay correctly printed; the type ornament on the title is composed of 30 aligned pieces. An issue with a cancel title under the imprint of Thomas Basset, with the “ss” of Essay reversed, and with the typographical ornament unaligned is also known. Both issues have been championed as having priority, but recent scholarship indicates that priority of issue cannot be established: in his introduction to the Clarendon Press edition of the Essay, Peter Nidditch revers- es his former opinion that the Holt imprint is the sign of a first issue; John Attig’s bibliography records it as a variant. The marginal annotations are early and intelligent com- mentary, summarising the content of each of Locke’s par- agraphs throughout the first three books. £55,000 [111580]

All items are fully described and photographed at peterharrington.co.uk 15 John Law’s seminal work on banking, in a cogently assembled volume drawing together the Forbes family’s two great passions, finance and philanthropy [LAW, John.] Money and Trade considered. Edinburgh: Heirs and Successors of Andrew Anderson, 1705 first edition of the major work of the famous Scottish “Like other 18th-century writers Law adopted a disequilib- financial adventurer John Law (1671–1729), which presents rium theory of money, viewing it as a stimulant to trade. In his theories on the establishment of paper note-issuing a state of unemployment, Law maintained that an increase national banks. The title exists in three states: one with an in the nation’s money supply would stimulate employment ornament of an eagle and vines, the present with a coast- and output without raising prices since the demand for line and its reflection, and a third state with a tree stump. money would rise with the increase in output. Moreover, Textually they are all the same. Of the few copies we have once full employment was attained the monetary expan- handled in the past, all had the eagle-and-vine ornament. sion would attract factors of production from abroad, so

16 Peter Harrington at Masterpiece 2018 contents and binding Quarto (211 × 164 mm). Woodcut printer’s vignette of a coastline and its reflection to title. Bound third in a contemporary pamphlet volume of 16 works on commerce and Scottish poor laws in contemporary quarter calf, marbled boards, spine titled “Miscellanies” and numbered 35 in gilt in the third compartment. A full list of the other pamphlets in the volume is available on our website and on request. condition Spine and boards worn, spine ends and corners bumped, joints cracked but holding firm. Money and Trade considered dampstained throughout, a small hole to page 29 with loss of 2 characters; some of the other pamphlets with pages trimmed close in the binding process not affecting text, first item in the volume with one damaged leaf touching the first line of text (the sense recoverable); some browning and the odd mark; a very attractive volume. It would be a simple matter to have John Law’s work professionally cleaned, but this would require it to be removed from the volume; we have preferred to leave the pamphlet unrestored in its contemporary binding. provenance Engraved armorial bookplate of Sir Wil- output would continue to increase” (The New Palgrave III, liam Forbes Bart of Pitsligo to front past- p. 143). Law put this theory into practice with the estab- edown, with his manuscript listing of the lishment of the Banque Générale in Paris in 1716 and then contents of the volume on the front free again with the Compagnie d’Occident, established a year endpaper. later. Although both ventures were immediately success- literature ful—leading to his appointment as France’s finance min- Goldsmiths’ 4224; Hanson 592; Kress ister in 1720—the speculative mania which they prompted 2463; Mattioli 1946; Sraffa 3245. eventually caused the bubble to burst; by December 1720, Law’s banking system had collapsed, with disastrous reper- cussions for France’s economy and society. The pamphlet is bound up in a volume with 15 contemporary works on commerce and Scottish poor laws, from the library of Sir William Forbes, 5th Baronet of Monymusk and Pitsligo (d. 1743), who was an advocate; in 1720 he was admitted to the Society of Writers to Her Majesty’s Signet, as was James Armour, the author of the first two pamphlets in this volume. Forbes’s son, also Sir William, 6th Baronet, was a Scottish banker, known as an improv- ing landlord, philanthropist, and writer. He was a member of Samuel Johnson’s literary dining club, and he is mentioned in Boswell’s Tour to the Hebrides. £45,000 [117696]

All items are fully described and photographed at peterharrington.co.uk 17 The first English novel, in contemporary calf [DEFOE, Daniel.] The Life and Strange Surprizing Adventures of Robinson Crusoe; [together with:] The Farther Adventures of Robinson Crusoe; being the second and last part of his life. London: for W. Taylor, 1719 first editions of both parts of the book that is by countless imitators . . . This influence is not yet dis- widely accepted as the first novel in english, sipated, for much of science fiction is basically Crusoe’s and which has certainly reached an audience as wide as island changed to a planet. At least equally relevant to any book ever written in the language. The first part was the present purpose is the figure of the lonely human published on 25 April 1719 in an edition of 1,000 copies; being subduing the pitiless forces of nature; going back the sequel, Farther Adventures of Robinson Crusoe, was pub- to nature, indeed, and portraying the ‘noble savage’ in a lished in August the same year. way that made the book required reading for Rousseau’s Emile” (PMM). “Defoe’s immortality will always rest The first English novel was modelled along the existing . . . especially on Robinson Crusoe, that immensely subtle, lines of hugely popular travel books and distantly in- complex book with its simple plot and a character of spired by the true story of Alexander Selkirk, yet Robinson compelling reality who appears in one archetypal incident Crusoe was “novel”, as Defoe claimed in the preface to after another. Embedded in world cultural consciousness, the second part, in supplying a “surprising variety of the Robinson Crusoe has never been out of print. Most people subject”. “The special form of adventure that [Defoe] still encounter Crusoe in childhood and never forget him. chose, and even the name of his hero, have been adopted

18 Peter Harrington at Masterpiece 2018 contents and binding 2 volumes, octavo (183 × 115 mm & 193 × 120 mm). Part 1 with engraved frontispiece, 2 leaves publisher’s ads at end; part 2 with folding double hemisphere world map. Contemporary calf, part 1 in calf, spine gilt in compartments, red morocco twin labels with French volume number, curl marbled endpapers, red edges; part 2 in English panelled calf, pale red morocco label, spine gilt in compartments with central flower design and flower-heads in corners, plain endpapers, red sprinkled edges. condition Part 1 rubbed, neat repairs to headcaps, faint stain affecting first 2 quires in fore margin, last 4 quires toned as always due to inferior paper stock, short closed tears in lower margin to a few leaves (B1, H5, L8, S7), lower outer corner of Y1 r faintly printed, a few minor blemishes, still generally fresh and clean; part 2 with skilful restoration to headcap and joints, internally excellent, very fresh and clean; overall, a very good set of a highly desirable book very rarely found in anything like its original published state. Housed in a red quarter morocco folding case by the Chelsea Bindery. provenance Part 1 with early ownership inscription cut away from head of binder’s blank, early female ownership inscription at head of title erased, initials “E.D.” in a contemporary hand at foot of B5 r; part 2 with armorial Rolle bookplate (John Rolle, baron Rolle of Stevenstone, 1750–1842); small inkstamp and neat inscriptions of the Swedish collector Thore Virgin, Bibliotheca Qvarnforsiana, to endpapers, dated 1951. literature Grolier English 41; Hutchins, pp. 52–71, 97–112, 122–8; Moore 412 & 417; Printing and the Mind of Man 180; Rothschild 775. Only the Bible has been printed in more languages. From the very beginning Defoe’s impact was international, as was the recognition that Robinson Crusoe was a new literary form with revolutionary power to ‘instruct and delight’” (ODNB). £125,000 [125715]

All items are fully described and photographed at peterharrington.co.uk 19 The true first edition of Gulliver’s Travels, with the first state portrait, in an unrestored contemporary binding, from two notable Irish libraries [SWIFT, Jonathan.] Travels into several Remote Nations of the World. By Lemuel Gulliver. London: Benj. Motte, 1726 true first edition, with all the necessary points to discover unauthorized deletions and insertions had been distinguish it from the two superficially similar print- made by Andrew Tooke, but from the safety of Dublin ings also dated 1726 and with the first state of the fron- could only protest via pseudonymous letters. tispiece portrait. The portrait occurs in three states, the first as here with Known from the start by its more popular title, Gulliver’s the inscription “Captain Lemuel Gulliver, of Redriff Ae- Travels, the satirically explosive political satire was ushered tat. suae 58.” on a tablet under the oval. (Gulliver’s age into print chiefly by Alexander Pope, with the assistance matches Swift’s when the Travels was first published.) The of John Gay and Erasmus Lewis. For speed, and to coun- second state has the inscription placed round the oval, ter the risk of piracy, Motte used five printing houses, the tablet with a quotation from the second satire of Per- those of Edward Say, Henry Woodfall, James Bettenham, sius protesting the author’s purity of heart; the third state William Pearson, and, for the greatest share, that of Jane is a retouched version of the second. Ilive, a rare example of an 18th-century female printer. The first edition appeared on 28 October 1726 in two oc- £150,000 [120147] tavo volumes at the price of 8s. 6d. Swift was irritated to

20 Peter Harrington at Masterpiece 2018 contents and binding 2 volumes, octavo (196 × 121 mm). Fron- tispiece portrait of Gulliver (first state), 4 maps and 2 plans. Original trade binding of unlettered panelled calf, spines with volume numbers in gilt, gilt edge-roll, edges speckled red. condition Later paper labels removed from second compartments with slight surface loss of leather, a little rubbing and scuffing to edges, front hinge of vol. II cracked but holding, very faint dampstain to upper outer corners throughout, occasional mark or spot of foxing to contents, vol. II with shallow chip to bottom of first two blanks. An excellent set in an unrestored trade binding, rare thus. Housed in a brown quarter morocco solander box with chemise by the Chelsea Bindery. provenance Faint contemporary ownership signature (James Grafton) to title pages. From the library of the Irish judge William O’Brien (1832–1899), with his bequest bookplate dated 1899 to the front pastedown of vol. I, and thence by bequest to the Jesuit Community at Milltown Park, with the Milltown Park library book label and shelf marks to the front pastedowns, and library stamp to a few leaves (vol. I, sigs. A2, M2; vol. II, first blank, sigs. A2, O4). literature Ashley VI, p. 28; Grolier English 42; Print- ing and the Mind of Man 185; Rothschild 2104; Teerink 289 (“Teerink A”).

All items are fully described and photographed at peterharrington.co.uk 21 Hume’s first great work, rare as a set complete with the third volume published almost two years later HUME, David. A Treatise of Human Nature. London: John Noon (vol. III Thomas Longman), 1739–40 first edition of hume’s first great work, rarely anonymously, at the end of January 1739. Already fearing found thus, complete in three volumes. Hume composed that they would not be well received, Hume had mean- the first two books before he was 25 during his three while begun a third volume, Of Morals, in part a restate- years in France. He returned to London with the finished ment of the arguments of these first two books, which manuscript by mid-September 1737, but he did not sign was not published until 5 November 1740 by a different articles of agreement with a publisher, John Noon, for publisher, Thomas Longman. Hume treated the third vol- another 12 months, and the two volumes finally appeared, ume as a discrete work in its own right in so far as he later

22 Peter Harrington at Masterpiece 2018 contents and binding 3 volumes, octavo (195 × 122 mm). En- graved head- and tailpieces and initials. With two of five leaves which Chuo notes as often cancelled in the uncancelled state (A4 and F6, vol. III). Contents to Books I and II additionally bound in to the front of vol. II. Rebound to style in modern speckled calf, red and green morocco labels to spines, red morocco roundels on green labels lettered in gilt, compartments ruled in gilt, raised bands tooled with rope-twist roll in gilt, boards double-ruled in black, red sprinkled edges. condition Corrections neatly made in pencil to contents of vol. I following errata, two faint marginal pencil marks to vol. II. Very occasional spotting, still a fine set. Housed in a brown cloth flat-back box by the Chelsea Bindery. literature Chuo 30; Fieser A.1–3; Jessop, p. 13; “cast anew” its contents alone as An Enquiry Concerning the Printing and the Mind of Man 194; William Principles of Morals (1751). As a result of this broken-backed B. Todd (ed.), Hume and the Enlightenment publication history, the three volumes of the Treatise are (1974), pp. 190–1. rarely found together. “The book comes up for sale so seldom that one may doubt whether more than one or two hundred can be extant” (Keynes and Sraffa, in their introduction to Hume’s Abstract). £125,000 [120809]

All items are fully described and photographed at peterharrington.co.uk 23 “One of the most influential art publications of the 18th century”, the basis for the Wedgwood style, a beautiful book that also helped to establish modern archaeological discourse HAMILTON, Sir William. Collection of Etruscan, Greek, and Roman Antiquities. Naples: Morelli, 1766–7 [actually 1767–76] first edition of this magnificent and notably rare work, of which only 100 sets were completed—500 copies of vols. I and II, 100 copies of vols. III and IV. Although the two pairs of volumes are dated 1766 and 1767, in fact vol. I was delayed until the end of 1767 and vol. II was published in 1769. Hancarville’s financial problems led him to forfeit the finished plates for the final volumes to Florentine creditors in 1773; Hamilton’s intervention and additional funding led connoisseur and amateur art dealer Pierre-François Hu- to those two volumes being published in 1776. gues (who styled himself Baron d’Hancarville). Hamilton Sir William Hamilton (1731–1803), diplomatist and art col- added several more choice items before in 1772 selling the lector, was appointed British envoy-extraordinary to the entire collection for £8,400 to the British Museum, where Spanish court at Naples in 1764, during that city’s Golden it formed one of main collections in the department of Age under the rule of the Spanish Bourbons. An avid an- Greek and Roman antiquities. tiquarian, Hamilton assembled one of the world’s finest Before the collection was shipped to England, Hamilton collections of Greek and Roman antiquities. The core of arranged for Hancarville to oversee the cataloguing and his collection was bought en bloc from the Porcinari fami- drawing of every item. Under Hancarville’s direction, the ly, to whom he had been introduced by the buccaneering artists who worked on the execution of the large-format

24 Peter Harrington at Masterpiece 2018 plates, along with the unusually elaborate initials and The work had an enormous influence on contemporary vignettes often based on Piranesi originals, included taste; it “spread the vogue throughout Europe for the ‘an- the draughtsmen Edmondo Beaulieu, Giovanni Battista tique’ in furnishings, porcelain, wall coverings, and inte- Tierce, and Giuseppe Bracci, and the engravers Filippo de rior decoration in general. Within barely a year of the pub- Grado, Carlo Nolli, Tommaso Piroli, Antoine Alexandre lication of the first volume Josiah Wedgwood had opened Joseph Cardon, Antonio Lamberti, and Carmine Pigna- his pottery works, Etruria, in Staffordshire, and thrown tari. Giuseppe Bracci developed a new printing process six black basalt ‘first day vases’ based on vases in Hamil- specifically for the plates. The final published work stands ton’s publication. Countless other subsequent Wedgwood as a triumph of book production, one of the most influ- articles and designs were inspired by the work” (ODNB). ential art publications of the 18th century, and one of the most beautiful books ever printed.

All items are fully described and photographed at peterharrington.co.uk 25 “Collectors, such as Sir William Hamilton, the British en- produced in the 18th century. These folios, along with voy to Naples, vied with the king in commissioning publi- many others, provided a wealth of images that enjoyed an cations of their own large collections of antique vases . . . astonishing popularity at the end of the 18th and begin- [The present work] ranks among the most lavish books ning of the 19th century. Perhaps even more importantly,

26 Peter Harrington at Masterpiece 2018 contents and binding 4 volumes, folio (470 × 340 mm). Hand-coloured engraved titles in English and French, 5 engraved dedication plates, 436 engraved plates (183 hand coloured, 73 double-page, 4 folding), engraved head- and tailpieces and initials (printed in colours in vol. IV); parallel text in Eng- lish and French in vols. I and II, five dedi- cations, “Avertissement” in vol. II, “Avant Propos” in vol. IV. Contemporary mottled calf, skilfully rebacked and refurbished, two-line gilt border on sides, gilt foliate cornerpieces, marbled endpapers. condition Light abrasions and overall craquelure to sides, touch of marginal dust-marking in places, a very good set. Housed in custom purple cloth solander boxes, dark red morocco labels. provenance Ex-libris Benjamin Gott (1762–1840), cloth merchant and manufacturer, acquired at the British Museum duplicate sale, 1804 (front covers gilt-stamped “M[useum]. B[ritannicum].”; ink accession stamp on English titles verso; release stamps dated 1804). Gott’s engraved bookplate has a facsimile of his signature and the name of his country seat, Armley House, a villa on the edge of Leeds landscaped by Repton, incorporating distant views of Gott’s fac- tory and Leeds. In 1822 Sir Robert Smirke remodelled the house in the Greek-revival style as a fitting home for Gott’s art collection. Gott was patron of his second cousin, the neoclassical sculptor Joseph Gott (1785–1860), who trained under John Flaxman. Hamilton’s opulent books would have been of considerable benefit to his cousin, in the year prior to his enrolment in the Royal Academy Schools. literature Berlin Katalog 890; Blackmer 845; Brunet I, 321; Cohen–de Ricci 474; Lowndes IV p. 989; Vinet 1528.

they also helped to establish modern archaeological discourse” (J. Patrice Marandel in Museum of Modern Art: Eu- rope in the Age of the Enlightenment and Revolution, 1987, p. 7). £160,000 [124586]

All items are fully described and photographed at peterharrington.co.uk 27 Captain Cook—“the ablest and most renowned navigator this or any country hath produced” COOK, James. Complete set of the three voyages; [together with:] KIPPIS, Andrew. The Life of Captain Cook. London: W. Strahan and T. Cadell [and others], 1773–85 first editions of the first two voyages, im- proved second edition of the third voyage; first edition of kippis’s biography. As is customary, the outsize plates from the third voyage are contained in an atlas folio volume (“Booksellers are cautioned not to have them bound up, with the rest of the Plates”—vol. I p. xci). “Captain Cook’s three great voyages form the basis for the exchange of useful products and manufactures and any collection of Pacific books. In three voyages Cook did the extension of arts whereby the common enjoyments of more to clarify the geographical knowledge of the southern human life are multiply’d and augmented, and science of hemisphere than all his predecessors had done together. other kinds encreas’d to the benefit of mankind in general.” He was the first really scientific navigator and his voyages Cook’s many discoveries resulted in British claims in Alas- made great contributions to many fields of knowledge” ka, British Columbia, Oregon, Australia, New Zealand, and (Hill). His contributions to the advancement of knowledge Hawaii, the last of which he regarded as his most valuable were widely recognised in his own time. During his third discovery but where he met his death. “He also suggested voyage, when Britain and America were at war, Benjamin the existence of Antarctic land in the southern ice ring, Franklin, who had met Cook in London and was then serv- a fact which was not proved until the explorations of the ing as the Colonies’ representative at the court in Paris, nineteenth century” (Printing and the Mind of Man). wrote a general laissez passer for the expedition, requesting £37,500 [124160] that the American and French fleets leave them unmolest- ed, declaring that “The increase of geographical knowledge facilitates the communication between distant nations in

28 Peter Harrington at Masterpiece 2018 condition or Crackanthorpe); neat oval book labels A few light scratches and abrasions to of the distinguished travel bibliophile covers, scattered foxing, marginal damp- Martin Greene. staining to last few leaves in second literature voyage vol. I (including plate of “O-He- Beddie 648, 1216, 1552; Books on Ice I.6; didee”), two leaves palely stained and Hill 782, 358; Howgego I C173–6; NMM, cockled (first voyage, vol. II, 4F4 & 4G1; Voyages & Travel, 577, 586; Printing and the 5I4 in same vol. skilfully repaired), old Mind of Man 223 (second voyage); Rosove pale dampstaining to opening leaves of 77.A1 (second voyage); Sabin 16245, Kippis’s Life. A very good set. 16250. Kippis: Beddie 31; Hill 935. provenance Pretty contemporary armorial bookplates of Jonathan Stonard (in 1785 vols. only); 19th-century armorial bookplates of the Stonard family (arms of Stonard quar- tered with those of Stonard, Gyll, Davey

All items are fully described and photographed at peterharrington.co.uk 29 contents and binding search of the great Terra Australis. In addi- 4 works in 10 vols: 9 quarto text volumes tion to the geographical, botanical and (300 × 225 mm) and folio atlas of plates other cultural discoveries of the voyage, (553 × 380 mm). With all plates, maps and Cook also deals with the organizational plans as called for. Kippis: engraved por- problems of an expedition on such a large trait frontispiece of Cook by Heath after scale: he was “probably the first sea cap- Dance. Uniformly bound in contempo- tain to realize the importance of preserv- rary speckled calf skilfully rebacked with ing the health and well-being of his crew. original spines laid down and judiciously He did everything possible to maintain refurbished overall, red and dark green their physical fitness and the cleanliness morocco twin labels, spines gilt decorat- of both men and ships. He conquered ed with wavy-ribbon-and-rosette roll at the hitherto prevalent scurvy by cutting head and tail, roundels and floriate sprigs down the consumption of salt meat and within panels, crisply tooled ship motif in by always having fresh vegetables and four compartments, single-line gilt border fruit on board . . . On his second voyage, on sides, yellow edges. Atlas: modern of 112 men on board the Resolution, which half calf to style, 19th-century brown peb- he commanded, Cook lost only one by ble-grain cloth sides. disease—and that not scurvy—a unique First voyage: HAWKESWORTH, John. An achievement in his time” (PMM). Cook’s Account of the Voyages Undertaken by the account is also noted for its illustrations, Order of His Present Majesty for Making “of very high artistic quality” (Rosove), Discoveries in the Southern Hemisphere, mostly after drawings and paintings by and Successively Performed by Com- young artist William Hodges (1744–1797). modore Byron, Captain Wallis, Captain Third voyage: COOK, James, & James Carteret and Captain Cook. London: W. King. A Voyage to the Pacific Ocean Un- Strahan and T. Cadell, 1773. “This important dertaken by the Command of His Majesty, collection . . . Hawkesworth was expected for Making Discoveries in the Northern to add polish to the rough narratives of Hemisphere. London: Printed by H. Hughs, sea men, and to present the accounts in a for G. Nicol and T. Cadell, 1785. Cook’s fatal style befitting the status of the voyages as third voyage was “organized to seek the official government expeditions, intended Northwest Passage and to return Omai [the to embellish England’s prestige as a mar- young Ra’iatean man] to Tahiti . . . This itime power. He was paid £6,000 for his voyage resulted in what Cook judged his editorial labors” (Hill). most valuable discovery—the Hawaiian Second voyage: COOK, James. A Voyage Islands” (Hill). The second edition has towards the South Pole, and Round the long been preferred; the title pages are World Performed in His Majesty’s Ships enhanced by the addition of the medallic the Resolution and Adventure, in the Years “vignettes” of Cook’s Royal Society medal 1772, 1773, 1774, and 1775. London: W. Stra- and a portrait medal of Captain King; and han and T. Cadell, 1777. Cook’s historically the text was entirely reset, Forbes (Hawaiian most important voyage was conducted in National Bibliography) pointing out that that it was always considered “typographically

superior”. Thirty-five years after publication, Cook’s widow sent a copy to her doctor with an inscription noting that “the letter press of the second edition [is] much superior to the first both in paper & letter press”. King George III’s copy, held at the British Library, was also a second edition. KIPPIS, Andrew. The Life of Captain James Cook. London: G. Nicol and G. G. J. and J. Robinson, 1788. “First English biography of Cook . . . The Newfoundland and Labrador surveys are discussed, and the three voyages are dealt with in great narrative depth” (Hill).

30 Peter Harrington at Masterpiece 2018 All items are fully described and photographed at peterharrington.co.uk 31 “The finest fruit of the American Enlightenment”—presentation copy from John Adams to “that illustrious patriot” Richard Henry Lee, also signed by John Quincy Adams ADAMS, John. A Defence of the Constitutions of Government of the United States of America. London: for C. Dilly, 1787 first edition, presentation copy to fellow in the Congress of 1775, Adams declaring Lee “a masterly statesman richard henry lee (1732–1794), inscribed man” and Lee encouraging Adams to draw up his Thoughts by Adams on the first interleaf: “Mr Lees acceptance of on Government (1776). Late in life John Adams wrote to this is requested, & is sent him in Boards interleaved that Lee’s grandson (also Richard Henry Lee) describing his at his Leisure Mr Lee may make his Remarks in it, and associate in the days of the Declaration of Independence communicate them if he will be so good to the Author”. in glowing terms: “a gentleman of fine talents, of amica- ble manner, and great worth. . . he was always devoted to An outstanding association copy, uniting two of the key his country. I am glad you are about to commence a mem- figures in the foundation of the United States. Adams’s oir of that illustrious patriot” (The Works of John Adams, vol. essay played a key role in the development of American 10, Letters and State Papers 1811–1825, p. 228). political philosophy, propounding a separation and bal- ance of powers between a two-house legislature, a power- Ownership of the volume passed to Richard Henry Lee’s ful executive, and an independent judiciary. Adams was at son, Ludwell Lee (1760–1836), lawyer, planter, and briefly the time in London serving as America’s first minister to a member of the Virginia General Assembly, whose sig- the Court of St James’s. His volume may have given some nature appears on the title page. Beneath John Adams’s ammunition to the delegates who in May 1787 began to inscription is the signature of his son, John Quincy assemble at Philadelphia to frame America’s new federal Adams (1767–1848), his handwriting somewhat shaky. constitution. Lee was not among the delegates, but he Below that is the signature of Pennsylvania congressman had been—with Adams—a signer of the Declaration of John Strohm (1793–1884), dated 1846, the date partially Independence, and a Virginia delegate to the Continental erased. Together, the inscriptions suggest that Strohm Congress, 1774–9. The two men first met in Philadelphia acquired the volume sometime after the death of Ludwell

32 Peter Harrington at Masterpiece 2018 Lee and asked John Quincy Adams to sign below the contents and binding original inscription, almost as an authentication of it. Octavo (202 × 118 mm). Mid–19th-century Adams’s shaky signature is the consequence of the stroke black half roan, flat spine lettered in gilt, the 78-year-old former president suffered in November double gilt rules, marbled paper sides and endpapers. 1846, while visiting his son in Boston. However, he made a startling recovery and returned to business in February condition 1847, stepping on to the floor of the House “slowly, but The main body of the text interleaved with blank paper; the first blank carries magisterially . . . and, as he took his seat, the members a quotation in French, in an unidentified rose as one . . . to cheer him” (Harlow Giles Unger, John contemporary hand, from the Memoires Quincy Adams, 2012). of the French statesman Philippe de Strohm attended the Thirtieth United States Congress Commines (“Entre toutes les Seigneu- ries du monde dans j’ai connaissance, (March 1847–March 1849), where he shared accommoda- ou la choice publique est mieux traité, tion with the Representative from Illinois, Abraham Lin- & ou regne moins de violence sur le coln: “Boardinghouses, lived in by nearly every member peuple—c’est l’Angleterre”), made while of the House and Senate, were the center of a member’s the leaves were untrimmed and slightly life in Washington. Due to the expense and the tempo- shaved by the binder. Some wear to spine rary nature of their stay. . . it was at boardinghouses that and corners, front joint professionally most members took their meals, and socialized with restored. Housed in a custom black mo- fellow housemates. They were often self-selecting, with rocco solander box. members from similar regions and ideologies choosing provenance to live together. For this reason, they earned nicknames. For early provenance, see main note. Sprigg’s was known as ‘Abolition House’. . . Living at Collector’s engraved bookplate of Massa- chussetts superior court justice Francis ‘Abolition House’ put Lincoln in daily contact with some Almon Gaskill (1846–1909). of the most notable radicals of the House of Represent- atives. . . and two of them, Giddings and John Strohm, literature Howes 60; Sabin 234. lived with Lincoln” (Chris DeRose, Congressman Lincoln: The Making of America’s Greatest President, 2013, p. 79). £110,000 [125260]

All items are fully described and photographed at peterharrington.co.uk 33 The Federalist Papers, uncut in original boards [HAMILTON, Alexander; James Madison; John Jay.] The Federalist: A Collection of Essays, Written in Favour of the New Constitution. New York: J. and A. McLean, 1788 first edition of the “most famous and influential aganda in support of the Constitution within New York American political work” (Howes), and “one of the new State. The majority were written by Hamilton, later to nation’s most important contributions to the theory of become Secretary of the Treasury, and James Madison, government” (Printing and the Mind of Man). The collection “the father of the Constitution” who served as secretary of 85 essays that came to be known as the Federalist Papers of state under Jefferson and as president between 1809 originated in the drive to ratify the Constitution, which and 1817. Published under the pseudonym Publius, the was intended to replace the Articles of Confederation and first essay in the series appeared on 27 October 1787 in the create a more powerful and stable federal government. Independent Journal and continued in that and three other Ratification occurred on a state-by-state basis, and the newspapers until 2 April the following year. The first 36 essays were conceived by Alexander Hamilton as prop- essays were published in book form on 22 March 1788,

34 Peter Harrington at Masterpiece 2018 with the second volume appearing on 28 May, so that contents and binding essays 78–85 were published as a book before their ap- 2 volumes, duodecimo in sixes (vol. I 174 pearance in the press. The Federalist Papers have profoundly × 110 mm, vol. II 188 × 113 mm). Uncut in influenced the interpretation of the Constitution, and original paper-backed boards, original number stamped to spine of vol. II. Vol. I have been described by historian Richard B. Morris as an backstrip replaced to style; vol. II largely “incomparable exposition of the Constitution, a classic in unopened. political science unsurpassed in both breadth and depth condition by the product of any later American writer” (The Forging of Some marking and early inkstains to the Union, p. 309). boards of vol. I, light foxing and toning to v Only 500 copies were printed, and due to the size dif- same vol., small inkstain in margin of Q3 ference between vols. I and II, most sets include a sec- not affecting text; vol. II generally clean and fresh; a very good set. Housed in ond volume that has been trimmed down to match the matching late 20th-century red straight- first. Uncut sets in the original boards are extremely grain morocco pull-off cases and red uncommon. linen chemises. £195,000 [120317] provenance First blank and title leaf of vol. I torn across to remove early ownership inscription, loss to title including most of the word “The”; the remaining inscription reading: “John [–] New York April 9th St Dominic 1809” and listing the three authors. Black morocco book labels of Alfred Nathan. literature Church 1230; Grolier, American, 19; Groli- er, English, 55; Howes H114; Printing and the Mind of Man 234; Sabin 23979.

All items are fully described and photographed at peterharrington.co.uk 35 A fine copy, uncut in original boards, of the most famous biography in any language BOSWELL, James. The Life of Samuel Johnson. London: by Henry Baldwin for Charles Dilly, 1791 first edition. “Boswell’s Life of Johnson remains the The survival of such large, heavy quarto volumes in the most famous biography in any language, one of Western relatively flimsy paper-backed boards is unusual, yet the literature’s most germinal achievements: unprecedented paper spines show signs of both volumes having been in its time in its depth of research and its extensive use read, indicating that this copy was not a freak, lying of private correspondence and recorded conversation, it around disregarded for years. It supports the point made sought to dramatize its subject in his authorial greatness by Jonathan E. Hill in his article “From Provisional to and formidable social presence, and at the same time Permanent: Books in Boards 1790–1840” (The Library, vol. treat him with a profound sympathy and inhabit his inner s6-21, issue 3, Sept. 1999) that books in boards from this life” (ODNB). period were increasingly kept by readers in this state, without being rebound in some more durable material, This copy has p. 135, vol. 1, in the first, uncorrected state, typically leather. Keeping the book uncut in boards en- reading “gve”. This is not an issue point for the whole sures the preservation of the attractive page layout, the book; the correction was made in the press, and 1,750 leaves in their untrimmed state showing the widest possi- copies with either state were available on publication day, ble margins. 16 May 1791, the 28th anniversary of Boswell’s first meeting with Johnson. Of the first printing, 800 copies were £35,000 [122700] sold in the first two weeks.

36 Peter Harrington at Masterpiece 2018 contents and binding cal cracks, front joint of vol. I impercep- tician and barrister, Winston Churchill’s 2 volumes, quarto (295 × 225 mm). Por- tibly repaired, repaired marginal tear in greatest personal and political friend, trait frontispiece engraved by James frontispiece, minor localised marginal with his bookplates to front pastedowns; Heath after Sir Joshua Reynolds, 2 en- worming in vol. I, without initial blank in and of Victor Rothschild, 3rd Baron graved facsimile plates by H. Shepherd. vol. II, occasional light spotting or soil- Rothschild (1910–1990), with his book- Uncut in original blue-grey paper boards, ing, still a fine copy. Housed in later red plates to front free endpapers. cream paper spines lettered in ink at a morocco-backed chemises and moroc- literature later date. co-tipped slipcase. Courtney 172; Grolier, English, 54; Pottle condition provenance 79; Rothschild 463; Tinker 338. Boards a little soiled and worn at edges, From the libraries of F. E. Smith, 1st Earl spines rubbed and with superficial verti- of Birkenhead (1872–1930), British poli-

All items are fully described and photographed at peterharrington.co.uk 37 Thornton’s Temple of Flora, “the greatest English colour-plate flower book . . . one of the loveliest books in the world” THORNTON, Robert John. New Illustration of the Sexual System of Carolus von Linnaeus . . . Temple of Flora. London: Printed for the Publisher, by T. Bensley, [1799]–1807 first edition of this extraordinary work, described by portrait here is accompanied by a vignette engraving of Alan G. Thomas as “the greatest English colour-plate flow- Guy’s.) Early in his career he embarked on the production er book”. Engraving, colouring, and presswork are all mas- of this book. terful, resulting in illustrations of astonishing richness and “Numerous important artists and engravers were engaged luminosity. This imposing, well-margined copy—perhaps . . . [including] Abraham Pether, known as ‘Moonlight bound from the parts, which appeared from 1799—has Pether’, Philip Reinagle, son of a Hungarian who came many of the plates in desirable early state, and is, unusu- over with Bonnie Prince Charlie and stayed, Sydenham ally, complete, with all of the five frontispieces in coloured Edwards and Peter Henderson. Thornton himself painted state and with both auricula plates present. the most famous plate of all, ‘The Roses’, and he evidently Robert Thornton (1768–1837) inherited a significant infused the others with something of his own romantic fortune and trained as a doctor. He appears to have had genius. It must be borne in mind that many exotic ori- considerable success in practice: he was appointed both ental plants that we take for granted were then newly physician to the Marylebone Dispensary and lecturer in introduced into Europe. To Thornton it was as if they had medical botany at Guy’s and St Thomas’s hospitals. (His been brought back by Coleridge from Xanadu, ‘where

38 Peter Harrington at Masterpiece 2018 All items are fully described and photographed at peterharrington.co.uk 39 blossom’d many an incense-bearing tree’ . . . One of the reduced to penury. In an attempt to extricate himself he most noticeable features of this splendid series is the way organized the Royal Botanic Lottery, under the patronage in which plants are placed in highly romantic versions of of the Prince Regent, but this too was a failure . . . It is what was held to be their natural habitat; temples, moun- easy to raise one’s eyebrows at Thornton’s unworldly and tains, church towers with the clock at midnight, and so injudicious approach to publishing . . . But he produced forth, abound . . . By good fortune this was a period of . . . the most strikingly beautiful set of flower plates ever high standards of engraving, and the leading craftsmen to be printed in England, one of the loveliest books in the in aquatint and mezzotint were called in to produce the world” (Alan G. Thomas, Great Books and Book Collectors, plates. They were first printed in the basic colours and 1975, pp. 142–44). finished by hand with water-colours . . . The result was almost total failure and involved Thornton in desperate £125,000 [122508] financial straits. His fortune was engulfed and his family

40 Peter Harrington at Masterpiece 2018 contents and binding portrait of Linnaeus in Lapland dress by Part III: engraved title on 2 sheets; en- Folio (590 × 435 mm). Early 20th-century Henry Kingsbury (coloured state) after graved table of contents; engraved dedi- red quarter morocco skilfully rebacked to Martin Hoffman; two engraved portraits cation on 2 sheets; engraved part-title; 3 style, gilt panelled spine, red linen cloth of Linnaeus (coloured by Bartolozzi and plates: “Flora Dispensing her Favours on sides, top edge gilt. John Ogborne after Martin Hollman, and Earth” (aquatint and stipple engraved, condition uncoloured by Henry Meyer after Hol- hand-coloured), and “Aesculapius, Flo- Scattered light foxing (mainly to letter- mann and Bartolozzi); engraved portrait ra, Ceres and Cupid . . . “ and “Cupid press), a few plates with some toning but of Queen Charlotte by Bartolozzi after Inspiring the Plants with Love” (colour all protected with guard-sheets, some William Beechey; engraved dedication; 3 printed stipple-engravings finished by fore-edges chipped, a few short closed- engraved tables; engraved part-title “The hand); 30 mixed-method engraved plates tears to margins of letterpress, a number Prize Dissertation”; engraved plates of (mezzotint, aquatint with some stipple) of minor open tears (short and margin- “The Universal Power of Love,” portrait printed in colours and finished by hand al). A very good copy. of Sir Thomas Millington, and “Farina of (NB the plate list calls for 28 plates; this Flowers,” with letterpress title and 28 ff. copy has two additional plates, the group collation text (including dedication and part-title) of four auriculas and the pitcher plant), “Its bibliographic history was complicat- with 1806 watermarks. with 78 ff. including part-title and title, ed, the three main parts being issued at a Part II: engraved part-title; mezzotint the text bearing 1804 watermarks. Most variety of times and in different formats” portrait of Linnaeus in Lapland dress by of the plates appear in first or early states (ODNB). This copy collates as follows: Robert Dunkarton after Hoffman (un- according to Dunthorne’s criteria. Part I: engraved half-title “A British Tro- colored state); 2 engraved tables, with 8 phy . . .”; engraved portrait of Thornton literature ff. (including half-title) with 1806 water- by Francesco Bartolozzi after John Rus- Dunthorne 301; Great Flower Books, p. 143; marks. sell; engraved additional title; mezzotint Nissen BBI 1955; Stafleu & Cowan 14283.

All items are fully described and photographed at peterharrington.co.uk 41 The definitive account of the most important exploration of the North American continent, complete with the large folding map of the West not issued with every copy and now often lacking LEWIS, Meriwether, & William Clark. History of the Expedition to the sources of the Missouri. Philadelphia: printed by J. Maxwell, published by Bradford and Inskeep; and Abm. H. Inskeep, New York, 1814 first edition of the “definitive account of the most much of the area they traversed, made contact with the important exploration of the North American continent” Indian inhabitants as a prelude to the expansion of the fur (Wagner-Camp). A cornerstone of Western Americana, trade, and dramatically advanced the geographical knowl- the book describes the government-backed expedition edge of the continent. The narrative has been reprinted to explore the newly acquired Louisiana Purchase un- many times and remains a perennial American best-sell- dertaken from 1804 to 1806 by ascending the Missouri to er. The observations in the text make it an essential work its source, crossing the Rocky Mountains, and reaching of American natural history, ethnography and science. It the Pacific Ocean. In total, the expedition covered some is the first great US government expedition and the first 8,000 miles in slightly more than 28 months. Lewis and book on the Rocky Mountain West. Clark brought back the first reliable information about

42 Peter Harrington at Masterpiece 2018 contents and binding 2 volumes, octavo (212 × 128 mm). Large folding frontispiece map, 4 engraved charts. Contemporary tree sheep, smooth spines with double gilt rules, red morocco labels. condition Joints and headcaps skilfully restored, corners worn, board edges rubbed, text browned as usual, due to paper stock, still a very good copy. Housed in a custom dark The large folding map of the West, present here, was not red morocco-backed folding case. issued with all copies, and in fact was priced separately provenance and cost almost as much as the book itself. “More accu- Early ownership inscriptions of John rate than any previous western map, it rapidly became the Hoffman at head of titles. source for a new generation of western maps” (Schwartz literature & Ehrenberg, The Mapping of America, p. 227). Church 1309; Field 928; Graff 2477; Gro- lier American 100, 30; Howes L317; Printing £150,000 [123030] and the Mind of Man 272; Tweney 89, 44; Sabin 40828; Shaw & Shoemaker 31924; Streeter Sale 1777; Streeter, Americana Be- ginnings, 52; Wagner-Camp 13:1.

All items are fully described and photographed at peterharrington.co.uk 43 One of only five pages of the Pickwick manuscript remaining in private hands DICKENS, Charles. Autograph manuscript leaf from The Posthumous Papers of the Pickwick Club. [London: before April 1837] original autograph manuscript leaf with au- The leaf is numbered “75” at the head of the page in his thorial deletions and insertions from Pickwick hand. Sadleir notes that “it is clear that Dickens num- Papers, the novel that transformed an obscure 25-year-old bered separately each successive instalment of manu- journalist into England’s most famous author in a mat- script delivered monthly to the printer”. Although the ter of months. One of only five such leaves remaining in text retained here is part of chapter 37, it was originally private hands, this leaf is from the setting manuscript published as part of chapter 36, due to the previous mis- used by the printers. Fewer than 50 of the estimated numbering of two consecutive chapters as “XXVIII”—an 1,500 pages that constituted it are known to survive. In error that was rectified in subsequent editions. keeping with the convention of the time, the holographic The leaves were kept by Hicks’s family and were dispersed leaves were nearly always destroyed as soon as they were in their sale in 1882. Some re-appeared in a group of 12 set in type. However, Charles Hicks (c. 1799–1870), the consecutively numbered leaves in the Suzannet sale in foreman-printer for Bradbury and Evans, who printed the 1971. Of those 12 leaves, numbered 69 to 80, the majority book for Chapman and Hall, salvaged a group of leaves are now held institutionally. The other leaves preserved by from the original manuscript. Hicks’s salvage, consist- Hicks are today in the Rosenbach Museum and Library. ing of 44 leaves from chapters 36 and 37, makes up “the All other surviving portions of the Pickwick Papers manu- largest number of contiguous Pickwick manuscript leaves script are held institutionally. known to survive” (Long, p. 32). The Posthumous Papers of the Pickwick Club, issued monthly £97,500 [124911] between April 1836 and November 1837, only became a contents publishing phenomenon after the introduction of the in- Single leaf (230 × 185 mm.) Manuscript imitable Sam Weller, who features in the portion of text text in brown ink on recto only. preserved in this leaf. The comic scene occurs during a condition visit to Bath by Pickwick and his friends, and Sam Weller Unobtrusive compositor’s inky finger- has received, to his consternation and bewilderment, print at lower centre, browning to very a formal invitation from John Smauker to a “swarry” edges, faint traces of mount to verso (soiree) with the elegantly uniformed “select footmen” along one edge. In excellent condition. of Bath. Housed in a custom pinkish-orange morocco gilt-stamped folder with cream The text begins halfway through a discussion of the chaly- moiré silk lining and a pinkish-orange beate taste of the famous waters. On the previous page quarter morocco clamshell case. Sam Weller had given his opinion: “I thought they’d a provenance wery strong flavour o’warm flat irons”, to which Smauk- Formerly in the libraries of Comte Alain er retorted, “That is the killybeate Mr Weller”. Weller’s de Suzannet (his sale, Sotheby’s, 22 response to this forms the opening line here: “It may be, November 1971); Kenyon Starling; and but I ain’t much in the chimical line myself, so I can’t say”, William E. Self. before the pair’s conversation turns to the forthcoming literature evening’s entertainment, closing with Smauker’s line, Sadleir, Catalogue of the Suzannet sale, p. “You’ll see some very handsome uniforms”. Dickens’s de- 277; Long, William F., “Dickens Donates letions here include three full lines of text and four words a Piece of Pickwick”, Dickens Quarterly, vol. blotted out; his insertions consist of three words added 33, no. 1, March 2016, pp. 23–37. interlineally at the top left.

44 Peter Harrington at Masterpiece 2018 All items are fully described and photographed at peterharrington.co.uk 45 “One of the most important and elaborate ventures of 19th-century publishing”— a Scottish noble subscriber’s copy of the beautifully hand-coloured deluxe issue ROBERTS, David. The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia. London: F. G. Moon, 1842–45 & 1846–49 first edition, in the preferred deluxe format compartment of the spines. Roberts’s work was published with exquisite hand-colouring, of “one of the most in three formats between 1842 and 1849, with the present important and elaborate ventures of 19th-century publish- deluxe coloured-and-mounted issue offered at triple the ing . . . the apotheosis of the tinted lithograph” (Abbey, price of the simplest format. Travel). A subscriber’s copy, by descent from John William Before he left for Egypt Roberts had discussed publication Robert Kerr, “the Most Noble the Marquis of Lothian”, of his views with the engraver Finden, but on his return as he is styled on the list of subscribers, where he heads both Finden and the publisher John Murray, who was also the phalanx of noblemen. From the atelier of the prestig- approached, baulked at the risks involved in a publication ious Edinburgh bookbinder George Orrock, with his gilt of the size and grandeur envisaged. However, Francis Gra- stamp, which appears, in the French manner, in the tail

46 Peter Harrington at Masterpiece 2018 contents and binding 6 volumes, folio (610 × 442 mm). 6 hand-coloured tinted lithographed vignette titles and 241 tinted lithograph plates by Louis Haghe after David Rob- erts, in the scarcest form, with original hand-colour, cut to the edge of the image and mounted on card in imitation of water-colours, as issued, mounted on guards throughout; plain lithographed portrait of Roberts by and after Charles Baugniet, printed list of subscribers in vol. 1 of Holy Land, engraved map of Holy Land (vol. III) and of Egypt (vol. II). Con- temporary red half morocco by George Orrock of Edinburgh (with his stamp on front free endpapers and gilt stamp in tail compartment of spines), richly gilt spines with five double raised bands, dark red vertical bead-grain cloth sides, gilt edges, marbled endpapers, red cloth hinges. condition Bindings a little rubbed, some abrasions ham Moon, a self-made man from a modest background, and marking to sides, customary scat- accepted the challenge; it was undoubtedly the most costly tered foxing internally bright and fresh. A and lavish, and potentially risky, publishing enterprise most attractive set. that Moon had ever undertaken. Investing £50,000 in the provenance project, he exhibited the drawings across England and John William Robert Kerr, 7th marquess by 1841 had raised an enormous subscription list for the of Lothian (1794–1841). lithographs, which were executed by Louis Haghe, one of literature London’s leading lithographers. Roberts acknowledged Abbey, Travel 385 & 272; Bobins I, 160; that Haghe’s work was hardly less important than his Tooley (1954) 401 & 402. own, complimenting his “masterly vigour and boldness”. The eminent historian of lithography, Michael Twyman, comments that the burdensome nature of tinted lithography—the plates “involving at least two stones, many three, and a few even more”—may even have prompted Haghe’s early retirement as a lithographer. The Reverend George Croly (1780–1860), poet and well-known contributor to Blackwood’s and the Literary Gazette, was engaged to edit the text from Roberts’s journal. In a dramatic gesture, the

All items are fully described and photographed at peterharrington.co.uk 47 lithographic stones for the original large format work were broken at an auction of the remaining plates in December 1853, so that the originals could never be reproduced. “A. J. Finberg, writing in an Introduction to English Watercolours in 1919, regarded Roberts as ‘the most skilful draughts-

48 Peter Harrington at Masterpiece 2018 man of his time’ after Cotman and Turner. ‘Cecil B. De No publication before this astonishing work had present- Mille admired the work of David Roberts’, wrote Waldemar ed so comprehensive a series of views of the monuments, Januszczak in a review in the Guardian in 1986. ‘His pictures landscape, and people of the region. are determined to take your breath away. The artist tries every pictorial trick in the book, from the dramatically £300,000 [115046] plunging perspective to the lonely ruin on a hill’” (ibid.).

All items are fully described and photographed at peterharrington.co.uk 49 The author’s best-known work and one of his two masterpieces, The Three Musketeers in original wrappers DUMAS, Alexandre. Les Trois Mousquetaires. Paris: Baudry, 1844 first separate edition, extremely rare in the The Three Musketeers “has become the archetypal adven- original wrappers. The author’s best-known work ture story, as well as the best known and the most widely and one of his two masterpieces, Les Trois Mousquetaires read (and adapted) of all French novels. In the historical was originally published earlier the same year as a serial context of its production it was also the prototype of the novel in the Parisian newspaper Le Siècle, from 14 March roman-feuilleton (serial novel), which enjoyed phenomenal to 1 July 1844. success in the 1840s . . . It provided a natural outlet for

50 Peter Harrington at Masterpiece 2018 contents and binding 8 volumes, octavo. Original yellow wrappers, titles to spines and covers in black, fore and bottom edges untrimmed. condition A little skilful conservation to spines, trivial loss to some ends, front joint of vol. II neatly reattached, faint marginal foxing to contents. A very nice copy of this scarce publication, in bright wrappers. Housed in red quarter morocco solander boxes by the Chelsea Bindery. literature Murray, Encyclopedia of the Romantic Era, 1760–1850, vol. II, 2004; Coward (ed.), The Three Musketeers, 1991.

Alexandre Dumas’s talents and energies as he combined elements of the historical romance of Sir Walter Scott with the formulas and themes of the romantic feuilleton . . . This “Homeric clash of Titans”, as David Coward described it, immediately became a best-seller, and was quickly translated into several languages, with no less than six pirated Belgian editions on the market in the year of publication. As Anthony Burgess noted, Dumas was truly ‘one of the great myth-makers of his and any age’” (Murray, p. 118). £125,000 [124078]

All items are fully described and photographed at peterharrington.co.uk 51 54 Peter Harrington at Masterpiece 2018 The first archaeological survey to be extensively illustrated with photographs DU CAMP, Maxime. Égypte, Nubie, Palestine et Syrie. Paris: Gide et J. Baudry, 1852 extremely rare first edition, complete, illustrated survey of the antiquities of the Near East, he abandoned with 125 salt prints from wet paper negatives mounted photography entirely in favour of literary pursuits. one to a page. Du Camp’s monumental work was the first “The parlance of the day cast Maxime du Camp as ar- archaeological survey to be extensively illustrated with chaeologist . . . for his interest in depicting the colossal photographs. remains of Egypt’s pharaonic past . . . his journey repre- A young man of independent means, Du Camp took up senting transitional stages between the artistic voyage photography in 1849 in preparation for his second journey and the scientific expedition. Several divergent trajecto- to North Africa. With official backing from the French ries that infuse the genre of archaeological photography, government, and travelling in the company of the novelist a term that was still being applied loosely, are evident in Gustave Flaubert, Du Camp returned with over 200 paper the images brought back. Du Camp’s literary sentiments negatives of the antiquities of Egypt and the Near East, could not help but be sharpened by his travel companion of which 125 were published here. The illustrations were Gustave Flaubert, and they emerge clearly in [this] anthol- produced at the photographic printing works of Lou- ogy of views . . . Awe, a presentiment of insignificance in is-Désiré Blanquard-Évrard at Lille and their distinctive the face of the enormity of ancient Egyptian civilisation— cool neutral tones are due to the prints being chemically these are the sensory impressions that his salted paper developed rather than merely printed-out in sunlight. prints . . . continue to provoke” (Lyons, Papadopoulos, et Distinguished as it was, Du Camp’s photographic career al., Antiquity & Photography, pp. 38–9). was short-lived. After the completion of his magisterial £300,000 [124632]

All items are fully described and photographed at peterharrington.co.uk 53 contents and binding Folio (447 × 315 mm). 125 mounted original salt-prints, letterpress captions to mounting leaves and tissue-guards, 3 small engravings to the introductory text, double-page engraved plan of Karnak, single-page plans of Medinet-Habu and the island of Philae. Original brown hard- grain half morocco, marbled boards, skilfully rebacked and recornered with brown cloth spine and corners, original leather spine laid down, title gilt direct, low flat bands with dotted roll gilt, double fillet panels to compartments, new endpapers, original marbled free endpapers retained. condition Soundly bound, presenting well on the shelf, front hinge slightly cracked towards the head at the first blank, some foxing throughout, varying from light to moderately heavy but the prints them- selves fairly lightly touched when at all, remains very good.

54 Peter Harrington at Masterpiece 2018 All items are fully described and photographed at peterharrington.co.uk 55 First edition, inscribed to César De Paepe, the leader of the International Working Men’s Association (the First International) in Belgium MARX, Karl. Das Kapital. Hamburg: Otto Meissner, 1867 first edition, presentation copy, inscribed not dres 3 Septembre 1868”. César De Paepe was the leader of quite a year after publication on the verso of the title, “Au the International Working Men’s Association (IWMA), the citoyen Cézar de Paepe, salut fraternel, Karl Marx, Lon- First International, in Belgium.

56 Peter Harrington at Masterpiece 2018 Marx first wrote “avec les compliments de Karl Marx” before apparently thinking better of such a bland inscription and erasing the just-penned words. As the iron gall ink had not yet settled and oxidized, the erased area probably appeared fainter at the time of re-inscribing, when Marx wrote across the smudged area (which has since dark- ened) his more cordial “brotherly greeting”. There is a single correction, presumably by Marx himself, on page XII of the Preface, where “transatlantischen Oceans” has “trans” crossed through in pencil. Educated as a physician in Brussels, the Belgian César De Paepe (1841–1890) is considered, with Mikhail Bakunin, the co-founder of collectivist anarchism, the theory of which they formulated independently of each other in 1866. While De Paepe was an early disciple of Proudhon, he often gravitated toward Marx’s positions and was contents and binding counted second only to Marx as a theoretician of the Octavo. Contemporary half calf with gilt- IWMA. In 1885 he was among the founders of the Belgian stamped spine title and marbled covers. Socialist Party, though his attempts to reconcile anar- condition chists and Marxists ultimately isolated him within the So- Light toning throughout, with the odd cialist movement. Long a champion of universal suffrage brown stain near the beginning, a tiny in Belgium, he died of consumption, aged 48, only three tear to the top edge of p. 353f., but gener- years before universal suffrage was introduced there. ally very well-preserved. rarity On 3 September 1868 Marx had a pressing reason to re- Very few presentation copies of the first mind De Paepe of his friendship. Three days later, on 6 edition of Das Kapital are known to have September, the Brussels Congress of the First Interna- survived. Most of these were inscribed by tional was to begin, at which the conflict with the French Marx on 18 September 1867 in London, Proudhonists would come to a head. Marx did not attend, when the first batch, published four but hoped to pull strings from London. De Paepe was the days previously, arrived from Hamburg. principal leader of the collectivist faction Marx himself One (to the Deutscher Arbeiter-Bildungsv- favoured. Marx managed to sideline Proudhon’s theory and erein) is the copy held by Trinity College Cambridge; another, inscribed to Pro- induce delegates to accept several contentious resolutions fessor Edward Spencer Beesly, sold at confirming the advantages of collective, socialist owner- Bloomsbury Auctions on 27 May 2010; a ship of land and of the means of production. Extracts from third was presented to his cousin August the machinery chapter of Das Kapital were read at the Con- Philips (sold at Hartung & Karl, 16 May gress (it is not too far-fetched to imagine it may have been 1979), and yet another was inscribed to from this very volume), and these quotations provided the the secretary general of the First Inter- theoretical basis for the resolution condemning the extor- national, Johann Georg Eccarius. A copy tionist use of machinery by the capitalist class. Notably, the inscribed to the English socialist reform- General Council also passed a resolution recommending er John Malcolm Ludlow on the title page “on the part of the author” was purchased that working men in all countries study Das Kapital. at Sotheby’s on 23 June 1969 by the Harry Hailed as one of “the most influential pieces of writing in Ransom Center, while Darwin House world history” (International Institute of Social History owns one inscribed to Charles Darwin. in Amsterdam), Das Kapital was the culmination of Marx’s many years’ work in the British Museum. This first volume was the only one published during Marx’s lifetime, the later volumes, edited by Engels from the author’s manuscript, appearing in 1885 and 1894. Marx’s own annotated copy, along with the only surviving autograph page of the Communist Manifesto, was entered on the pres- tigious UNESCO “Memory of the World Register” in 2013. £1,325,000 [116802]

All items are fully described and photographed at peterharrington.co.uk 57 “The magnificent drawings in Garnier’s atlas . . . introduced the architecture of the Khmer civilization to the West” (Speake) GARNIER, François. Voyage d’exploration en Indo-Chine. Paris: Librairie Hachette et Cie, 1873 first edition of the superbly illustrated offi- Lieutenant Louis Delaporte. On the frequent occasions cial account of the most important 19th-centu- when the party was forced to travel over land, the river ry expedition into indo-china. having become impassable, Delaporte took advantage of the interruptions to sketch the costumes and customs of Following the death of the original commander, Garnier the indigenous peoples, and the local flora and fauna. It was forced to take command of this French government is in the remarkable images that he produced of Angkor sponsored expedition to explore the navigability of the Wat that Delaporte’s lasting legacy lies. His portrayal Mekong. His expedition successfully mapped over 3,600 of the temple complex—“the Buddhist Notre Dame . . . miles of previously unrecorded terrain, represented here more like a living fairy tale” as he described it—etched it by the excellent maps based on Garnier’s own notes and into the Western consciousness and no doubt contribut- surveys. Probably the most enduring achievement of the ed much to its survival. In the 1970s the defeated Khmer expedition was the superb suite of plates produced by Rouge army took shelter there knowing that Western

58 Peter Harrington at Masterpiece 2018 opinion would not allow any attack that might threaten trade with China (particularly with the province of Yun- the site. nan, a target of British and French imperialism) and to use this waterway to extend French colonization north of “Garnier dedicated his life to the extension of the French the new protectorate of Cambodia. Before Garnier’s ex- political and commercial presence in Indochina and Chi- pedition, no European had ever travelled up the Mekong na. Between 1860 . . . and his death in 1873 (concluding north of Vientiane (Viang-chan), in Laos. The full course the assault on the citadel of Hanoi), Garnier spent most of and the source of the river were unknown, The expedition his time in the Far East. He is remembered today not as a party would soon become aware that the river could not colonial administrator but as the explorer of the Mekong be used as a waterway for trade (because of its many rap- River. Garnier managed to convince Napoleon III that ids and seasonal water-level changes), but, two years after France, already occupying the mouth of the Mekong, had its departure from Saigon, the mission would come back to take advantage of this controlling position to develop with a map of the entire Mekong basin and with a wealth

All items are fully described and photographed at peterharrington.co.uk 59 of information on the economic activities, cultures lan- and this set is attractively presented in what may well be guages, and customs of the people living by the riverside the publisher’s deluxe binding. Cordier suggests a print and in tributary valleys. In remains, in scope and achieve- run of 800 copies, although there has been more recent ment, one of the most important expeditions conducted speculation that the edition may not have exceeded 300. in the nineteenth century” (Speake). £30,000 [117168] Garnier’s magnum opus is rarely found complete—only three copies have appeared at public auction since 1999—

60 Peter Harrington at Masterpiece 2018 contents and binding morocco-grain cloth sides concentrically 2 large quarto text volumes (335 × 246 panel-stamped in blind, all edges gilt in mm) and folio atlas, 2 volumes in one text volumes, top edge gilt and others (490 × 360 mm). Text volumes: 44 full- untrimmed in atlas volume, white moiré page engravings, as plates and in the endpapers. text, including frontispiece to vol. 1, condition 10 full-page coloured maps and plans, Cloth sides of atlas and corners of text wood-engraved vignettes throughout. volumes skilfully refurbished, old pale Atlas volume: 2 double-page coloured dampstain to margins one plate (not area maps (one folding), 10 coloured affecting image), customary scattered route maps, 11 engraved plates of which foxing, otherwise a very good set. 2 double-page, 27 single-tint lithographic literature plates, one containing 2 discrete images, Bobins 288 (“the very fine plates of Ang- 6 double-page of which 4 containing 2 kor Wat are of the greatest importance as images and one containing 3, 11 chromo- being the best record of this astonishing lithographic plates; title pages printed temple in its original state”); Cordier In- in red and black. Contemporary red dosinica 1012; Cordier Sinica 329; Howgego French quarter morocco, spines lettered G4; Speke 2, pp. 473–5. and decorated in gilt, flat bands, red

All items are fully described and photographed at peterharrington.co.uk 61 “Count Tolstoy does not remember it”—but agrees to sign a copy of the first edition in English from the Russian TOLSTOY, Leo. War and Peace. From the Russian by Nathan Haskell Dole. New York: Thomas Y. Crowell & Company, [1889] first translation into english from the original previously sent to be autographed have gone missing, and russian, u.s. issue, inscribed by the author on the front that, though an intermediary insists they were forwarded free endpaper of volume I, “To Mr. Bridgeman [sic]. Leo to the author, “Count Tolstoy does not remember it”. Dol- Tolstoy. 22 April 1901”, together with two autograph letters goff writes that “I thought I could find here some English in English from Tolstoy’s secretary, regarding the circum- edition of Tolstoy’s works, but failed . . . I would recom- stances of the inscription, housed in an envelope mounted mend you to buy his War and Peace in London and to send to the front pastedown. The first letter, addressed to “Mr me the first volume”. Bridgeman evidently did so, and in S. E. Bridgman, Northampton”, and dated 17 January 1901, the second letter, dated 24 April 1901—two days after this states that copies of Tolstoy’s books which Bridgman had volume was inscribed—Dolgoff writes triumphantly: “At

62 Peter Harrington at Masterpiece 2018 contents and binding 4 volumes in 2, octavo. Original blue dia- per-grain cloth, double rules and titles to spines in gilt, titles and Romanov eagle to front covers in gilt. condition Spine ends and tips a little worn, cloth somewhat rubbed, hinges cracked but holding, contents clean. A very good copy. Housed in a custom blue quarter morocco clamshell case. provenance The solicitor of the inscription was evidently the American bookseller Sid- ney Edwin Bridgman, who became the proprietor of S. E. Bridgman & Co. in Northampton, Massachusetts, in 1883. Pencilled gift inscription to title page of vol. I, various newspaper and magazine photos of Tolstoy and his family pasted to the endpapers. Latterly from the library of book collector James C. Seacrest, though unmarked as such. Newspaper clippings loosely laid in.

last I have succeeded in procuring the desired autograph of Count Tolstoy”. An inked note below the authorial inscription reads “Rec’ May 9. 1901”, and on the title page, there is a pencilled inscription, “To be given to Howard Bridgman from his father S. E. Bridgman”. This translation was the work of American editor and translator Nathan Haskell Dole (1852–1935), issued in the same year in the US and UK, with the UK issue in four volumes and omitting the translator’s preface. Two versions of War and Peace in English had been issued prior to Dole’s version, both in 1886, but neither was translated directly from the Russian, using instead an intermediary French translation. Copies of this title inscribed by Tolstoy are genuinely rare. £50,000 [125709]

All items are fully described and photographed at peterharrington.co.uk 63 contents and binding Octavo. Original tan cloth stamped in blue, gilt, and olive with a design of Drac- ula’s mountaintop castle on the front cover, edges untrimmed. condition Binding somewhat stained and showing general signs of handling, inner joints cracked but firm, internally some soiling, a few leaves dog-eared. Housed in a red quarter morocco solander box by the Chelsea Bindery. provenance See main note. literature Dalby 10(b).

Home Rule for vampires—an Irish presentation of the first American edition of Dracula STOKER, Bram. Dracula. New York: Doubleday & McClure Co., 1899 first u.s. edition, inscribed by the author on the cences of Henry Irving, 1907, p. 218). It was Gladstone—fre- front free endpaper: “Lady Errington from Bram Stoker quently in the audience at the Lyceum when Irving was 31.05.08”. Lady Frances Helena Errington (d. c. 1935) was performing—who knighted the actor in 1895. the wife of Sir George Errington (1839–1920), 1st bar- The Irish element in Dracula has often been noted: “In onet, Dublin-born MP for Longford, and subsequently 1890 Stoker began to make notes for a Gothic adventure High Sheriff of Tipperary and Wexford. Errington was story about Englishmen who safeguard their country by a prominent Home Ruler and “was sent to Rome by Mr tracking down and killing a foreign invader, a Hungarian Gladstone in the early ‘eighties on ‘a mission that was not vampire. Complex and highly symbolic, the plot illustrat- a mission’ to inform the Vatican on the subject of the Na- ed his fears about a world approaching a new century, tionalist movement in Ireland” (The Catholic Who’s Who and about the unspeakable things which could happen to Year-Book, 1908). Passenger lists show that Lady Errington ordinary people, and about male insecurity and the dan- visited California during this period and she may have gers of subservience to another person. More Irish than purchased this copy of Stoker’s classic novel at that time, Transylvanian, Count Dracula embodies the Celtic phe- although it also may be that Stoker still had copies of the nomenon known as ‘shape shifting’, the ability to become American edition on hand for presentation. anything—a wolf, bat, rat, or swirling mist. Stoker was This is a strong Irish association: Stoker was himself familiar with Irish folklore” (ODNB). Irish, born at Clontarf, Dublin. He was also, like Erring- Inscribed copies of the American first edition, published ton, a supporter of Home Rule, mentioning in his biog- two years after the original London edition, are decidedly raphy of Sir Henry Irving: “Those were early days in the uncommon. Home Rule movement [the 1880s], and as a believer in it Irving was always chafing me about it” (Personal Reminis- £25,000 [121627]

64 Peter Harrington at Masterpiece 2018 contents and binding Sextodecimo, pages unnumbered. Coloured frontispiece and 41 text illustrations after pen and ink drawings. Origi- nal pictorial grey paper boards, decoration and titles to front board in black. condition Light touch of foxing to endpapers. An exceptionally fresh and unsophisti- cated copy of this fragile publication. Housed in a custom linen chemise and black quarter morocco and beige cloth solander box. literature Linder, p. 420; Quinby 1; V&A 1622–23.

The first of her small format books to be published, printed at her own expense, the true first edition in fine condition POTTER, Beatrix. The Tale of Peter Rabbit. [London: privately printed by Strangeway & Sons, December 1901] first edition, one of 250 privately-printed Potter was adamant that the size and form of the book copies. This privately-printed edition was ready on 16 should not be altered. Determined to see it in print, she December 1901. Potter presented them to friends and decided to publish it herself, with the colour frontispiece relatives, and also sold them for a halfpenny. Within two printed by Herschel of Fleet Street using the recently in- weeks it proved so popular that she commissioned a sec- troduced three-colour press. The book was only then tak- ond impression. This had a dated title page and a slightly en up by Frederick Warne and published in a regular trade different binding of green boards with rounded spine, edition in October 1902. rather than the undated title page, flat spine, and grey boards seen here. £75,000 [124074] The first of her small format books to be published, The Tale of Peter Rabbit was developed from a picture letter sent to a young boy, Noel Moore, on 4 September 1893. In 1900 Potter thought it might make a small book, and contacted Moore to see if he had kept the letter and if she might borrow it back; the letter was then expanded into a book with 41 black and white drawings and a colour frontispiece. However, as a larger format and colour were in vogue at the time for children’s books, it was rejected by a number of publishers, including Warne, after they found

All items are fully described and photographed at peterharrington.co.uk 65 The first published portfolio of Schiele prints, signed by the artist contents and binding Folio. 12 heliotype prints of varying sizes SCHIELE, Egon. (smallest 28.6 × 45 cm, largest 32 × 49 cm), loose as issued, together with title Zeichnungen, 12 blätter in originalgrosse. (Folio of drawings, 12 leaf with justification page on verso and sheets in original size.) Vienna: Buchhandlung Richard Lányi, 1917 colophon leaf. I. Sitzende Frau mit hoch- gezogenem Knie, 1917; II. Männlicher Akt complete portfolio, one of 400 copies, signed, mit Rotem Tuch, 1914; III. Edith Schiele mit dated and numbered by the artist in ink pen on Windhund, 1917; IV. Torso eines knienden the limitation page. The 12 heliotype prints, consisting Mädchens, 1913; V. Freiwilliger Gefreiter, 1916; VI. Liegender Frauenakt, 1914; VII. Russischer of portraits and nudes by Schiele done between 1913 and Kriegsgefangener mit Pelzmütze, 1915; VIII. 1917, were executed by Max Jaffé in Vienna under the art- Zwei Mädchen, in verschränkter Stellung ist’s supervision, and printed to the size of the original liegend, 1915; IX. Die Kauernde, 1915; X. drawings. The negatives and printing plates were de- Porträt eines Kindes (Anton Peschka, jr.), stroyed afterwards to ensure that it could not be reprint- 1916; XI. Bildnis der Gattin des Künstlers, ed. Schiele died just a year after this portfolio was issued, 1917; XII. Kniender weiblicher Halbakt, 1917. succumbing to the Spanish flu pandemic. Original paper-covered portfolio with black cloth spine, self-portrait by Schiele £25,000 [126239] and titles to printed to front cover in black, with black ties. condition Covers of portfolio rubbed, loss to one tie, inner flaps repaired to hinges, internally light browning to head or foot of three plates, otherwise a presentable copy. literature Kallir, p. 665.

66 Peter Harrington at Masterpiece 2018 contents and binding Small folio. Original paper-covered boards printed in red with titles in black, in publisher’s unprinted glassine. condition A fine copy, exceptionally bright and crisp with just a trace of wear to the base of the spine and the usual slight darken- ing of endpapers in reaction to the paste used for the pastedowns. Housed in black quarter morocco slipcase and cloth chemise. Hemingway’s first collection of short stories, one of 170 copies—rare in provenance such beautiful condition From the collection of Lester Douglas (1915–1961), American book designer, HEMINGWAY, Ernest. with his bookplate to the front paste- In Our Time. Paris: Three Mountains Press, 1924 down. Some of the books designed by Lester Douglas were the Limited Edition first edition, number 69 of 170 copies. Heming- Club’s versions of The Travels of Marco Polo way’s first collection of short stories is the final publi- and An Almanac for Moderns, Douglas’s editions of the four Gospels designed cation in a series entitled “The Inquest into the state of in collaboration with Judd & Detweiler, contemporary English prose” published by the Three and his illustrated edition of Ecclesiastes, Mountains Press under the editorship of Ezra Pound. which was selected as one of “Fifty Books The fragile nature of the book means that copies as well of 1958” by the American Institute of Graphic Arts. preserved as this, particularly in the original glassine, are very seldom encountered. literature Hanneman A2(a); Connolly, The Modern £55,000 [122724] Movement 49.

All items are fully described and photographed at peterharrington.co.uk 67 From the modern master of Spanish verse to his peer in Spanish prose, Jorge Luis Borges, a memento of their only meeting NERUDA, Pablo. Tentativa del hombre infinito. Santiago: Editorial Nascimento, 1926 first edition, an extraordinary presentation copy in- contents and binding scribed by the author to Jorge Luis Borges in pencil on Small quarto. Title printed in red. Origi- the first blank, “A Jorge Luis Borges, tu compañero, Pablo nal wrappers. Neruda, 1927, B. Aires”. condition Front wrapper lacking, rear wrapper and This copy of Neruda’s scarce third publication seems cer- front blank expertly reattached, spine tain to be the only book inscribed between these two gi- with loss and cracks, dampstain at low- ants of Latin American literature. The two met just once, er fore-corner with paper loss to first in 1927, when Neruda was travelling via Buenos Aires to 6 leaves, paper generally browned and a diplomatic posting in India. During his time in the Ar- brittle, poor condition probably reflect- gentine capital, Neruda arranged to meet several aspiring ing Borges’s estimation of Neruda, but young authors. Even had he wished to do so, Borges had an evocative survival. Together with the plain envelope in which Yates housed this not yet published a book with which to reciprocate the copy, with his manuscript notes, includ- gift. ing the statement that this was the 14th In a 1996 article for the New Yorker, the poet and scholar copy of the first edition. Housed in red Alastair Reid (1926–2014), who knew both men, observed: quarter morocco solander box with red linen chemise “That these two writers should be acclaimed as the quin- tessential Spanish–American writers of their time was provenance From the estate of Borges’s friend and particularly intriguing to me, for the more I read them the English translator Donald A. Yates more I felt them to be about as different from each other, (1930–2017). His selection of short stories as writers and human souls, as it is possible to be. Borg- Labyrinths (1962) constituted Borges’s first es’s work is as spare as Neruda’s is ebullient, as dubious English book publication and was key to and ironic as Neruda’s is passionately affirmative, as reti- introducing him to the English speaking cent as Neruda’s is voluble.” world. Presumably Borges gave this copy to Yates in later life. £22,500 [125012]

68 Peter Harrington at Masterpiece 2018 The first book in the classic children’s series, signed by the author and with an original sketch by him RANSOME, Arthur. Swallows and Amazons. London: Jonathan Cape, 1930 first edition, signed by the author and with an contents and binding original sketch of the swallow in black and pink Octavo. Frontispiece and title page vi- ink on the half-title. One of only 2,000 copies, this is the gnette by Stephen Spurrier. Original green first book in the Swallows and Amazons series, and notably cloth, titles to spine and front cover gilt, publisher’s device to rear cover in blind, rare signed. Cape commissioned Steven Spurrier to illus- map endpapers. With the dust jacket. trate the classic adventure story, but Ransome disliked the drawings so much that only Spurrier’s designs for the condition Covers a little discoloured, as often, jacket, endpapers, frontispiece, and title-page vignette internally fresh, faint spray of foxing to were used. After Ransome successfully illustrated Peter edges; a near-fine copy in the rare dust Duck, the third book in the series, he decided to do his jacket, lightly toned, extremities slightly own drawings for the rest of the books, including later rubbed, just a little chipping to spine impressions of those already published. ends, otherwise a very nice example. £25,000 [122905] literature Hammond, Ransome A25(a).

All items are fully described and photographed at peterharrington.co.uk 69 Man Ray’s electric photograms, or rayographs—“the force of tender and fresh lightning” RAY, Man. Électricité. Paris: La Compagnie Parisienne de Distribution d’Électricité, 1931 first edition, number 265 of an edition of 500, each rayograph signed in negative by the artist. The technique of creating photographic prints without using a camera (photograms) was not new, but Man Ray personalized the technique to such an extent that his pieces became known as rayographs. The poet Tristan Tzara proclaimed them “dada” and wrote that the photographer “had invented the force of tender and fresh lightning.” Électricité is among the most acclaimed works made by this method. Man Ray produced the book as a commission for La Com- pagnie Parisienne de Distribution d’Électricité (CPDE), a private power company wishing to promote domestic consumption of electricity, at a time when most French homes used natural gas, wood, or coal for fuel. Man Ray used electric light to cast the images of various electrical contents and binding appliances onto photographic paper. He added shadows Folio. 10 photogravures after rayographs of power cords and heating coils and incorporated a num- (sheet sizes 37.5 × 27.6 cm) with paper ber of his own photographic nudes and other found imag- mounts, with protective paper and card- board folding case. Housed in the origi- es. The edition of 500 copies was published for distribu- nal patterned paper covered chemise and tion to executives and top customers of CPDE. This copy slipcase. has the company’s compliments slip loosely inserted. condition £32,000 [123227] Very mild foxing. An excellent set.

70 Peter Harrington at Masterpiece 2018 All items are fully described and photographed at peterharrington.co.uk 71 His friend Richard Meinertzhagen’s copy, marked up by him to assert the truth of Lawrence’s pained self-analysis, with two autograph letters from Lawrence LAWRENCE, T. E. Seven Pillars of Wisdom. London: Jonathan Cape, 1935 first trade issue, limited edition, number 535 of 750 rence embarks on his remarkable and fascinating essay copies, from the library of Richard Meinertzhagen (1878– in self-analysis, discussing his “craving to be liked”, his 1967), with his armorial bookplate and two accompanying “terror of failure”, and how his “contempt for my passion autograph letters signed by Lawrence. The letters are from for distinction made me refuse every offered honour.” “To Southampton, dated 1934, and elegantly decline invitations. put my hand on a living thing was defilement. . . I had a Poignantly, Lawrence predicts his upcoming “infinity of longing for the absolution of women and animals, and leisure”, which was to begin in March 1935, and promises to lamented myself most when I saw a soldier with a girl, or “mitigate it by spending some hours in your company”. He a man fondling a dog, because my wish was to be as su- adds that he is “sad at losing the R.A.F. which has kept me perficial, as perfected; and my jailer held me back”. out of idleness for the last twelve years. It remains to see if I A compelling association copy, bringing together two can deserve to own all my own time, thereafter.” Lawrence men who shared a room at the Colonial Office during died two months later, on 19 May 1935. Meinertzhagen’s time as military adviser there in 1921–4. Meinertzhagen has made a single but telling note in Earlier Meinertzhagen had been chief intelligence officer this copy, on the colophon: “pp. 562–566 are the truth. to the Egyptian Expeditionary Force that advanced into RM”. These pages comprise Chapter 103 where Law- Palestine, where he conceived a successful ploy known

72 Peter Harrington at Masterpiece 2018 contents and binding Quarto. Portrait frontispiece, 53 plates and 4 folding maps. Original tan quarter pigskin on brown buckram boards, gilt title to spine, gilt crossed swords device to front cover, marbled endpapers, top edge gilt, others uncut. condition A few marks to box, trivial wear and soiling to spine. A superior copy. Housed in a fleece-lined brown cloth solander box. provenance Richard Meinertzhagen: see main note. literature O’Brien A041.

as the Haversack Ruse: “In October 1917 the Turks held an entrenched front from Gaza to Beersheba. Sir E. H. H. Allenby (later first Viscount Allenby of Megiddo) misled them as to which flank he was about to attack, in part through a bloodstained haversack full of papers dropped by Meinertzhagen on reconnaissance: a classic of practi- cal deception” (ODNB). Lawrence’s published praise for Meinertzhagen is ambiva- lent. In Seven Pillars he describes him as a man “whose hot immoral hatred of the enemy expressed itself as readily in trickery as in violence . . . so possessed by his convictions that he was willing to harness evil to the chariot of good . . . who took as blithe a pleasure in deceiving his enemy (or friend) by one unscrupulous jest, as in splattering the brains of a cornered mob of Germans . . . abetted by an immensely powerful body and a savage brain”. Since Meinertzhagen’s death in 1967 his reputation has taken a more sustained battering, his published diaries dismissed as fictions, his ornithological discoveries doubted, and his wife’s death blamed on him. £20,000 [124980]

All items are fully described and photographed at peterharrington.co.uk 73 The first and last draft manuscripts for a published short story, given by Fitzgerald as a parting gift to his helpful typist FITZGERALD, F. Scott. “I Didn’t Get Over”, two draft manuscripts and typescripts, with holograph corrections, for the short story. [Asheville, NC: Grove Park Inn, summer 1936]

two original drafts, the first draft and the is amended in manuscript to “I Didn’t Get Over”. In the second and final draft, for Fitzgerald’s short story “I story, a former army captain who failed to make it to the Didn’t Get Over”, written in summer 1936 and published front in the First World War confesses his responsibility in Esquire magazine that October. The most noticeable for a training-camp accident that claimed the lives of sev- differences between the two drafts are at the beginning eral soldiers. At the end, the second draft, Fitzgerald adds and end of the piece. The title is slightly changed: in the in pencil the coda that makes the identity of the army first draft, it is “I Never Got Over”; in the second, that captain clear: “I was that captain, and when I rode up to

74 Peter Harrington at Masterpiece 2018 contents First draft: 20 leaves, various sizes (largest 330 × 214 mm), partly triple-spaced typescript with pencil holograph amendments, completed in pencil manuscript. Second draft: 9 pages (US Letter: 11 × 8.5 ins), double-spaced typescript with pencil holograph amendments. provenance From the collection of James B. Hurley. In 1936, having just graduated from Brown University with a BA in English, Hurley left his hometown of Providence, RI, and went to North Carolina looking for work. He answered a classified ad to do some typing and found himself employed by F. Scott Fitzgerald. Hurley typed Fitzgerald’s manuscripts, which were written in long- hand, on a Remington portable designed for double-spaced work. Fitzgerald want- ed his first drafts triple-spaced in order to edit between his lines, so Hurley turned the roller and carriage by hand to provide three spaces. Hurley worked for Fitzger- ald for nine months, at the end of which Fitzgerald inscribed three of his novels to Hurley and presented him with the manuscripts of two short stories, this and the Civil War story, “The End of Hate”. Both were sold at auction, Sotheby’s New York, 4 Dec. 1996, the present two drafts as lot 88. literature Bruccoli C266.

join my company he acted as if he’d never seen me before. It kind of threw me off—because I used to love this place. Well—good night.” The summer of 1936 was a difficult one for Fitzgerald. Earlier that year he had published the essays in Esquire magazine now known as The Crack-Up, articles that helped invent confessional journalism, in which he revealed the collapse of his life and his hopes, and his determination to save himself by his art. A year or so later, he would begin work on his last, unfinished novel, The Last Tycoon. The story was first published in book form in the posthumous collection Afternoon of an Author (1957). £95,000 [100917]

All items are fully described and photographed at peterharrington.co.uk 75 Tolkien’s first novel, the foundational text for young adult fantasy literature, genuinely rare in such beautiful condition TOLKIEN, J. R. R. The Hobbit. London: George Allen & Unwin Ltd, 1937 first edition, in the first issue jacket with the approved the printed illustrations on 5 February 1937. He hand-correction to “Dodgeson” on the rear inside flap. submitted a number of textual corrections to the proofs and a draft of the now-iconic dust jacket, depicting the At the start of 1936 The Hobbit existed only in the form mountains Bilbo Baggins traverses, on 13 April. The first of an incomplete typescript, with the story breaking off edition was published on 21 September and the first im- at the death of Smaug, until a friend of one of Tolkien’s pression of 1,500 copies was sold out by December. pupils, who worked for Allen & Unwin, read it. She suggested that Tolkien complete the story and submit it to £75,000 [126609] be considered for publication the following year. Tolk- ien sent his finished typescript to Allen & Unwin on 3 October. Tolkien prepared more than 100 of his own illustrations for the book, although he quickly realised that this number would have to be greatly reduced for publication. He

76 Peter Harrington at Masterpiece 2018 contents and binding Octavo. Frontispiece and 9 full-page uncoloured illustrations after drawings by the author. Original green cloth, spine and covers blocked in black, top edge green, map endpapers printed in black and red. With the dust jacket after a design by the author. condition Spine gently rolled, a few small marks to covers, touch of foxing to edges and couple of pages. A lovely, bright copy, with top edge notably unfaded, in the strikingly well-preserved and fresh dust jacket, entirely unrestored, with just a few nicks to extremities and tiny closed tear to head of front panel. literature Hammond & Anderson A3a. See Carpen- ter, J. R. R. Tolkien, A Biography, 2016, pp. 233–241 for a discussion of the origins and composition of The Hobbit.

All items are fully described and photographed at peterharrington.co.uk 77 The original lecture notes for the only record of Orwell’s lecturing style, with revealing associated correspondence ORWELL, George. Original autograph lecture notes for “Culture and Democracy”, together with related correspondence between himself, the Fabian Society, and Routledge, the publishers. 1941–42 a remarkable survival, the original manuscript On 14 July 1941, the Fabian Society invited Orwell to give notes for Orwell’s lecture on “Culture and Democracy”, one of their autumn series of lectures. In the typed letter the lecture which was published, much to Orwell’s dis- signed of 2 August 1941, Orwell accepts the invitation gust, with unauthorized alterations in the volume Victory and announces his subject. The next month the assistant or Vested Interest (1942). Orwell’s lectures were not usually secretary wrote to ask his agreement to the lecture being recorded—Bernard Crick describes the published ver- published by Routledge. In the typed letter signed of 30 sion as “the only record of his lecturing manner”—and September, Orwell explains that, while he has no objec- this manuscript restores the original structure of the tion to the lecture being published, he will find it difficult lecture as Orwell actually delivered it. Orwell habitually to supply a script, “as I always speak from notes. I could destroyed his manuscripts after publication, so examples write the lecture out and let you have a copy, but I find of any kind are seldom encountered. The accompanying that if I do this it gives a sort of stiffness that I try to avoid correspondence illuminates the unusual story behind the in speaking. I wonder if it would be too much trouble to lecture and its publication. arrange for a reporter?”

78 Peter Harrington at Masterpiece 2018 A stenographer was duly hired to transcribe Orwell’s contents lecture. Orwell tidied the stenographer’s version to his The autograph lecture notes on 12 leaves satisfaction, and corrected proofs. He was slow in doing of octavo-sized paper, written on rectos this, however, and the correspondence contains a frantic only; 849 words, written in blue ink, with occasional deletions, the top sheet sequence of copy letters and draft telegrams from the So- in black hand, all in Orwell’s autograph ciety over December 1941 and January 1942 urging Orwell (rust marks from paperclip). Together to supply corrected proofs. Orwell claimed to have sent with 12 related letters: 3 typed letters these direct to Routledge on 18 December, but the pub- signed from Orwell to the Fabian Society, lishers had no record of receiving them, and so the Socie- a copy letter from Orwell to Routledge; ty asked him to correct a second set of proofs. carbons of 6 letters and 2 telegrams from the Fabian Society to Orwell, and a typed When the book was eventually published in 1942, con- letter signed from Routledge to the Fabi- taining five Fabian Society lectures from the previous an Society. autumn, Orwell was outraged to discover what had been printed in his name. He fired off two letters of complaint. The first, to Routledge, dated 23 July 1942, is present here in copy form, together with a copy of their letter to Gwynn Llewllyn Jones, the Fabian Society’s newly-appointed organizing secretary, disclaiming any responsibility for changing the text. Orwell’s second letter, to the Fabian Society, repeats the substance of his complaint to Routledge, but aims his ven- om more precisely at the Society: “I now find on looking through the lecture that you have made a series of alterations about which I was not consulted. I only found this out by chance, as you did not send me a copy of the book, although Messrs Routledge tell me that they gave you a copy to send on to me. I see that besides toning down several phrases I used you have gone all through my manuscript and altered every phrase which revealed I was delivering a spoken lecture into something implying that I was writing an essay. I would willingly have made such alterations myself if you had asked me, but as it stands the printed lecture gives a quite false impression of my written style and makes me use phrases which I should never dream of using. I must ask you to publish in the press some kind of statement explaining that this lecture has been tampered with; otherwise I shall be obliged to do so myself.” Even at the end of his life, preparing notes for his literary executors in 1949, Orwell grumbled that this lecture “was substantially altered and deformed all the way through without my knowledge or consent”. leaves expand on these four strands. Bernard Crick notes that, in its published form, “the lecture moved rather The correspondence retained here hints at one possible abruptly from a diatribe against the British upper classes reason for the changes. Someone at the Fabian Society, and the capitalist system for being dependent on cheap perhaps the outgoing H. D. Hughes, lost patience with colonial labour into a noble defence of literature against Orwell’s phantom corrections and supplied Routledge totalitarianism”. The present manuscript gives the canon- with his own version, leaving his successor to soothe the ical version of Orwell’s lecture and constitutes an essen- author’s wounded feelings. tial counterpoint to the published version. On the top sheet, Orwell divides his lecture into four £75,000 [120664] sections: i) Democracy—what it is; ii) Its chances of survival; iii) Culture—what it is; iv) Its possible revival under democracy & extinction under fascism. The following 11

All items are fully described and photographed at peterharrington.co.uk 79 His first collection of short stories, inscribed to his close friend, the man responsible for introducing Borges to the English-speaking world BORGES, Jorge Luis. El jardin des senderos que se bifurcan. Buenos Aires: Sur, 1942 [30 December 1941] first edition, presentation copy, inscribed to the where it was published, in a translation by Anthony author’s close friend: “A Donald Yates, muy cordial- Boucher, in August 1948. mente, J. L. Borges”. Yates was the principal figure in Yates was also prime mover behind the production and introducing Borges to an English-speaking audience. It promotion of Labyrinths, the first collection of Borges’s was Yates who secured Borges’s first published appear- stories published in English. That 1962 collection drew ance in English, bringing the title story of this collec- primarily from this original anthology, Borges’s first tion to the attention of Ellery Queen’s Mystery Magazine, collection, which already contains many of the stories

80 Peter Harrington at Masterpiece 2018 contents and binding Octavo. Original blue wrappers, titles to spine and sides in white. Remains of the wraparound band laid in. condition Spine tanned, joints rubbed with small splits from the ends, but holding firm, only light rubbing to the extremities, small abrasion to front wrapper and some mild other marks and toning, but the wrappers still retaining their vivid blue, edges spotted, but remarkably fresh within, a very good copy. Housed in a blue-green quarter morocco solander box by the Chelsea Bindery. provenance With the blue ink mermaid stamp of Guill- ermo de Torre (1900–1971), the Spanish Ultraist poet and member of the Gener- ación de 27, who became Borges’s broth- er-in-law on his marriage in 1928. During his time living in Spain in the early 1920s, Borges’s early literary development had been significantly influenced by de Torre. Borges evidently retrieved this copy from de Torre’s library to re-present it to the translator and promoter to whom he owed so much of his fame.

for which Borges is best remembered, including “Tlön, Uqbar, Orbis Tertius”; “Pierre Menard, autor del Quijote”; “La lotería en Babilonia”; “La biblioteca de Babel”; and the title story. (The 1944 collection Ficciones, commonly credited as Borges’s key collection, was in effect an expanded reissue of the much rarer El jardin.) Inscribed copies of this key Borges collection are rare: we have never seen another, nor can trace any at auction. This is a superb double association copy. £19,500 [125001]

All items are fully described and photographed at peterharrington.co.uk 81 His first published work of literary criticism, one of the first books he wrote in English, an intimate presentation copy to his wife NABOKOV, Vladimir. Nikolai Gogol. Norfolk, CT: New Directions, [1944] first edition, first issue, presentation copy, in- a textual correction might be made, or, in some cases, scribed in russian by nabokov to his wife véra on where he questions his own use of English (this was the front free endpaper: “My beloved, here’s a little book one of the first books Nabokov wrote in English). These for you, my life, here’s another little book for you, my notations occur primarily throughout the first 85 pages, love, there will be more little books, B [the letter “V” in in particular on pages 3–5, and also include check marks English] 1944”. and crosses. Nabokov has annotated this copy in nearly 60 instanc- Nabokov’s first published work of literary criticism was es, from an additional word inscribed in the margin to the fifth in the New Directions “Makers of Modern Litera- some 30 instances of underscored text, indicating where ture” series, the previous monographs having been Harry

82 Peter Harrington at Masterpiece 2018 contents and binding Octavo. Photographic portrait frontispiece of Gogol. Original tan cloth, spine lettered in black. With the dust jacket. condition Annotated throughout by Nabokov in pencil. Very minor wear to dust jacket extremities and a few light creases on rear panel, tiny chip to top edge of half-title, else a bright, fresh copy. Housed in a custom black half morocco slipcase. literature Juliar A22.

Levin on James Joyce, David Daiches on Virginia Woolf, Lionel Trilling on E. M. Forster, and Edwin Honig on García Lorca. There were ten further studies in the series. First editions of Nikolai Gogol are exceptionally scarce inscribed or annotated by Nabokov, and are particularly uncommon with so personal an inscription. Only two copies thus are recorded as having appeared at auction: the first, a presentation copy inscribed to his cousin by marriage, Anna Feigin (Christie’s, 2011), and the second, to an unnamed recipient (Swann, 1982). The present copy, inscribed to Véra, is arguably the most intimate association copy to appear in commerce. £37,500 [123847]

All items are fully described and photographed at peterharrington.co.uk 83 The Dave Powers collection of JFK’s speeches and manuscripts, the largest cache of such documents remaining outside institutional holdings KENNEDY, John F. John F. Kennedy’s speeches and manuscripts. c. 1945–63 the david powers collection of john f. kenne- Most of the material in this collection—including reading dy’s speeches and manuscripts spans the statesman’s copies and manuscript drafts—has never been published. political career up to the presidency, from his first prima- Together with related notes and other mementoes kept ry race in the 11th District in 1946 to the eve of nomina- by Powers, these speeches are among the largest cache of tion as president in the summer of 1960, encompassing original JFK documents remaining in private hands. three Congressional campaigns, two runs for the Senate, The collection cannot include anything significant dating and a bid for the vice presidency. from after Kennedy’s inauguration. Presidential papers Powers served in every one of Kennedy’s political cam- and effects were once agreed to remain the personal paigns from 1946 to 1960 as one of his most important property of the office holder. In 1955 the Presidential political operatives. He was Kennedy’s most intimate Libraries Act encouraged future presidents to donate friend, advisor, and personal “fixer”. Kenneth O’Donnell, their historical materials to the government. In 1978 the top aide to both JFK and Lyndon Johnson, once remarked Presidential Records Act took that process a step further. “Outside of Bobby, President Kennedy had one really From that date, records documenting the constitutional, close friend and that was Dave Powers.” During the assas- statutory, and ceremonial duties of the President were to sination, Powers was riding in the following car. remain the property of the United States Government. But Kennedy had already acted in the spirit of the 1955 Act by choosing a plot of land in Boston to house the John

84 Peter Harrington at Masterpiece 2018 F. Kennedy Presidential Library and Museum. Powers honoured that commitment by keeping back for his own collection only material dating prior to the presidency. Highlights include: • “Address of the Honorable John F. Kennedy before the Mass. Federation of Labor, Boston, August 4, 1949”, manuscript with holograph corrections personally typed by JFK • “The Challenge Abroad”, a large-type reading copy with extensive deletions in both ink and pencil including contents emendations in JFK’s hand, one of his foreign policy Together 73 items, autograph and man- speeches (“ . . . there is a real possibility in Formosa that uscript material, curated and annotated the tail in this case will wag the dog—that, in the event of by Powers. A full description is available Chiang’s attack upon the mainland and a Communist re- on request. taliation upon Formosa, we will be dragged into a war— provenance possibly an atomic war, probably a world war . . .”) David Francis Powers (1912–1998) grew up in Charlestown, Mass., the son of • “Africa—The Coming Challenge”, a large-type reading Irish immigrants. He served in every one copy delivered at Wesleyan University with corrections of Kennedy’s political campaigns from and emendations in JFK’s hand, a speech delivered in 1946 to 1960 as one of his most important 1959 anticipating his formation of the Peace Corps political operatives. In the White House, as Special Assistant, his duties included • Seven similar typed manuscripts for JFK’s political preparing briefings and ushering dis- speeches in the late 1940s that Powers believed to be the tinguished guests into the Oval Office. only copies extant Following the assassination, Powers remained in the White House until January • Inaugural Address of John F. Kennedy President of the 1965 when he resigned to assume the United States of America (Washington DC, January 20, post of curator for the planned John F. 1961), printed pamphlet, inscribed by JFK to David Pow- Kennedy Presidential Library and Muse- ers: “For Dave from John Kennedy Christmas, 1961” um, a position he maintained until 1994. The collection was purchased from Pow- £375,000 [120955] ers in the 1990s by the rare book dealer Maury A. Bromsen (1919–2005). Bromsen sold the archive to a private collector in around 2003.

All items are fully described and photographed at peterharrington.co.uk 85 The entire run of the original James Bond books written by his creator, Ian Fleming, in first edition throughout FLEMING, Ian. Complete set of the James Bond novels and stories in first edition. London: Jonathan Cape, 1953–66 first editions, first issues (except Golden Gun which is in the second state binding as usual, without the gilt gun design on the front board, which proved too expen- sive and was dropped after the first 940 copies had been sent abroad), all in first state jackets, except Octopussy, which has the publisher’s overprice sticker. Moonraker is in one of two variant states of the first impression, printed on thicker paper stock and with the word “shoot” at p. 10, l. 31 correctly printed. £75,000 [122284]

86 Peter Harrington at Masterpiece 2018 contents and binding condition 14 individually published works, octavo. Ownership inscriptions to a couple of Casino Royale (1953); Live and Let Die (1954); volumes. Some spines slightly rolled, oc- Moonraker (1955); Diamonds are Forever casional spot of faint foxing to contents. (1956); From Russia With Love (1957); Dr No Overall an excellent set in the bright (1958); Goldfinger (1959); For Your Eyes Only jackets, Casino Royale and From Russia, With (1960); Thunderball (1961); The Spy Who Love particularly so, others occasionally a Loved Me (1962); On Her Majesty’s Secret Ser- little marked or slightly soiled, with a few vice (1963); You Only Live Twice (1964); The nicks or small chips, minor creasing or Man With the Golden Gun (1965); Octopussy rubbing to extremities. and The Living Daylights (1966). Original literature boards, titles and devices to some boards Gilbert A1a (1.1); A2a (1.1); A3a (1.2); A4a in gilt or colour, titles to spines gilt. With (1.1); A5a (1.1); A6a (1.3); A7a (1.1); A8a the dust jackets. (1.1); A9a (1.1); A10a (1.1); A11a (1.1); A12a (1.1); A13a (1.2); A14a (1.3).

All items are fully described and photographed at peterharrington.co.uk 87 Inscribed by both Dahl and Quentin Blake, with an original drawing DAHL, Roald. The Witches. London: Jonathan Cape, 1983 first edition, unusually inscribed by both the contents and binding author and the illustrator, together with Octavo. Illustrated by Quentin Blake. an original drawing by blake: “Helen, Love Roald Original green boards, title to spine gilt. Dahl”, on the verso of the half-title, and “For Helen, With the dust jacket. Quentin Blake”, with a pen-and-ink drawing by him of condition one of the witches cooking with a saucepan, on the front A fine copy in the jacket, lightly creased free endpaper. The book’s owner, Helen Roberts, has and rubbed at extremities, tips a little nicked. Housed in a bright blue quarter neatly inscribed her name and the date (Christmas 1983) morocco solander box by the Chelsea on the front free endpaper. Bindery. The Witches won the Whitbread Award for Children’s Novel in 1983, was adapted into a stage play and a two-part radio dramatization for the BBC, a 1990 movie directed by Nico- las Roeg which starred Anjelica Huston and Rowan Atkin- son, and an opera by Marcus Paus and Ole Paus. £15,000 [124296]

88 Peter Harrington at Masterpiece 2018 PART 2

ON THE WALLS TOULOUSE-LAUTREC, Henri de. Débauche. (The Debaucher.) Paris: Arnould, 1896 one of an edition of 50, with Toulouse-Lautrec’s red medium monogram stamp lower right. This is in the second state Original lithograph in 3 colours on vel- with the monogram on the stone lower right (there is only lum handmade Japan paper. Image size: one known impression of the first state with an elephant 24.5 × 32.3 cm. Sheet size: 38.3 × 55.9 cm. monogram upper right). A third state of 100 was also is- framing sued with text. Presented in a handmade gold leaf frame with conservation acrylic glazing. £50,000 [125760] condition Tape residue to extreme top edge from previous hinging, otherwise an unfaded bright copy, much brighter than normally encountered. literature Adhémar 212; Adriani 191 I; Deltiel 178 I; Wittrock 167 II.

90 Peter Harrington at Masterpiece 2018 SCHIELE, Egon. Bildnis Arthur Roessler. (Portrait of Arthur Roessler.) Vienna: Arthur Roessler, 1914 signed and dated by the artist in pencil lower right medium below the image, numbered lower left, and additionally Drypoint etching printed in black on thin signed in pencil lower right in the image by Roessler. One yellowish Japan paper. Plate size: 24.2 × of an unknown edition, first state before steel facing. Jane 32 cm. Sheet size: 31.8 × 39.2 cm. Kallir’s catalogue raisonné of Schiele’s works records four framing different impressions on various papers and in various Presented in a dark grey stained frame sheet sizes, with the highest recorded limitation being 32. with conservation acrylic glazing. condition Roessler was a friend and advisor of Schiele and financed Excellent condition. the artist’s printmaking by supplying the tools and plates literature he needed for etching. Schiele created his entire oeuvre of Kallir 8a. six drypoints in late spring and early summer 1914. £35,000 [125608]

All items are fully described and photographed at peterharrington.co.uk 91 NIELSEN, Kay. Original watercolour, “List, ah list to the zephyr in the grove”. 1913 an original watercolour for in powder and crino- medium line, signed and dated by the artist, “Kay Nielsen Original pen, ink, watercolour and wash [19]13” in the lower left corner. Nielsen produced 26 heightened (27 × 31 cm). watercolours for In Powder and Crinoline to illustrate sev- framing en fairy tales chosen by Sir Arthur Quiller-Couch. This Mounted and framed. watercolour illustrates the story, “Felicia or The Pot of condition Pinks”. A fine, beautifully characteristic piece in excellent condition with a couple of faint “Nielsen shows in his development a fancy so delicate and spots in the yellow sky. an outlook so original that no charge of plagiarism can be literature brought against him. His colour work is delicate and sug- Keith Nicholson, Kay Nielsen, 1975. gestive rather than forceful. Very lovely in its faint blues and greens with tones of peach is the illustration plate 21 [i.e. this painting] where the high folly, the love birds and the blossom testify to the legacy of Japan” (Nicholson). £50,000 [111943]

92 Peter Harrington at Masterpiece 2018 TIMLIN, William Mitcheson. Original watercolour, “The Arrival”. [Before 1923] an original watercolour for the ship that sailed medium to mars, signed by the artist after publication at the Original watercolour on paper. Image lower left. Timlin’s only published book is a fantastical size: 27 × 24.7 cm. Framed size: 61.5 × 54 illustrated gift book to rival those of Rackham, Dulac, cm. Goble, and Nielsen. Timlin's book is divided in three framing parts: detailing the building and outfitting of the ship, the Three items individually matted, glazed journey, and the arrival. "The Arrival" is the first plate of and framed. The watercolour together with two original leaves of accompanying the third part, showing the ship's arrival on Mars itself, calligraphic text: the contents list for sailing high over a lake surrounded by fantastical build- "Part three: Mars", and the descriptive ings, the Martian princess watching them from a terrace text to accompany this illustration (text overlooking the lake. in black with initial letters and decora- tions in blue). The book was published £37,500 [59412] by George Harrap, who had earlier published Willy Pogany in the same format, with calligraphic text mounted, like the plates, on grey matt paper. condition Excellent.

All items are fully described and photographed at peterharrington.co.uk 93 WARHOL, Andy. A la Recherche du Shoe Perdu. New York: Andy Warhol, 1955 rare complete portfolio. The work was issued as a portfolio of 17 unbound sheets enclosed in printed covers, with calligraphy by Warhol’s mother, Julia Warhola. While the captions are printed after Julia Warhola’s distinctive hand, the title on the cover is hand-written in ink and reads “A La Pecherche [sic] du Shoe Perdu . . .” The mistake may indicate that this particular portfolio is one of the earlier ones Warhola titled. The lithographs were privately printed in New York and the sheets then hand-coloured using Dr. Martin’s aniline watercolour dye by Warhol and his friends at his “colouring parties”. This portfolio also contains one extra double-sized illustration of a shoe and leg with no caption (an illustration of the same style was used by Warhol for a separate work, “Gee, Merrie Shoes” for an exhibition at the Bodley Gal- lery in New York the following year). Few surviving port-

94 Peter Harrington at Masterpiece 2018 folios have a complete set of all the plates, and many do medium not include the larger “Shoe and Leg” plate. 18 offset lithographs on wove paper hand coloured by Warhol and friends with Dr. £200,000 [117751] Martin’s aniline watercolor dye. 16 sheets 24.8 × 34.9 cm; 1 sheet 51.1 × 66.6 cm; 1 sheet 63.5 × 48.3 cm. framing Presented individually in handmade white gold leaf frames with UV filtered acrylic glass. condition Excellent condition. literature Feldman & Schellmann IV.69A–84A, IV.85.

All items are fully described and photographed at peterharrington.co.uk 95 PICASSO, Pablo. Femme dans un fauteuil et guitariste. Paris: Louis Leiris, 1959 edition of 50, signed by the artist in pencil lower medium right, numbered lower left. Printed by Hidalgo Arnéra, Linocut from one block in black, brown, Vallauris. and beige on Arches paper. Image size: 53 × 63 cm. Sheet size: 62 × 75 cm. £48,000 [123550] framing Presented in a handmade gold leaf frame with conservation acrylic glazing. condition Paper cracked before printing but evenly inked over the cracks and unevenly var- nished over the black with an oil-based black ink at time of printing. Condition as issued. literature Baer 1232 IIB; Bloch 917; Kramer 30.

96 Peter Harrington at Masterpiece 2018 BACON, Francis. Three Studies for a Self-Portrait. Paris: Editions de la Différence, 1981 edition of 150, signed by the artist in pencil lower medium right, numbered lower left. This lithograph is after a trip- Lithograph in colours on Arches wove pa- tych oil painting on canvas, 1979–80, currently held by the per. Each image size: 32.5 × 28 cm. Sheet Metropolitan Museum of Art, New York. size: 47.3 × 103.5 cm. framing £40,000 [120040] Presented in a dark wooden frame with conservation acrylic glazing. condition Light toning to recto showing edges of previous mount otherwise a bright impression, tape to extreme edges of verso. literature Sabatier 15.

All items are fully described and photographed at peterharrington.co.uk 97 mayfair chelsea 43 Dover Street 100 Fulham Road 100London w1s 4ff Peter Harringtonwww.peterharrington.co.uk at Masterpiece 2018 London sw3 6hs