’s lit ren era d tu il r h e c

Peter Harrington We are exhibiting at these fairs: Our new catalogue of children’s literature, original art, and educational works ranges from early examples, such 5–8 March 2020 as the first fantasy novel for children, Sara Coleridge’s Phantasmion (item 37), Park Avenue Armory and Mary and Charles Lamb’s Tales from www.nyantiquarianbookfair.com Shakespeare (195) to contemporary classics such as War Horse (144), Judith Kerr’s 20–21 March scarce first picture book, The Tiger Who Came To Tea (108), and a set of Harry Potter Radisson Blu Hotel, Royal Mile and the Philosopher’s Stone and Chamber of Secrets, playfully inscribed www.rarebooksedinburgh.com/book-fair by J. K. Rowling for a young fan at a time when her fame was rapidly growing (182). 20–22 March There are several items which are touchstones in the history tokyo of children’s publishing: the rare first edition of Max und Moritz by Tokyo Traffic Hall Wilhelm Busch (31), one of the best-known German children's www.abaj.gr.jp books, whose rambunctious style and amoral humour had a huge influence on the development of the comic strip, from the 24–26 April Katzenjammer Kids to the Beano; a scarce survival of the first edition in English of Der Struwwelpeter (98); and a complete set in the scarce Grand Palais dust jackets of C. S. Lewis’s Narnia series (125). Also featured are a www.salondulivrerare.paris rare presentation copy of the first edition of Charlie and the Chocolate Factory (34); a first edition of ’s Black Beauty, inscribed by the author to the patients of a London hospital in the brief period between its publication and her early death (194); and The Velveteen Rabbit, complete with the dust jacket (220). Alongside first editions by perennial children’s favourites, such as Hans Christian Andersen (5 to 8), the Rev. W. Awdry (13 and 14), Enid Blyton (20 to 23), (32 to 35), A. A. Milne (131 to 141), (188 to 190), and Dr. Seuss (192 and 193) are less well-known but equally important titles: Call Me Charley, the first children’s novel that focused on the contemporary experiences of African-American children (104); The Magic Fruit Garden, written and illustrated by the first modern hunger striker, Marion Wallace Dunlop (71); and Pamela Colman Smith’s celebrated collection of Jamaican folktales Annancy Stories (199), which also contains the first known published drawings of Anansi. Also featured is original artwork by legendary illustrators including Kay Nielsen (147), (167, 170, 173), and E. H. Shepard (141). Among the more unusual offerings here are a complete example of the earliest dated jigsaw puzzle, reissued from its first appearance in 1787 (78); a beautiful set of Japanese fairy tales by “the Grimm of Japan” (102); a rare polyglot pictorial encyclopaedia of trades, technology, crafts, and nature in German, Latin, French, and Italian (130); a Christmas gift of a gilder’s set from to a close friend and fellow artist (156); and a hand-embroidered and stencilled panel illustrating Spenser’s The Faerie Queen (200).

VAT no. gb 701 5578 50 Please direct all enquiries to: Peter Harrington Limited. Registered office: Theodora Robinson WSM Services Limited, Connect House, 133–137 [email protected] Alexandra Road, Wimbledon, London sw19 7jy. Registered in England and Wales No: 3609982

Cover illustration adapted from Wilhelm Busch’s Max und Moritz, item 31; illustration opposite from ’s Nonsense Songs, Stories, Botany and Alphabets, item 120.

Design: Nigel Bents. Photography: Ruth Segarra. Peter Harrington london

catalogue 161

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

Peter Harrington 3 1 3

1 2 ADAMS, Richard. Watership Down. (AESOP.) JAMES, Thomas. Aesop’s Fables. London: Rex Collings, 1972 London: John Murray, 1848 Octavo. Original brown cloth, titles to spine and rabbit design to front Octavo (199 × 135 mm). Late 19th-century blue half calf by Webb of Liverpool, board gilt. With the dust jacket. Colour folding map. Spine very slightly red calf label, compartments richly gilt, covers ruled in gilt with gilt rolled, very minor rubbing at the tips, a couple of small spots on the title cornerpieces, gilt foliate turn-ins, marbled endpapers, richly gauffered gilt page, but an excellent copy in the dust jacket with faintly toned spine panel edges. Woodcut illustrations throughout by Tenniel. Ownership signature and a few trivial marks. dated 1893 to initial blank. A little rubbed, some foxing. A very good copy. First edition, inscribed by the author on the title page, “To Patty, First edition of Reverend Thomas James’s translation of Aesop, with love, Richard Adams, November 1974”. with illustrations by : a handsomely bound copy, with the pleasant embellishment of gauffered edges. Now best £4,000 [134134] remembered for his illustrations for Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass (1872), Tenniel obtained that role as a result of this work. “Much impressed by Tenniel’s work in Aesop’s Fables, Charles Dodgson (Lewis Carroll) asked the artist to illustrate his Alice books” (ODNB). £575 [137516]

3 AIKEN, Joan. The Wolves of Willoughby Chase. London: Jonathan Cape, 1962 Octavo. Original black boards, titles to spine in silver. With the dust jacket. Illustrated frontispiece and numerous illustrations in the text by Pat Marriott. Spine slightly cocked, head of spine and two tips a touch bumped, slight foxing to top and fore edge, boards clean, contents bright and unmarked. A very good copy, in the original dust jacket, a touch foxed, spine a little toned with one small nick to head, tips and spine ends slightly rubbed, else remarkably bright and not price-clipped. First edition, inscribed by the author on the front free endpaper, “Best wishes from Joan Aiken”. The Wolves of Willoughby Chase is set in an alternative history of a “nineteenth-century Britain that was already linked to Europe by a tunnel through which wolves freely roamed” (ODNB). This “dramatic gothic adventure” was Aiken’s first book in the Wolves Chronicles, and was adapted into a film staring Stephanie Beacham, Mel Smith and Jane Horrocks in 1989. 2 £2,500 [137898]

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“When I was a little girl, Louisa Alcott came to visit Mr and Mrs Francis Williams ... when Miss Alcott said she wanted to meet some of the girls of Germantown to compare them with Little Women, I was one of the invited. We all sat on the floor at Miss Alcott’s feet and answered and asked questions — a memorable occasion for a little girl!” (Miller and Callard). Mary Williams herself wrote an account of the visit, recalling that afternoon with the girls slightly differently: “One Sunday afternoon nine girls came by permission to pay their respects to the then famous authoress, and to satisfy themselves upon some doubtful points in Little Women. Such questions as ‘Did Beth really have the scarlet fever?’ ‘Was Laurie an American boy?’ ‘Why did he not marry Jo?’ ‘Who was Mr. Laurence?’ ‘Was Jo really literary?’ etc., etc., 4 followed in such rapid succession that Miss Alcott could hardly find voice to answer. After the interview she was a mental wreck 4 for some hours, so much so, that there was scant welcome for two little boys who called in the evening.” ALCOTT, Louisa May. Inscribed carte-de-visite. May 1882 Alcott wrote from her holiday home in Nonquitt to Mary Sepia-toned albumen print portrait by Howell of New York (105 × 64 mm). three months after sending this carte-de-visite: “We have been Slight crease to top half of image, light toning and wear, small spot here since July, and are all hearty, brown, and gay as larks. John along the bottom edge that does not affect the inscription or image. Inglesant was too political for me [a reference to Joseph Henry In very good condition. Shorthouse’s highly successful novel of 1881]. I am too lazy here A delightfully personal memento, a carte-de-visite inscribed on to read much; mean to find a den in Boston and work for a month the verso by Alcott to her friend Mary Williams, “Betsey from Sairy or two; then fly off to New York, and perhaps run over and see May 1882”; with an identifying note in an unknown hand below my Betsey. I shall be at home in October, and perhaps we may the author’s inscription: “Sairy = Louisa M Alcott, Betsey = Mary see you then ... Now, my blessed Betsey, keep a brave heart, and H. Williams”. The names of “Sairy” and “Betsey” were taken from I am sure all will be well in the nest” (25 August 1882). Alcott also the characters of the bibulous nurse Sairey Gamp and her assistant corresponded with Mary’s husband Francis the following year, Betsey Prig in Martin Chuzzlewit. Alcott particularly enjoyed playing requesting permission for the Concord Dramatic Club to perform Sairey Gamp in skits for her family and friends: “The scenes his play, Higher Education, before the Lyceum in November. from Dickens dramatized by Louisa were among the best of the productions. Louisa and Anna Alcott as Sairey Gamp and Betsey The image depicts Alcott at 50 years of age. It was captured in Prig were inimitable, and Louisa was greatly given to quoting the 1882 by the celebrated New York photographer William R. Howell, language of these two worthies” (Alfred Whitman, “Laurie”, 1857). best known for his political, society and theatrical portraiture, The recipient was Mary (“Betsey”) Williams (née Bartholomew numbering among his sitters Cornelius Vanderbilt, George Houston) of Germantown, Pennsylvania, where Alcott was born Armstrong Custer, Jefferson Davis, Robert E. Lee, and Harriet in 1832. The family left after two years, but Alcott returned as Beecher Stowe. a published author to visit her birthplace. She stayed with Louisa May Alcott to Mrs Williams (Betsey Prig) in My Memoirs of the Civil War Mary and her husband, Francis Howard Williams (1844–1922), (2017); Mrs Francis Howard Williams, “Louisa May Alcott” in Germantown a Philadelphia literary critic and author who was well-connected History, consisting of papers read before the Site and Relic Society of Germantown, pp. 18–22 (1902); Irvin Miller and Judith Callard, Remembering Germantown: Sixty Years to a large circle of contemporary poets, writers, editors, and of the Germantown Crier (2008). publishers, including Walt Whitman. Alcott’s visit was a momentous occasion, especially to the children of the town: £4,000 [137833]

Peter Harrington 3 5 6

5 US, WorldCat only notes one copy in the UK (Oxford), and Library ANDERSEN, Hans Christian. Wonderful Stories For Hub gives a further five (BL, Cambridge, Nottingham, UCL, V&A). Grolier Club, One Hundred Books Famous in Children’s Literature, 28B. Children. Translated From the Danish by Mary Howitt. London: Chapman and Hall, 1846 £5,000 [137851] Small octavo. Publisher’s variant binding in light brown cloth, titles printed in white to spine and boards within elaborate printed decorative 6 borders panels in green, dark blue, and white, yellow coated endpapers. ANDERSEN, Hans Christian. Hans Andersen’s Story Hand-coloured wood-engraved frontispiece (with tissue guard) and 3 similar plates, all within tinted (perhaps stamped) decorative frames, Book: with a memoir by Mary Howitt. New York: C. S. plain decorations and embellishments. North Melbourne Scots’ Grammar Francis & Co.; J. H. Francis, Boston, 1849 School’s prize label to Janet Steele, dated 1861, to front pastedown. Binding a little shaken but firm, light wear to corners, spine faded, rubbed, hinges Octavo. Original green cloth, spine lettered and decorated in gilt, titles cracked but holding, occasional spotting and soiling, but otherwise and vignette to front board gilt, decoration in blind, rear panel decorated unmarked, the contents bright. A very good copy. in blind, all edges gilt. Engraved portrait frontispiece from a painting by Carl Hartmann with tissue guard, engraved title page, two full-page plates, First edition in English of Andersen’s Eventyr, the only early numerous decorated initials. Bookseller’s ticket to front pastedown, two translation based on the original Danish text. This copy has the near-contemporary gift inscriptions to front free endpaper. Spine faded first issue point with the author’s name misspelled “Anderson” to brown, a few old faint marks to contents, but generally clean internally; on the title page, and a most attractive variant binding, its intricate a very nice copy, square and tight, in the attractive cloth binding. and colourful decorative panelling a lavish contrast to the regular First collected American edition, containing 27 of Andersen’s trade binding of plain blue cloth lettered in gilt. stories translated into English by Mary Howitt and Charles Boner, Working at about the same time, Charles Boner and Caroline including “The Snow Queen”, “The Emperor’s New Clothes”, Peachey made competing translations that “were unfortunately “The Real Princess”, and “The Red Shoes”, together with a short based on faulty German-language versions” (Grolier). Although biography of Andersen by Howitt. Selections of Andersen’s stories Howitt was unable to resist editing the text and omitting first appeared in English in 1846, translated by Boner and by Howitt (admittedly non-vital) parts in “Thumbelina” and “The Flying (see previous item) and published in Britain. “Andersen’s work Trunk”, “the nine and a half stories she attempted — and their was immediately naturalized into English children’s literature, and presentation by Chapman and Hall — are far superior to those was the second great element, after Grimm, in the revival of public of her contemporaries” (ibid.). The detailed plates are particularly enthusiasm for and fantasy” (Carpenter & Prichard, 22). interesting as they appear to combine a mix of various illustrative printing techniques including xylography and hand-colouring, and £1,250 [137807] seemingly lithography and stamping: “with two, or possibly three, lithographic tints laid down, one of which also supplies a bisque 7 decorated frame to the plate. Overprinted with the anonymous ANDERSEN, Hans Christian. The Little Mermaid artist’s drawing (perhaps as a lithographic transfer that includes the letterpress caption), the whole hand-coloured” (ibid.). and other Stories. Translated by R. Nisbet Bain. The original tales were published between 1835 and 1837. London: Lawrence and Bullen, 1893 The Howitt translation was also published in the US in 1846, but Quarto. Original beige boards, titles in gilt over red to spine and front without the plates. Although well represented institutionally in the board, untrimmed. 65 tissue-guarded half-tone illustrations (of which 39

4 CHILDREN'S LITERATURE 9

7 full page) on mounted India paper. From the library of English guitarist and rare book dealer Martin Stone (1946–2016), with his handwriting to front free endpaper. Corners a little bumped, spine toned, rubbed, a couple of spots, occasional light foxing; a very good copy. First Weguelin edition, number 63 of 150 large paper copies. The 8 English painter and illustrator John Reinhard Weguelin (1849– 1927) drew on folklore for inspiration, and painted numerous Hills were longtime family friends of Tudor, and their shop had images of nymphs and mermaids. A review in the newspaper The her original artwork on view, occasionally hosting special exhibits Sketch noted that “as for Mr. J. R. Weguelin’s illustrations, it would and book signing events. scarcely be possible to overpraise them, the pencil can do no more for Andersen than Mr. Weguelin has done for him here”. £475 [136709] Not in Ray; The Sketch, 29 November. 1893. 9 £850 [137249] ANDERSON, Anne (illus.) The Fairy Tales of Grimm & 8 Andersen. London & Glasgow: Collins’ Clear-Type Press, [c.1930] 3 parts in one volume, quarto. Original red buckram, titles and pictorial ANDERSEN, Hans Christian. Fairy Tales. designs in gilt to spine and front board. With the dust jacket, with onlay New York: , 1945 of colour illustration to front panel. Title vignette, colour frontispiece and 15 similar plates, 20 full-page line-drawings and numerous similar Octavo. Original blue cloth, titles to spine and snowflake to front board in in-text illustrations. Contemporary ink ownership inscription of Lucille silver, top edge blue. With the pictorial dust jacket. With 10 colour plates Edwards to front free endpaper. A little bowed, gentle wear and bumping to and 30 monochrome vignettes by Tasha Tudor. Spine slightly rolled, ends extremities, lightly foxed. A very good copy indeed, in the fair dust jacket, a little bruised. A very good copy in the bright dust jacket, spine a little edges partly broken with loss, a few closed tears, some creasing, tape sunned, shallow chips to spine ends and tips, a couple of closed tears and repairs to verso of front panel and flap. A rare survival in jacket. some rubbing and creasing to extremities. First combined edition: originally published separately as Grimm’s First Tasha Tudor edition, presentation copy, inscribed by the Fairy Tales in 1922, and Andersen’s in 1924. Anne Anderson (1874– illustrator on the front free endpaper, “To Ned [Hills] with best 1952) was a prolific Scottish illustrator primarily known for her art wishes from Tasha Tudor”, together with an original drawing of a nouveau children’s book illustrations. small girl on a stool reading. With his sister Charlotte, Ned Hills owned the Dutch Inn gift shop in Mill Hall, Pennsylvania. The £850 [135851]

Peter Harrington 5 10

10 ARNOLD, Matthew. Amateur manuscript copy of “The Forsaken Merman”. 1897 Large octavo (248 × 194 mm), manuscript, pp. 26 all in black and red on 11 J. Whatman watermarked paper. Contemporary vellum over bevelled boards by the Mayfield Binderies of Heaton Moor, manuscript titles and decorative pictorial design in red and black to front board, [Arnold’s] father’s name into disrepute. In fact, his family was untrimmed. Title vignette and 6 full-page elaborate pen and ink surprised at the evidence of seriousness, yearning, and grief illustrations within decorative borders signed “Dodo” with a dodo the book displayed” (ODNB). design, title page and dedication device in colour and ink, historiated opening initial in red and black, all others in red. From the arts and crafts £675 [138062] collection of Kirkton House, near Montrose, Scotland. A little rubbed and darkened, front board titles fading, boards slightly splayed, silky 11 cloth reinforcement to three gutters, internally bright and without marks of ownership. A very good copy. ASHFORD, Daisy. The Young Visiters. Or Mr. Salteena’s A unique calligraphic manuscript of Arnold’s poem. The Plan. With a preface by J. M. Barrie. London: Chatto & manuscript has fine illustrations within ornamental borders, Windus, 1919 possibly after original designs, in an style reminiscent Small octavo. Original dark brown cloth-backed marbled boards, cream of masters such as Edward Burne-Jones, Robert Anning-Bell, and label to spine printed in black, fore edge untrimmed. With the dust jacket. . We have no information about the “Dodo” who Photographic portrait frontispiece with tissue guard, facsimile plate of first signed the plates, nor are we able to establish whether they also page of the manuscript. Spine cocked, traces of previously removed label to executed the calligraphy. front pastedown. A near-fine, bright copy in the very scarce jacket, slightly soiled and rubbed, with small chips to extremities, short closed tear to This melancholy poem of a merman whose wife leaves the head of spine and spine fold expertly stabilized. sea, called by the Easter bells, to live instead on the land, was first published in 1849 in The Strayed Reveller and Other Poems, First edition, signed and dated by the author on the half-title “under the pseudonym A, for fear, it was said, of bringing in the year of publication, “Daisy Ashford Nov. 15th 1919”, rare thus. After her mother’s death in 1917, Ashford rediscovered her childhood writings, including this, originally written in 1890 when she was nine years old. The text was published almost exactly as it had been originally written, complete with the young Ashford’s childish spelling and grammatical mistakes. An exceptionally popular book, The Young Visiters was reprinted 18 times in 1919 and was adapted for the stage, being first performed in London in 1920 before transferring to New York. £1,000 [126691]

12 AUSTIN, Sarah. Autograph letter signed discussing the frustrations of establishing a periodical for children. 26 Park Road, Regent’s Park: 2 March [probably c.1829–36] Single bifolium (leaf size: 184 × 113 mm). 4 pages, hand written in ink filling each side. Lightly toned, two very faint glue marks to top margin 10 of first page, partly split along fold, else very good condition.

6 CHILDREN'S LITERATURE 13

12

A letter to an unnamed female recipient setting out Austin’s thoughts regarding the establishment of a “periodical work for children”. Despite the recipient’s enthusiasm, her own, “and that of everyone, without a single exception, of my female friends and acquaintances … I am forced to relinquish it from the difficulty of finding a publisher — Murray, though he expressed himself in the handsomest manner both as to the plan and the matter (which he saw) has his hands tied by his Family Library. Baldwin is aiming at some older magazine and Harris, though delighted with the scheme and the matter, dreads the expense and fatigue of getting a periodical into sale — a sort of thing he is not accustomed to”. Austin, frustrated 14 but determined, goes on to suggest an alternative strategy to ensure the publication of the material using “volunteer assistants”. 13 The English writer and international salonnière Sarah Austin (1793–1867), highly praised for her important translations from AWDRY, Wilbert Vere. Tank Engine Thomas Again. German and French, supplemented her family’s income by With illustrations by C. Reginald Dalby. Leicester: writing for periodicals, preferring the anonymity of monthlies Edmund Ward, [1949] and quarterlies. “As several of Austin’s letters from 1829 and 1830 Oblong duodecimo. Original blue cloth, titles and illustration to front to John Murray make clear, she was eager to have him publish cover in gilt. With the dust jacket. Illustrations throughout. Price-clipped children’s literature, be that in book form or as a periodical” jacket with some light rubbing at extremities and to front panel, but (Schweitzer, p. 59). One such proposal made to Murray was for without the chipping and soiling normally seen. A near-fine copy. a translation from the German of Friedrich Wilhelm Carové’s First edition of the fourth book in the Railway Series,and the The Story Without an End, a favourite of her daughter. As was the second featuring Thomas the Tank Engine, the character who case with many of Austin’s projects, including that mentioned went on to become synonymous with the series. here, Murray eventually rejected it. It was only in 1834 that the children’s story was published by Effingham Wilson, receiving £2,000 [135341] very favourable reviews. Austin’s letters are rarely dated with a year. We suggest 14 1829–36 for a number of reasons: her preoccupation with this AWDRY, Wilbert Vere. Toby the Tram Engine. Illustrated subject at this time; John Stuart Mill’s letters to Austin (“My dear Mütterlein”) of 1830–31 are addressed to the same 26 Park by C. Reginald Dalby. Leicester: Edmund Ward Ltd, 1952 Road address; and by 1836 Austin was in Malta, her husband Oblong duodecimo. Original grey cloth, illustration and titles to front having been appointed head of a commission there. They did cover in red. With the dust jacket. Illustrations throughout. A little shaken, not permanently move back to England until 1848, after which covers unevenly sunned. A good copy in the jacket (possibly supplied), point they settled at Weybridge. slightly creased and chipped with tears, faint soiling to rear panel. See Christoph E. Schweitzer (ed.), “Commentary”, in Kinderleben oder das Mährchen First edition, signed by the author on the title page, of the seventh ohne Ende, translated by Sarah Austin (Camden House, Inc., 1995). book in Awdry’s Railway Series. £525 [124627] £750 [135324]

Peter Harrington 7 15 16

15 by Piet Worm. Slight wear to corners, the bindings otherwise fresh and square, contents faintly toned, else clean and without marks. A bright, very BADEN-POWELL, Robert. Aids to Scouting for N.-C.Os good pair; the jacket split at spine panel and starting at flap hinges with & Men. London: Gale & Polden, Ltd, [c.1899] a little loss, a few edge-splits, still a very good survival given its fragility. Duodecimo. Original red linen on card wrappers, titles printed in black to First edition, together with the first edition in English, both signed covers and written in manuscript to spine, pink advertisement endpapers. by Baker on the front free endpaper verso, “Maman Josephine Baker” “London” stamped in blind to rear cover. Dated “1899” in pencil to head in the French edition, and “Mama Josephine Baker” in the English. of front free endpaper. Spine gently rolled and lightly faded, faintly soiled La Tribu arc-en-ciel tells of the adventures of a one-eyed black hen covers, slight bleeding of pink from endpapers onto foot of book block named Kott-Kott who travels in search of her lost eye and fore edge, faint foxing to contents, first two gatherings a little sprung but holding; a well-preserved copy of this fragile publication. finally finds salvation with the Rainbow Tribe at Les Milandes. Kott- Kott is a little disguised self-portrait, Les Milandes being the name First edition, early printing, of the founding text of the scouting of Baker’s chateau in the Périgord region of France where she lived movement; this an unusually well-preserved copy. Drawing on with her husband, Jo Bouillon, and their 12 adopted children, his experiences in Africa and India, Baden-Powell put together as shown in the photographic panel on the dust jacket. Baker and her this small guide on reconnaissance and bushcraft while bottled husband adopted a “Rainbow Tribe” of children from varied ethnic up in Mafeking. It was a huge success, selling 100,000 copies backgrounds and religions to combat racism and “fully live their ideal in just a few months. His celebrity status after the relief of the of universal fraternity” (Franquebalme). “Baker was a master stylist, siege “made him an attractive figure to voluntary organizations and Worm’s remarkable artwork shows her influence” (Guteri). seeking his endorsement. In particular he became aware that his military manual Aids to Scouting was being used by church Benoît Franquebalme, “Joséphine Baker”, in France Dimanche, 26 October. 2015; Matthew Pratt Guteri, Josephine Baker and the Rainbow Tribe, 2014, pp. 122-3. organizations, such as the Boys’ Brigade and the Young Men’s Christian Association” (ODNB). He was made Vice-President £1,250 [138681] of the Boys’ Brigade in 1903. However, he became convinced that his very particular ethos and training methods, “with their focus 17 on individual responsibility, fitness, and reconnaissance, could be used in a non-military environment”, and he set about recasting BALLANTYNE, Robert Michael. The Coral Island. Aids to Scouting as the manifesto for his own youth movement. London: T. Nelson and Sons, 1858 The first experimental camp was held at Brownsea Island in 1907, Octavo. Original decorated rose-pink cloth with blind-stamped borders and Scouting for Boys was published in 1908. and roundels and gilt vignette to upper cover and spine, rebacked with the original spine laid down, yellow coated endpapers. Chromolithograph £1,250 [127558] frontispiece, vignette title page and 6 plates. Contemporary ownership inscription to front free endpaper of one Willie Mathieu. Marginal damp- 16 staining to first gathering, some foxing, light browning and signs of handling, inner joints reinforced and endpapers a little soiled. A sound and BAKER, Josephine, & Piet Worm (illus.) La Tribu arc-en- complete copy. ciel; [together with:] –. The Rainbow Children. With the First edition, first issue, in the scarcer rose-pink cloth (copies assistance of Jo Bouillon. Amsterdam: Mulder & Zoon, [1957] are more commonly encountered in blue cloth). Ballantyne wrote Together 2 works, quarto. Original colour pictorial boards, the French children’s stories based on his experiences in Canada as a young edition with the pictorial dust jacket. Illustrated in colour throughout man in the service of the Hudson’s Bay Company, achieving his

8 CHILDREN'S LITERATURE 17 19 greatest literary success with his second book, The Coral Island, and until 1985, twelve years after her death, was Flower Fairies of the Winter long influencing other writers: William Golding’s Lord of the Flies published, compiled by the publisher from Barker’s other work. is a modern riposte to Ballantyne’s Victorian castaway idyll. While Barker “was a devotee of the Pre-Raphaelites, particularly Quayle 12a; Sadleir 103. Edward Burne-Jones, and her work owes a debt to Beatrix Potter and £2,000 [105863] ”, she nevertheless introduced her distinct style to the world of children’s illustrations. 18 £1,250 [137922] BARKER, Cicely Mary. Flower Fairies of the Spring; Flower Fairies of the Summer; Flower Fairies of the 19 Autumn. London and Glasgow: Blackie and Son Limited, [c.1940s] BEMELMANS, Ludwig. Madeline. 3 separately-published works, duodecimo. Original grey patterned boards London: Derek Verschoyle, 1939 with colour pictorial onlay, blue pictorial endpapers. With the dust jackets. Quarto. Original pictorial boards, title printed to spine and front board, Each work with 24 colour plates, uncoloured illustrated half-titles and illustrated endpapers. With the illustrated dust jacket. Housed in a grey frontispieces, all by the author. Gently cocked, corners rubbed and a cloth slipcase. Colour illustrations throughout. Light rubbing to the trifle bumped, boards of Spring and Autumn a little bowed, without marks extremities, jacket a little soiled, but a very good copy indeed. of ownership. A near-fine, clean set, in the very good jackets, not price First British edition, inscribed by Bemelmans on the first clipped, slight chipping and creasing to extremities, faint soiling, small stain to spine of Spring, else all bright. blank with an original sketch of Madeline, “To Diane Rhodes, Ludwig Bemelmans 1952”. Madeline was awarded the Caldecott A lovely set of the three Flower Fairies titles published in Barker’s Medal of Honor in 1940. lifetime, signed by her on the title and half-title of Spring and Autumn Pomerance A24; Silvery, pp. 40–41. respectively. Her first book, Flower Fairies of the Spring, was published in 1923, with Summer and Autumn following in 1925 and 1926. Not £3,750 [126007]

18

Peter Harrington 9 20, 21, 22, 23

20 23 BLYTON, Enid. Five Go Adventuring Again. BLYTON, Enid. Five Go Down to the Sea. London: Hodder & Stoughton, 1943 London: Hodder & Stoughton, 1953 Octavo. Original pale blue cloth, spine and front cover lettered in black, Octavo. Original red cloth, spine and front cover lettered in black, pictorial plain endpapers. With the dust jacket. Colour frontispiece and illustrations endpapers. With the dust jacket. Illustrations by Eileen Soper. Light foxing throughout by Eileen Soper. Neat pencilled ownership inscription on front to edges, a very good copy in the somewhat creased jacket, spine panel free endpaper. Jacket a little soiled and creased, spine rolled, front cover toned, otherwise bright, 5 cm closed tear to foot of front fold. partially sunned at head, covers a little bowed, yet overall still a good copy. First edition, inscribed by the author on the initial leaf advertising First edition of the second Famous Five adventure, following Five the Famous Five Club, “John love from Enid Blyton”. Five Go Down on a (1942). to the Sea is the twelfth Famous Five adventure. £1,250 [109233] £850 [136016]

21 BLYTON, Enid. Five Run Away Together. London: Hodder & Stoughton Limited, 1944 Octavo. Original blue cloth, lettered in black to spine and front cover, pictorial endpapers. With the pictorial dust jacket. Illustrated by Eileen Soper. Ownership inscription to half-title. Spine discoloured, boards bowed, small bump to foot foot of spine, in the creased and torn dust jacket, with bright spine panel, chip to foot of spine with some loss of text, closed tear to front panel extending into spine. First edition of the third book in the Famous Five series. £2,000 [121714]

22 BLYTON, Enid. Five Go to Smuggler’s Top. London: Hodder & Stoughton Limited, 1945 Octavo. Original light blue cloth, spine and front cover lettered in black, pictorial endpapers. With the dust jacket. Colour frontispiece and illustrations to the text by Eileen Soper. Light marking to cloth and sunning at extremities. A very good copy in the jacket, minor creasing and chipping without loss at extremities, very faint residue of earlier tape repair on verso. First edition of the fourth book in the Famous Five series. £2,500 [133979]

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10 CHILDREN'S LITERATURE 25 26

24 for Graham and Scott Karlsen, from Merseyside, two young boys who suffer from an immune deficiency disorder. BLYTON, Enid. Photographic portrait, inscribed. [c.1950s] Photographic portrait postcard (c.120 × 80 mm), signed in the print by £500 [138030] photographer Dorothy Wilding, inscribed in blue ballpoint pen under the image. Framed (285 × 235 mm), not examined outside of frame. Image a 27 little toned, some small tears visible at top edge, light crease diagonally across bottom right corner. (BOND, Michael.) FORTNUM, Peggy. Out for the Day. Signed portrait photograph of Blyton, inscribed “best wishes to Westbury: Portfolio Fine Art Limited, 1997 Mrs Baker from Enid Blyton”. Mrs Baker was a children’s librarian Gicleé print on thin card. Sheet size: 25.4 × 20.3 cm. Excellent condition. who corresponded with Blyton in the late 1950s. Presented in a black frame with conservation acrylic glazing. Signed limited edition, one of 495, signed by Michael Bond in £750 [134715] pencil lower right, numbered lower left, Fine Art Trade Guild blindstamp lower left. 25 £500 [138034] BOND, Michael. More About Paddington. With Drawings by Peggy Fortnum. London: Collins, 1959 28 Octavo. Original green cloth, spine lettered in silver. With the dust (BOND, Michael.) FORTNUM, Peggy. Off on Holiday. jacket. Black and white line drawings throughout. Bookseller’s ticket to front pastedown. Light foxing to endpapers and edges. A very good Westbury: Portfolio Fine Art Limited, 1997 copy in the price-clipped dust jacket, minor nicks and splits to Gicleé print on thin card. Sheet size: 25.4 × 20.3 cm. Excellent condition. extremities with repair on verso, rear panel a little foxed. Presented in a black frame with conservation acrylic glazing. First edition, signed by the illustrator, Peggy Fortnum, on Signed limited edition, one of 495, signed by Michael Bond, a bookplate to the front free endpaper. This is the second numbered lower left, Fine Art Trade Guild blind stamp lower left. Paddington book. £500 [138036] £1,250 [132917]

26 (BOND, Michael.) FORTNUM, Peggy. A Sticky Passage. Westbury: Portfolio Fine Art Limited, 1997 Gicleé print on thin card. Sheet size: 25.4 × 20.3 cm Excellent condition. Presented in a black frame with conservation acrylic glazing. Signed limited edition, one of 495, signed by Michael Bond in pencil lower right, numbered lower left, Fine Art Trade Guild blindstamp lower left. The original profit from the sale of this print was to help raise funds to provide a home treatment facility 27 28

Peter Harrington 11 29

29 BURNETT, Frances Hodgson. Little Lord Fauntleroy. New York: Charles Scribner’s Sons, 1886 Quarto. Original brown cloth, spine and cover decorated in black, red and gold, brown coated endpapers. Engraved frontispiece and 11 plates, vignettes throughout. Small spot of rubbing to front free endpaper. An excellent copy in bright cloth and very fresh internally. First edition, first issue, of Burnett’s first children’s novel, with the De Vinne Press imprint on the last leaf of text verso and number 14 printed on the lower left margin of p. 209. Little Lord Fauntleroy originally appeared as a serial in St Nicholas Magazine between November 1885 and October 1886. 31 BAL 2064. £1,950 [114679]

30 BURNETT, Frances Hodgson. The Secret Garden. London: William Heinemann, 1911 Octavo. Finely bound by the Chelsea Bindery in dark green morocco, titles and decoration to spine gilt with onlaid morocco flower pieces, raised bands, single rule to boards gilt, pictorial block to front board gilt with onlaid morocco floral pieces, twin rule to turn-ins gilt, floral endpapers, gilt edges. With 8 colour illustrations by Charles Robinson. Fine. First edition. The Secret Garden was serialized, starting in autumn 1910, in The American Magazine, a publication aimed at adults. The book was first published in summer 1911 simultaneously by Heinemann in London and by Frederick A. Stokes in New York. The American edition was illustrated by M. B. Kork, whereas the English edition has illustrations by the prolific illustrator Charles Robinson. Born in , England, Burnett moved back and forth between England and America, before adopting US citizenship in 1905. The novel was mainly written in Manchester in 1904, but published while she was living in New York. Grolier Club, One Hundred Books Famous in Children’s Literature, 64. £2,750 [137649] 31

12 CHILDREN'S LITERATURE 31

The origin of the modern comic strip to America like Rudolph Dirks, whose Katzenjammer Kids is a close imitation of Max und Moritz. Busch pioneered several elements 31 which have become staples of the medium, such as onomatopoeia BUSCH, Wilhelm. Max und Moritz: eine and expressive movement lines. Bubengeschichte in sieben Streichen. The first printing was 4,000 copies, but the nature of the book and the juvenile readership led to a very high attrition rate. : Braun und Schneider, [1865] Outside Germany the book is notably rare: WorldCat does not Octavo (205 × 132 mm), ff. [2], 53; printed on rectos only. Contemporary locate a single copy in North America or elsewhere, while Library dark brown sheep-backed brown patterned paper-covered boards, Hub locates only one copy in the United Kingdom and Ireland, manuscript titles in dark brown ink to yellow spine label, blue speckled that at the Taylor Institution Library, Oxford. edges. With 98 lightly hand-coloured woodcut illustrations in the text by Vanselow 28 (mistakenly counting the prints as 99); not in Grolier. the author (the illustration on leaf 45 signed in the block, “WBusch 65”), xylographic title. Neat contemporary ink ownership inscription of Bruno £45,000 [138250] Lange to front pastedown. Extremities worn, rubbed in places, but the binding firm, small reinforcement to lower inner corner of title verso and “Vorwort” recto, last leaf seemingly reattached, occasional small edge- splits to lower margins, lightly finger-soiled, superficial abrasion to leaf 17 with slight loss of image, occasional spotting, else a remarkably well- preserved and wide-margined copy. Rare first edition, first impression, of the book widely regarded as the prototype of the children’s comic, with the key error “geschroben” for “geschroten” on leaf 52 and Vanselow’s other points: leaf 17 with a full stop after the last word; line 1, leaf 31, slightly indented; leaf 51 with a point and dash after “Bösewichter”; and 7 dashes on the left of the text on leaf 53. The illustrations are first state, strong woodcut impressions on white paper with light colouring as per the artist’s instructions. Only the first four printings have illustrations printed from the original woodblocks by Dr C. Wolf & Sohn; later printings are from electrotypes. After Struwwelpeter, Max und Moritz is the best known German children’s book. Busch’s style, lively line drawings captioned with rhyming couplets, is generally recognized as the precursor of modern comic strips, particularly influential on German émigrés 31

Peter Harrington 13 32

One of Tenniel’s original pencil illustrations dignity and importance ... is one of the best known of all English for Alice in Wonderland book illustrators solely because his drawings are inseparable from Lewis Carroll’s immortal Alice’s Adventures in Wonderland and Through 32 the Looking-Glass’” (Cohen and Wakeling, pp. 10–11). Goodacre–Schiller A33. Morton N. Cohen and Edward Wakleing (eds.), Lewis (CARROLL, Lewis.) TENNIEL, John. Carroll and His Illustrators: Collaborations & Correspondence, 1865–1898 (2003). Original illustration for Alice in Wonderland: “The Gryphon”. 1865 £37,500 [138680] Original artwork in pencil. Approx. image size 85 × 60 mm with large margins all round. John Tenniel’s monogram to the lower right. Mounted, 33 glazed and framed. Portion of backing from previous mount cut round CARROLL, Lewis. Alice’s Adventures in Wonderland; and retained, with ink inscription of Mr & Mrs Ben Wolf; framers’ label of Kennedy & Co. Rare Prints, 693 & 5th Ave.; later sticker of Newman [together with:] Through the Looking-Glass and What Galleries, Philadelphia. Fine. Alice Found There. London: Macmillan and Co., 1866 & 1872 Tenniel’s original drawing for the illustration of the sleeping 2 works, octavo. Original red cloth, spines lettered in gilt, triple gilt fillets Gryphon which appears on page 138 of the first edition of to covers with gilt vignette centrepieces, blue endpapers, gilt edges. Alice’s Adventures in Wonderland. Dodgson gave Tenniel the exact Housed in a red quarter morocco solander box by the Chelsea Bindery. measurements of each image as they were to fit on the page Frontispieces and 90 illustrations by John Tenniel. Adventures in Wonderland around the text. The drawings were then traced onto woodblocks generally dulled, stained, worn, and rubbed, rear hinge split with short closed tear to rear endpaper (binder’s ticket to rear pastedown), contents and engraved by the Dalziel Brothers. The final stage in the with some occasional light finger-soiling, short closed tear at foot of pp. reproduction process was to make electrotype plates from the 99/100 and at head of pp. 119/120 with a few minor nicks elsewhere. Overall woodblocks, using them as masters. The electrotype plates were an acceptable, unrestored copy of a book frequently read to destruction. used for the actual printing. There were enormous difficulties Through the Looking-Glass in better shape, light bumping and cockling with preserving Tenniel’s delicate pencilwork throughout this process, slight wear to rear joint, hinges splitting but still firm, some instances of and Dodgson famously cancelled the 1865 first edition on account light foxing and finger-soiling to contents. A very good copy. of its poorly-reproduced illustrations. When one sees at first hand First published editions of both Alice books, in original, the extreme delicacy of line and tone in Tenniel’s original, one unrestored cloth. Alice’s Adventures in Wonderland is the first must have some sympathy for the engravers and printers. published edition, the second overall: it was originally printed in When Schiller compiled his index identifying and locating Oxford at the Clarendon Press in June 1865, but was suppressed the original drawings for Alice and Looking-Glass in 1990, this when Dodgson heard that Tenniel was dissatisfied with the print sleeping gryphon was recorded as “unlocated”. Of the original 42 quality. He recalled the few pre-publication copies he had sent out drawings for Alice listed in Schiller’s census, 11 remain unlocated and donated them to hospitals, sending the bulk of the unused by him; the majority are held institutionally or bound into the sheets to America (see following item). The book was entirely Macmillan “file copy”. reset for the present authorized Macmillan edition, the earliest In his time, Tenniel was most famous for his political cartoons, edition that can be realistically obtained. Although dated 1866, the as the top artist for Punch. However, “the general public knows edition was ready by November 1865, in time for Christmas, and him now only for his illustrations in the Alice books, an irony not was published in a print run of 4,000 copies. Through the Looking- lost on historians. For when as an established artist he undertook Glass is the first edition; like its predecessor, it was published for to illustrate the first Alice book by an unknown author and lent his Christmas and bears the following year’s date in its imprint. It was established reputation to the venture, he knew, of course, that his actually published in December 1871, in an edition of 9,000 copies. name would demand critical attention for the book and would in Williams–Madan–Green–Crutch 46; Printing and the Mind of Man 354. great measure be responsible for any success it might meet with ... Tenniel, having ‘raised the political cartoon to a new level of £12,500 [136041]

14 CHILDREN'S LITERATURE 33 34

34 mounted on an easel and the illustrations displayed one at a time while the class read through the book. Many sets were split up and CARROLL, Lewis. Alice’s Adventures in Wonderland. the individual prints varnished for hanging in the schoolroom. New York: D. Appleton, 1866 Octavo. Original red cloth, spine lettered in gilt, triple gilt rules to £2,750 [138682] covers, gilt roundels with “Alice” motifs to covers, dark green endpapers, edges gilt. Housed in a custom red cloth flat-back box. Frontispiece with tissue guard and 41 illustrations by John Tenniel. Provenance: S. H. W[illiams] of Inner Temple with bookplate to front pastedown of both book and box. A little wear to spine ends and tips, a couple of light marks to cloth, tiny spot of abrasion to front free endpaper, front hinge split but holding, rear hinge partly split, but book block sound. An excellent copy in bright cloth. First edition, second issue: the first practicably obtainable issue of the original sheets, comprising sheets of the suppressed 1865 printing with the Appleton cancel title page. The issue consisted of 1,000 copies, using the first printing sheets but with new tipped-in title pages also printed at the Clarendon Press, Oxford. Dodgson authorized the sale to America on 10 April 1866. Lewis Carroll at Texas: the Warren Weaver Collection (1985) no. 2; Williams–Madan–Green–Crutch 44. £37,500 [116108]

35 (CARROLL, Lewis.) MACFARLANE, John (illus.) “The Dodo presenting the thimble to Alice”. London: Macmillan and Co. Ltd, [c.1910] Colour lithographed, sheet size: 82 × 60 cm. linen-backed wall-poster. Some very light creasing and a touch of marginal spotting, otherwise fresh and clean. Presented in a black wooden frame with UV glass. First and only edition. This is the second illustration from Macmillan’s Coloured Wall Illustrations series issued for Alice’s Adventures in Wonderland. This is the only instance of Macmillan having licensed illustrations for Alice by an artist other than John Tenniel. Issued as a set of six, in its original format the illustrations were joined at the head as a kind of flipchart, likely intended for classroom display. The posters could be 35

Peter Harrington 15 36 37

36 37 (CHILDREN’S BOOKS.) Collection of the ten “Best [COLERIDGE, Sara.] Phantasmion. Illustrated Children’s Books” of 2007. London: William Pickering, 1837 Together 10 works and a newspaper, octavo and quarto. Each in the Small octavo (163 × 100 mm). Contemporary burgundy morocco, spine original boards, most with colour endpapers. With the dust jackets lettered and tooled in gilt with curled roll to spine ends, flower-and-leaf where issued. Occasional slight rubbing or bumping, else a fine set. device to compartments, raised bands striped and edged with triangular First editions of the ten titles chosen as the best illustrated roll, thick gilt border of matching flower-and-leaf motifs to boards, scroll- and-leaf roll to board edges and turn-ins, marbled endpapers, edges gilt. children’s books of 2007 (apart from The Arrival which is the Engraved publisher’s device to title page. A handsomely bound copy, spine first US edition). The list was published in the New York Times slightly faded, joints and corners rubbed, the contents crisp and mostly children’s books review (11 November 2007, pp. 32–33; a copy clean, first and last gatherings lightly foxed, the occasional smudge or mark of which is included here). to margins, one tiny perforation to fore edge margin of leaf Bb6. Gathered over the course of six weeks as an experiment in “book First edition of the first fantasy novel for children, one of 250 copies collecting on a budget”, the collection comprises: published. The long fairy-tale is “one of the earliest novel-length 1. BILLOUT, Guy. The Frog Who Wanted to See the Sea. Mankato, 2007. fantasies separate from the Gothic tradition” (Sanders). It is seen as Winner of the 2007 Original Art Award. not only an important precursor to Lord of the Rings, but also an early 2. CARTER, David A. 600 Black Spots. New York, 2007. and influential example of science fiction. The work is a prose epic 3. LOW, William. Old Penn Station. New York, 2007. set in a fantastical Lake District, where Sara Coleridge had grown 4. (MYERS, Christopher.) CARROLL, Lewis. Jabberwocky. up in the household of her uncle Robert Southey, and modelled New York, 2007. on Spenser’s Faerie Queene (see item 200). It is a strong candidate 5. PORTIS, Antoinette. Not a Box. New York, 2006. Winner of multiple for the first modern fantasy novel, preceding George MacDonald’s awards, including New York Times Best Illustrated Book of 2007 and Phantastes (1858) by two decades. the Book Binders Guild of New York Merit Award 2007. Keynes, Pickering Checklist, p. 60. See Peter Hunt & Dennis Butts, Children’s 6. SEEGER, Laura Vaccaro. First the Egg. New Milford, Literature: An Illustrated History, Oxford University Press, 1995, p. 92; Elizabeth Connecticut, 2007. M. Sanders, Genres of Doubt: Science Fiction, Fantasy and the Victorian Crisis of Faith, Macfarland & Co., 2017, p. 57; John Sutherland, The Stanford Companion to Victorian 7. SELZNICK, Brian. The Invention of Hugo Cabret. New York, 2007. Fiction, Stanford University Press, 1990, p. 183. Signed by the author on first blank. 8. SÍS, Peter. The Wall: Growing Up Behind the Iron Curtain. New £2,000 [134940] York, 2007. Sís won the 2012 Hans Christian Andersen Medal for his “lasting contribution” to children’s literature: the highest recognition 38 available to a writer or illustrator of children’s books. 9. TAN, Shaun. The Arrival. New York, 2007. First American edition — COLLODI, Carlo. The Story of a Puppet or the Tan’s graphic novel was first published in Australia the previous year. Adventures of Pinocchio. London: T. Fisher Unwin, 1892 10. YACCARINO, Dan. Every Friday. New York, 2007. Small octavo. Original patterned cloth printed in blue, titles to spine and front cover in blue, patterned edges and endpapers. Half-title and title printed in red £600 [136661] and black, frontispiece with tissue guard and illustrations throughout by C.

16 CHILDREN'S LITERATURE 39

like figure” and added “elf-like I have called her; and she saw elves, and drew pictures of them, which she published in a queer little book”, leaving little credence to the alleged contribution of William Weird, the “eccentric” phrenologist whose “fantastic sketches and descriptions were found … after his death” (introduction). “Escaping suspicion: women in Brasenose before 1974”: www.bnc.ox.ac.uk/ about-brasenose/history/214-college-life/422-brasenose-women. £375 [138088]

40

38 (CRANE, Lucy & Walter.) GRIMM, [Jacob & Wilhelm]. Household Stories, From the Collection of the Bros: Mazzanti. Extremities rubbed, minor wear to tips, cloth a little darkened, book Grimm. London: Macmillan & Co, 1882 block cracked in a couple of places but holding firm; a very good copy. Large octavo. Original dark blue cloth, titles in gilt to spine, frames blocked First edition in English. “One of the best known fantasies, and in gilt to front board and blind to rear board, untrimmed. Tissue-guarded the most popular children’s book to come out of Italy … The wood-engraved frontispiece and title page, 10 wood-engraved plates, numerous head- and tail pieces, and historiated opening initials, all after story was written for a Rome children’s magazine, the Giornale dei Walter Crane. Cocked, spine ends and lower corner of front board gently bambini, where the first instalment appeared on 7 July 1881. It was bumped, rubbed, light toning and foxing to first and last few leaves, else a published as a book in 1883 under the title Le Avventure di Pinocchio: very good, clean and wide-margined copy. Storia di un burattino (History of a Puppet), and quickly became a First Crane edition, large paper issue, one of 250 copies, best-seller … Almost nothing else in children’s literature equals translated by Lucy Crane and illustrated by her brother Walter. Pinocchio for wildness of invention” (Carpenter & Prichard). It It “sold out on publication … The book is a triumph in [Crane’s] was translated by Mary Alice Murray, whose “satisfying English- characteristic mode of decoration, yet its designs, even the language version of the puppet’s wayward progress to real headpieces and initial letters, remain true illustrations” (Ray). boyhood largely avoided ‘translatorese’” (Grolier). With the engraved pictorial bookplate of Arthur Guthrie, Grolier Club, One Hundred Books Famous in Children’s Literature, 46. designed by Henry Ospovat (1877–1909), a Russian artist residing £3,000 [119778] in London. Ray 246; Wilbur Macey Stone, Book-Plate of To-Day, New York, 1902, p. 58. 39 £850 [137499] CRADOCK, Harriet. Views in Elf Land. Designed and Executed by William Weird, Phrenologist. London: J. Hogarth & Sons, 1878 Oblong quarto. Original green cloth, titles in gilt to front board, borders in blind to boards, gilt edges, yellow coated endpapers. 18 black-and-white plates by Weird. Extremities gently bumped and rubbed, the binding otherwise firm, rehinged, light scattered spotting, without ownership marks; a very good copy. First and only edition of this uncommon book: Library Hub locates three copies only in the UK (V&A, Oxford, BL), WorldCat adds a further two in the US. Harriet Cradock (née Lister, 1809–1884) was “a maid of honour to Queen Victoria for six years, from 1 July 1837, and was the only one to hold the post who was not the daughter or granddaughter of a peer. She left the queen’s service to marry her cousin”, who later became the principal of Brasenose College, Oxford (ODNB). Journalist Thomas Humphry Ward described her as “a bright elf- 40

Peter Harrington 17 42

41 in a mission school in Africa, preserve the tales in the West CRONISE, Florence M., & Henry W. Ward. Cunnie African dialect, and assert in their preface that they have modified neither the spirit nor the content of the stories. Rabbit, Mr. Spider and the Other Beef: West African They decry other missionaries who view folk tales as heathen Folk Tales. London: Swan Sonnenschein & Co., 1903 superstition to be obliterated, and assert the importance and Octavo. Original red cloth, spine lettered in gilt, gilt-stamped vignette value of the tales in understanding the natives. However, the and gilt title to front cover. With numerous black and white illustrations authors also note that they have not recorded any of the tales by Gerald Sichel. Spine very slightly faded, slight foxing to edges and that “the missionary would not care to hear” and that the recorded endpapers. An excellent copy. tales only represent “the better, purer part” of West African life. First edition. Other than a few sporadic printings of individual Although one can question what was thereby censored, this scarce tales, this is the first printed collection of West African folk volume has undoubtedly preserved many tales which would have tales, with multiple appearances of Anansi, here rendered as otherwise been lost forever (for Anansi, see also item 199). “Mr. Spider”. The authors, who collected the stories from children £325 [122261]

42 (CRUIKSHANK, George.) Fairy Library. [Comprising:] Hop-O’My-Thumb and the Seven-League Boots; The History of Jack & the Bean-Stalk; Cinderella and the Glass Slipper; Puss in Boots. London: David Bogue; & Routledge, Warne, and Routledge, [1853–54] Four volumes, small quarto. Original blue printed wrappers, titles and pictorial designs printed in black to front wrappers. Housed in a custom late 19th-/early 20th-century red morocco case with titles in gilt direct to spine. Each with etched frontispiece and 5 similar plates by Cruikshank, publisher’s advertisements to rear wrappers. From the library of the Dukes of Gloucester. Extremities somewhat darkened and rubbed. Puss in Boots: some wear and chipping to spine, edges a little creased; Jack & the Bean- Stalk: endpapers renewed, else remarkably well-preserved and without ownership marks. A very good set indeed. A lovely set of first editions, in the original wrappers, with the following issue points: 1. Hop-O’My-Thumb with two out of three points: with the rear wrapper reading “Preparing for Publication”, and the rear free endpaper pasted to rear wrapper. 2. The History of Jack & the Bean-Stalk with two of the five points: the “Jack climbing the Bean-Stalk” frontispiece, and the 41 plates on white paper.

18 CHILDREN'S LITERATURE 43 44

3. Cinderella and the Glass Slipper with two of the three points: of plates, but overall a very well-preserved copy in original contemporary the plate list after the printed title, and the rear wrapper condition, genuinely elegant, if a little used. with “I. Hop o’ My Thumb . . . II. Jack and the Beanstalk”. First and only edition of this charming juvenile guide to 4. Puss in Boots with two of the four points: no front fly leaf, the world’s birds, based on the work of Cuvier and Buffon, and no plate list. attractively illustrated with a suite of lively and well-executed, Although Cruikshank’s illustrations for the first English if unsophisticated, plates. It is uncommon, with just four sets translation of Grimm’s Fairy Tales in 1823 received a great deal located in an online search of institutional holdings: no copies of praise, this foray into the world of children’s fantasy proved traced in the UK, just one in the US. This copy is without the index leaves present in the BnF copies or the summary of taxidermy far less successful. Many critics, including Charles Dickens, noted only by the University of Florida. Neither of these additions attacked the artist, a committed teetotaller, for the temperance- appears ever to have been bound into the present set. inspired slant he shoehorned into these traditional stories. In Cinderella, for instance, the court is shown preparing for the £650 [136054] ball by setting fire to its entire reserve of alcohol. It was alterations such as this that prompted Dickens to write and publish a 44 satirical attack on Cruikshank entitled “Frauds on the Fairies”, in Household Words magazine in 1853. Even Cruikshank’s fine [DAGLEY, Elizabeth Frances.] Fairy Favours, and Other woodcut illustrations failed to gain him support and Dickens’s Tales. London: Printed for William Cole, 1825 view prevailed, crushing one of Cruikshank’s last hopes for public Duodecimo. Original blue quarter cloth, printed label to spine, brown acclaim, an offence that would not be forgiven: “when Dickens paper boards. Portrait frontispiece and engraved title page. With the died in June 1870, Cruikshank pronounced, ‘One of our greatest publisher’s advertisements tipped in. Very minor wear to extremities, slight stain at foot of spine, front hinge splitting, some soiling to contents. enemies is gone’ (TLS, 2 May 1935, 288)” (ODNB). A very nice copy of this fragile book. Cohn 196–9. First edition of this collection of children’s tales, including the £2,250 [138092] titular work, an early fairy story. Dagley’s tales articulate “the problems and misery of economic insecurity, particularly in a fairy 43 tale about a needle — that indispensable tool of women’s labour”. These tales “provide a detailed account not just of the kinds of CUVIER, Georges, & Georges-Louis Leclerc, comte de objects found in a workbox, but also the various attitudes towards Buffon.La Voliere de la Jeunesse. Paris: Chez Chevalier, 1817 needlework and female employment, both for leisure and income Two volumes, duodecimo (160 × 98 mm). Contemporary red morocco- ... from the lowly chores of patching shoes and darning socks to textured paper spine and tips, brown streaked paper boards, title gilt to laborious dressmaking to the fancy work performed with skill for the spines, volume numbers within olive wreaths. Fully engraved title pleasure ... In these fairy tales about needles, women’s work is pages with vignettes, and 64 engraved plates, all but 4 folding. shaped by social attitudes, their agency effectively that of a needle Contemporary ownership inscriptions of “Chs. Fz. Ls. Marthe, Juillet - or pin” (Rozario, pp. 146–48). 1825” to the front free endpapers, neatly inked plate location corrections Osborne p. 242; see Do Rozario, Rebecca-Anne C., Fashion in the Fairy Tale in a contemporary hand throughout the text. A little rubbed, minor Tradition: What Cinderella Wore (2018). chipping head and tail of the spine, light browning throughout, a little stronger at the page and plate edges, minor splits to folds of a number £1,500 [127823]

Peter Harrington 19 45, 46, 48

45 did with all the children of Alberobello. 1965 Roald Dahl”. The DAHL, Roald. The Gremlins. New York: Random House, 1943 reference to the children of the town of Alberobello is a poigant one: Dahl immersed himself in charity work after the death of Quarto. Original red cloth-backed red boards, titles to spine in black, his eldest daughter, Olivia, in 1962, and he and Patricia played an colour illustration to front board, yellow and red pictorial endpapers. With active part on their local committee for the International Help the dust jacket. Illustrated in colour and in black and white throughout. For Children charity, which was based in southern Italy. A home Light wear to extremities, a few paper discreet repairs to former paper tears. A good copy in the dust jacket, worn and creased, short closed tear at for abandoned girls in the Auplian town of Alberobello had links head of front panel. to the IHC, and, as part of the charity’s Recuperative Holiday Scheme, some of the children came to Great Missenden for First edition of Dahl’s first book and his only collaboration with a holiday. Inscribed first editions of Charlie and the Chocolate . The Gremlins was written as a promotional device Factory are uncommon, as Dahl normally only inscribed copies for a feature-length Disney animation that was never produced, for those close to him. partly because the studio could not establish copyright in the The first issue can be distinguished by the six lines of printing “gremlin” characters (Dahl claimed to have invented them, but information on the final page: this was cut to five in all subsequent they had been common currency in the RAF and had appeared in issues. The US edition precedes the UK edition by three years. print before), and partly because the British Air Ministry wanted Grolier Club, One Hundred Books Famous in Children’s Literature, 98. David Sturrock, script approval. It was eventually agreed that royalties would be Storyteller: The Authorized Biography of Roald Dahl (2010). split between the RAF Benevolent Fund and Dahl. The book is still described on the title and the front cover as being “From the Walt £17,500 [138375] Disney Production”, although the Disney studio had written to Dahl in August 1943 cancelling any further preproduction work. £1,800 [131644]

46 + new charlie coming DAHL, Roald. James and the Giant Peach. ... New York: Alfred A. Knopf, 1961 Quarto. Original red cloth, titles to spine gilt, front cover with design copied from the frontispiece blocked in blind, green endpapers. With the pictorial dust jacket. Colour frontispiece, 4 colour plates, 1 tinted plate, 19 illustrations to text, of which 10 are tinted by Nancy Ekholm Burkert. An excellent copy in the bright jacket with a few nicks and a little rubbing to extremities. First edition, with the five-line colophon on the last page. £3,000 [117153]

47 DAHL, Roald. Charlie and the Chocolate Factory. New York: Alfred A. Knopf, 1964 Octavo. Original red cloth, spine lettered in gilt, title device to front board in blind, top edge purple, dark yellow endpapers. With the dust jacket. Illustrations to text by by Joseph Schindelman. A little sunning to edges, a little foxing to fore edge. A near-fine copy in the bright jacket, spine ends nicked, short closed tear to foot of front panel, two small marks and a little creasing to rear panel. First edition, first issue, inscribed by the author on the front free endpaper, “To Veronica Remembering the magnificent job she 47

20 CHILDREN'S LITERATURE 49, 50, 51, 52

48 Blake. Bookseller’s ticket to front pastedown.Bookseller’s ticket to front pastedown. Some rubbing to sides, extremities bumped. A very good copy. DAHL, Roald. Charlie and the Chocolate Factory. First edition, inscribed by the author on the front blank, “To London: George Allen & Unwin Ltd, 1967; [together with:] Justin, with love Roald Dahl 14/10/85”. This copy was bought at Charlie and the Great Glass Elevator. London: George Allen Dahl’s local bookshop and inscribed close to publication (October & Unwin Ltd, 1973 1985). The recipient was a close friend of Dahl’s son, Theo, and 2 works, octavo. Original pictorial boards, titles to spine and front board had an after-school job at Dahl and Son Antiques. A separate in black (Chocolate Factory) and in white (Glass Elevator). Black and white written account of his time spent with the family is supplied with illustrations to text by Faith Jacques. Spine of Chocolate Factory slightly faded, the book. a little nick to spine of Glass Elevator; light foxing to edges. A lovely, bright set. £2,750 [120075] First UK editions, scarce in such nice condition. Dahl’s classic stories were originally published in 1964 and 1972 in the US. 51 £1,750 [137020] DAHL, Roald. Matilda. London: Jonathan Cape, 1988 49 Octavo. Original red boards, titles to spine gilt. With the dust jacket. Illustrations by Quentin Blake. Spine a little cocked, spine ends and one tip DAHL, Roald. George’s Marvellous Medicine. a little bumped. A very good copy, contents clean, in the bright dust jacket, London: Jonathan Cape, 1981 one tip slightly chipped, with a little creasing to extremities and some small marks to front flap, not price-clipped. Octavo. Original light blue cloth, spine lettered in gilt. With the dust jacket. First edition, signed by the author on the half-title. Illustrated throughout by Quentin Blake. A fine copy in the fine jacket, the spine panel, so prone to sunning, here notably bright. £3,750 [137976] First edition, signed by the author on the front free endpaper in green ink. Rare in such lovely condition. 52 £5,000 [124174] DAHL, Roald. Esio Trot. London: Jonathan Cape, 1990 Octavo. Original blue cloth, spine lettered in gilt. With the pictorial 50 dust jacket. Illustrated throughout by Quentin Blake. Spine ends a little bumped. A near-fine copy in the unclipped dust jacket, slight DAHL, Roald. The Giraffe and the Pelly and Me. foxing to verso of spine. London: Jonathan Cape, 1985 First edition, signed by Quentin Blake on the title page. Esio Trot Quarto. Original illustrated boards, titles to front cover and spine in was the last of his books published in Dahl’s lifetime black, dark blue endpapers. No dust jacket issued. Illustrated by Quentin £550 [134516]

53 DAHL, Roald. The Commemorative Limited Edition of the Works. London: Harper Collins and Jonathan Cape, 1991 Fifteen volumes, octavo. Original blue quarter morocco, spines lettered in gilt, weave pattern paper boards, gilt top edges, buff endpapers. Each copy housed in a matching weave pattern paper-covered slipcase, the whole contained in a large open-fronted blue paper-covered box. Illustrated throughout. Fine. Limited edition, number 307 of 500 sets only, posthumously published to celebrate what would have been Dahl’s 75th birthday on 13 September 1991. 53 £2,500 [132022]

Peter Harrington 21 54 55

54 “How to Catch, Build and Maintain the Interest of the Spectator in DICKENS, Charles. A Child’s History of England. the Picture”; character sketches for general character types such as “Mae West” and “Cute”; written character analyses by Ted Sears London: Bradbury & Evans, 1852–4 [i.e. 1851–3] for Mickey Mouse (“Mickey is not a clown … he is neither silly Three volumes, large sextodecimo. Original reddish-brown cloth, gilt nor dumb”), Pluto, Donald Duck, and Goofy, with accompanying titles and decoration to spines, blind-stamped border and gilt pictorial sketches; lectures on the technicalities of drawing drapery; and decoration to front covers, marbled endpapers and edges. Each volume “Assistant Animator Qualifications and Procedure”. The Mickey with the half-titles and engraved frontispieces by F. W. Topham. Mouse sketches have Harry Reeves’s name to the head of the recto, Contemporary ownership signature to half-title of vol. I. Loss at head a veteran animator who worked with Disney from 1931 to 1955. of spine of vol. I, front hinges just starting, some light foxing to contents. The studio’s internal training and internship program was A fresh set, cloth bright. developed in the early 1930s for new animators to acquire the First editions in book form, first issues with the advertisements studio’s distinctive style, but as the script for Snow White was at the ends of each volume with the relevant points. Dickens’s developed in 1935, Disney insisted that the entire art department history of England for children, “intensely anti-aristocratic and attend weekly mandatory classes. These classes were taught anti-monarchical” (ODNB), originally appeared anonymously in by Graham, previously a professor at the Chouinard Institute. Household Words between January 1851 and December 1853, with Art Babbit, the animator who developed the character of Goofy, the volumes published in book form in the December of those said of Graham that he had “learned a hell of a lot from him!” years, post-dated to the following years. Eckel p. 128; Smith II, 10. £3,850 [118414] £2,000 [138215]

55 (DISNEY, Walt.) Director’s Manual: Director’s Relationship to the Picture and to the Animator. California: Walt Disney Studios, 1936 Large quarto. Recent red leatherette binding, titles to spine and front cover gilt, single rule gilt frame to front cover, red marbled endpapers. Housed in a red cloth slipcase. Typeset printed lectures, 30 leaves of black and white character sketches on paper of varying colours and sizes and 3 charts. Statement of authenticity laid-in. Short closed tear to first leaf of Mickey Mouse sketches, slight creasing to leaf edges, light browning to text; excellent condition. A collection of 13 mimeographed manuscripts giving a fascinating insight into Disney’s internal training program for animators. The collection comprises two lectures by the company’s head of internal training Don Graham discussing general animation theory and practice; a bulletin discussing 55

22 CHILDREN'S LITERATURE 56 57

56 blocked in gilt to the lower front board. Colour illustrations throughout by the Walt Disney Studio. Front hinge cracked, light rubbing to the corners (DISNEY, Walt.) Walt Disney’s version of Pinocchio. and ends of spine, in the dust jacket with wear short tears and creasing to Based on the Famous Story by Collodi. New York: Random extremities, chips to ends of spine and corners. A very good copy. House, 1939 First edition, presentation copy, inscribed by Walt Disney on the half- Large quarto. Original spiral-bound cloth boards, label printed in red title to “Janet with best wishes Walt Disney.” Walt Disney acquired the to front cover. Glue residue to front and back free endpapers, also to rights to Felix Salten’s novel : a Life in the Woods (see item 186) in a lesser extent on the pastedowns, front cover a little soiled, nonetheless 1937 from Hollywood studio Metro-Goldwyn-Mayer after the project an attractive, internally bright and clean copy of this scarce book. was deemed too difficult to film as a live-action motion picture. Even First edition, signed by Walt Disney on the title page, number 71 for Disney, the technical challenges involved in rendering a realistic of 100 copies only, published to establish Disney’s copyright for animation of a deer proved challenging and caused a delay to work Pinocchio; also signed by the animators Fred Moore, Ward Kimball, on the film already hampered by ongoing work on the lengthy Fantasia Paul J. Smith, Al Parke, John Hurley, Ed Penner, Norm Ferguson, project. In 1939, production on Bambi actually started, but progress and Ted Sears. Al Parke has inscribed the front free endpaper: remained slow and it took until 1942 for the animated film to finally “This book was produced to establish interstate traffic and use be released in cinemas. Signed copies are rare, with none traced of the Disney characters in Pinocchio, then in production. Thus on the market or in auction records. forestall and protect against infringement when picture did go on £8,750 [109256] the market.” The book records the development of characters and the basic story of Disney’s second feature-length animated movie. £7,500 [138683]

57 (DISNEY, Walt.) TAYLOR, Deems. Fantasia. With a foreword by Leopold Stokowski. New York: Simon and Schuster, 1940 Folio. Original grey cloth, titles to spine and front board in blue, illustrated endpapers. With the dust jacket. Colour illustrations throughout. Front hinge expertly repaired, contents lightly toned. A very good copy in the dust jacket with shallow chipping to spine ends, shallow chip to foot of front panel, some short closed tears to extremities. First edition, inscribed by Walt Disney, “To David Von Kessell [sic] sincerely Walt Disney.” David was the son of Glendra von Kessel, who worked on designs for the company’s theme parks. £6,000 [111964]

58 DISNEY, Walt. Bambi. New York: Simon Schuster, 1941 Quarto. Original printed pictorial boards, green endpapers. With the dust jacket. Housed in a green quarter morocco solander box with Bambi 58

Peter Harrington 23 60

59 across 23 grey boards (440 × 320 mm). Production and layout markings in ink and pencil and 3 stamps, including a postal customs stamp of the (DISNEY, Walt.) Main Customs Office Stuttgart to reverse of boards. [Together with the Cinderella. New York: Simon and Schuster, 1950 French and German edition:] 2 volumes, octavo. Original grey cloth and blue boards, titles to spine in red, Mickey Mouse motif in red to covers. Folio. Original laminated colour pictorial boards, titles in black and All housed in a black cloth solander box. 7 paintings unattached from white to spine and front board, boards heightened in gilt, colour pictorial mounts with a little tape residue to edges; images bright and clear. endpapers heightened in gilt, orange paper pop-up pumpkin to front [Text volumes:] Slight wear to cloth at extremities, a couple of marks endpapers. Walt Disney Studio colour illustrations throughout adapted by to covers; both copies in very good condition. Retta Scott Worcester. Spine ends a trifle rubbed, laminate just starting to lift, else a fine copy, without ownership marks. A remarkable and unique collection of original gouache designs First edition, illustrated by the first female animator of Walt by illustrator Alexis Oussenko. These designs depict Disney’s Disney to get screen credit, Retta Scott Worcester. She was one Bambi and were produced for a Bambi and Cinderella sticker book of the few who rose to the top in a distinctly male-dominated published as a collectible album by the Swiss chocolate company occupation. This is a lavishly illustrated version of the fairy tale, Tobler in French, German, and Italian. The 32 designs collected with gilt worked into all the illustrations. here are mounted in the final page layout with the copyright initials “W.D.P.” (Walt Disney Productions) in pencil below each £800 [137905] image, and have the page number and a second note of the Walt Disney Copyright in manuscript to the reverse. Bambi was first 60 released in the US in 1942 and was released in German-speaking Switzerland in March 1944, in Italy in February 1948, and in (DISNEY, Walt.) OUSSENKO, Alexis. Original artwork France in April 1948. It was based on the Austrian work by Felix for Bambi sticker book. [Together with:] Aschenbrödel Salten, Bambi: Eine Lebensgeschichte aus dem Walde (1923). Cinderella [und] Bambi. Zwei Walt Disney-Filme in Bildern. was not released in the US or Europe until 1950. The book retells (Cinderella and Bambi: Two Walt Disney movies in the stories of the two films with spaces left on each page for the pictures.) Berne: Chocolat Tobler, [c.1950] stickers to be added. The two copies present here, the French and German issues, have been neatly completed. 32 original designs in gouache on artist’s board (either 280 × 240 mm or 210 × 180 mm) mounted with tape in their page layout with cellophane guards £15,000 [137327]

59 60

24 CHILDREN'S LITERATURE 61 63

61 Inscribed by Walt Disney and signed by DISNEY, Walt. Alice in Wonderland production cel numerous key Disney studio figures and master pan production background set-up. 62 “I warn you, child … if I lose my temper, you lose your head!” Hollywood: Walt Disney, 1951 (DISNEY, Walt.) THOMAS, Bob. Walt Disney: the Art of Animation. New York: Simon and Schuster, 1958 Original hand-painted and hand-inked images featuring Alice, The King of Hearts and The Queen of Hearts, all trimmed to the cel outline. Height Quarto. Original illustrated printed boards, grey cloth spine, illustrated 12.8, 10.7 and 17.2 cm respectively. Mounted on a hand-painted master endpapers. With the dust jacket. Housed in a black cloth flat-back solander pan production background of the Queens garden. 85 × 29.2 cm. The King box with Mickey Mouse blocked to front. Illustrations and photographs in is affixed to the background itself, while the Queen and Alice are on an colour and black and white throughout. Mild bumping to corners, minor nick acetate overlay with another acetate overlay on top to protect them. The to tail of spine. An excellent copy in a bright jacket with chipped and creased overlays are held in place with black tape along the border and there is extremities, lightly stained rear panel, and a touch of foxing to flaps. slight paint separation in Alice’s leg and apron. In excellent condition. First edition, inscribed by Walt Disney on the front free endpaper This image appears in the original animation of Alice in verso, “To Vita Best Wishes Walt Disney”, and additionally Wonderland at the 1:12:00 mark. The background is marked inscribed by Roy Disney, together with the signatures of more than “2069 Seq. 12.0 Sc 8.1” in the right margin. 100 workers in the Walt Disney Studio, ranging from the studio £15,000 [119892] nurse to directors of animation, including seven of “The Nine Old Men” who were the key animators at the studio, among them Eric Larson, , Milt Kahl, , Marc Davis, and Woolie Reitherman. This copy was apparently a leaving gift from the studio to Vita Victoria, who worked in the ink and paint department, at a time when the majority of women worked in animation. Referred to by some artists as the “Finishing School” of hand-drawn animation, the ink and paint department was responsible for transferring drawings onto celluloid and giving them colour before they were sent off to be photographed. £8,750 [138684]

63 (DISNEY, Walt.) Original artwork for the Walt Disney Song Book: “Cinderella”. [1971] Gouache on board. Image size: 16 × 26 cm. Framed size: 37 × 47.5 cm. In excellent condition. Presented in a wooden silver frame with mount and conservation glass. Original gouache illustration of a scene from Cinderella for the Walt Disney Song Book (1971). It features an image of Cinderella getting ready for the ball, featuring several key characters and elements of the animated film, including the Fairy Godmother, the Pumpkin Coach, and the Castle. 62 £1,250 [133724]

Peter Harrington 25 65

64

64 DIXON, Franklin W. Treasure. New York: Grosset and Dunlap, 1927 Octavo. Original red cloth with Hardy Boys’ shield to front board in black, titles to spine in black. With the pictorial dust jacket. Housed in a red quarter morocco solander box by the Chelsea Bindery with titles in gilt direct to spine. Frontispiece by Walter S. Rogers, 6 pp. publisher’s advertisements at end. Jacket printed on both sides, with publisher’s advertisements on verso. Contemporary ink gift inscription “To Harold Starr from George Garens, March 3rd 1928” to front free endpaper. Corners a trifle rubbed, else the binding bright and sharp, internally clean and fresh. An immaculate copy in the very good jacket, small loss to foot of spine, slight creasing and a couple of splits to edges, without traces of toning or marks. First edition, first issue, of the first Hardy Boys title, one of the “holy grails” of American children’s book collecting. Developed by 66 US publisher Edward Stratemeyer, The Hardy Boys books were part of a range of juvenile detective fiction released by the Stratemeyer 66 Syndicate. This is the best copy of this title we have handled. DONALDSON, Julia. Zog. London: Alison Green Books, 2010 Carpentieri & Mular, p. 61; Leslie McFarlane, “Ghost of the Hardy Boys”, pp. 65–76. Oblong quarto. Original colour pictorial laminated boards, titles in black £7,500 [104563] and yellow to spine and front board, yellow pictorial endpapers. With the dust jacket. Colour illustrations throughout by Axel Scheffler. A fine copy in the fine jacket, minor creasing to corners, not price-clipped. 65 First edition, signed by both the author and the illustrator, with DODGE, Mary Mapes. Hans Brinker; or, The Silver an original pen-and-ink drawing by Scheffler of Zog on the title Skates. New York: James O’Kane, 1866 page, dated “Edinburgh 24.8.2019”. Octavo. Original blue cloth boards, gilt title to spine, gilt publisher’s initials to front board, blind rule boarder to covers, yellow endpapers. With 4 full £875 [138003] page illustrations by F. O. C. Darley and . Occasional spotting to pages, bookplate to front pastedown, page 129 with small repair, mild 67 bumping to spine and corners, modest wear to extremities, a very good copy. (DULAC, Edmund.) ANDERSEN, Hans Christian. First edition of the author’s best-known children’s novel. It was Stories from Hans Andersen. London: Hodder and an instant bestseller, second only to Dickens’s Our Mutual Friend in sales. Dodge was the first editor of the children’s magazine St. Stoughton, 1911 Nicholas, which counted Louisa May Alcott, , Mark Quarto. Original brown leather, titles gilt to spine and front cover, top edge Twain, and among its contributors. It gilt, patterned endpapers. Frontispiece and 28 tipped-in illustrations by was translated into five languages within a year of publication. Dulac. Board edges slightly rubbed; an excellent copy. Blanck, Peter Parley to Penrod, p.25. Grolier Club, One Hundred Books Famous in Signed limited edition, deluxe issue, number 23 of 100 specially Children’s Literature, 36. bound copies, signed by the artist and printed on Japanese vellum. £2,750 [138686] £3,850 [107391]

26 CHILDREN'S LITERATURE 67, 68, 70, 69

69 (DULAC, Edmund.) QUILLER-COUCH, Arthur. The Sleeping Beauty and Other Fairy Tales. From the old French. London: Hodder & Stoughton, [1910] Large quarto (310 × 248 mm). Near-contemporary brown morocco, titles and decoration to spine gilt in compartments, elaborate gilt design to covers, top edge gilt, others untrimmed. Housed in a custom brown 67 marbled paper slipcase. Colour frontispiece and 29 colour plates, tissue guards, all by Dulac. Slight rubbing to extremities, browning and slight 68 creasing to spine, faint offsetting to endpapers; a very good copy. (DULAC, Edmund.) Sindbad the Sailor & other stories Signed limited edition, number 800 of 1,000 copies signed by the artist. Includes four classic tales: Sleeping Beauty, Cinderella, Blue from the Arabian Nights. London: Hodder & Stoughton, [1914] Beard, and Beauty and the Beast. This copy has a four-page leaflet Quarto (280 × 216 mm). Contemporary blue crushed half morocco, titles advertising Hodder & Stoughton’s similar works laid in. and decoration to spine gilt with red morocco onlaid centrepieces, raised bands, marbled boards and endpapers, top edge gilt. Colour frontispiece £1,500 [123585] and 22 tipped-in colour plates. Small chip to fore edge of limitation page otherwise contents clean and fresh, spine a little faded, boards faded to 70 buff, endpapers also faded and browned at edges, a very good copy. First and signed limited edition, number 51 of 500 copies signed (DULAC, Edmund.) STEVENSON, Robert Louis. by the artist. “The exotic stories he illustrated struck a new chord Treasure Island. London: Ernest Benn Limited, 1927 in Dulac. They allowed him to enlarge his skill at caricature, and Quarto. Original vellum, black morocco label, top edge gilt. Housed in a at the same time to sharpen his miniaturist’s technique and to red cloth flat-back box by the Chelsea Bindery. Frontispiece and 11 colour develop his lyrical sense of tone and composition. The sources he plates, black and white illustrations in the text by Dulac. Trivial marks to turned to were Japanese prints … and the high detail and colour of covers, sporadic light foxing, very minor stain at foot of final two leaves. Indian and Persian miniatures” (ODNB). These influences are clear A near-fine copy. in this sumptuous gift book; among the other stories collected here Signed limited edition, number 49 of 50 copies signed by the is “Aladdin and the Wonderful Lamp”. illustrator, bound in vellum and printed on handmade paper, White, , pp. 200–201. and notably rare due to the unusually small limitation. £2,200 [129557] £7,500 [131651]

68 70

Peter Harrington 27 71 72

71 72 DUNLOP, Marion Wallace. The Magic Fruit Garden. (EDGEWORTH, Maria.) CROKER, Thomas Crofton London: Ernest Nister; E. P. Dutton & Co., New York, 1899 (ed.) The Christmas Box. London: John Ebers and Co.; Large octavo. Original blue cloth, title to spine in black, title to front cover William Blackwood, Edinburgh, 1829 gilt, front panel design stamped in black, orange, and green, rear panel Octavo (154 × 95 mm). Contemporary purple half calf, titles to red morocco in black, green and cream pictorial endpapers, edges gilt. Four full-page label to spine, floral pattern tooled in blind in compartments, raised bands illustrations, numerous illustrations to text. Sunday School prize bookplate tooled in gilt, marbled paper sides, floral roll in blind to borders of leather, to front free endpaper. Spine slightly cocked, a little rubbing to extremities, edges speckled red. Engraved title page and vignettes in text, engraved a little finger-marking to contents, rear hinge starting but sound, a very under the superintendence of W. H. Brook. Wear to spine ends and tips, good copy in bright cloth. slight rubbing to spine, offsetting to endpapers, loss to bottom outer First edition of this children’s book written and illustrated by the corner of pp. 237–40 and rear free endpaper, occasional light foxing to first modern hunger striker, Marion Wallace Dunlop (1864–1942). contents, closed tear to fore edge of pp. 91–2; a very good copy. A talented artist, “intent on challenging contemporary images First edition, presentation copy, inscribed on page [i] by Maria of women”, Dunlop attended the Slade School of Fine Art in the Edgeworth, who contributed a story to this volume, “With Miss 1890s and exhibited three times at the Royal Academy. She joined Edgeworth’s Compliments”. The recipient was Geraldine Pare, the peaceful Central Society for Women’s Suffrage in 1900 and née FitzGerald-de Ros (1809–1881), the daughter of Lord Henry the WSPU in 1908, where she took a leading role in organizing FitzGerald, who served in the Irish House of Commons alongside protests. Her most significant action came after her arrest for ’s father. Pare’s daughter, Geraldine Fortescue stencilling political graffiti in the House of Commons. Angered (d. 1883), has added her ownership inscription on the front by not being designated a political prisoner, she was the first pastedown, “Geraldine Fortescue — This book was given to my suffragette to go on hunger strike, “an entirely independent action mother, Mrs. Pare, when a young girl by Miss Edgeworth”. that was then taken up by the WSPU as future policy” (ODNB). The Christmas Box is a collection of short stories to which Released after 91 hours due to fears that she would martyr herself, Edgeworth contributed “Garry Owen; or The Snow-Woman” Dunlop’s actions influenced not only the other suffragettes, for (pp. 33–88). It was edited by the Irish antiquary Thomas Crofton whom hunger strikes became a major tactic, but fellow activists Croker, author of Fairy Legends and Traditions of the South of Ireland around the world. (1825–28). The Monthly Review of September to December 1828 Dunlop’s fairy tale is about a girl struggling to write an essay noted that, “The Christmas Box for 1829, edited by Mr. Crofton on “Perseverance” who finds a magic garden where knowledge- Croker, will exhibit, it is said, a rich display of female talent”, fruit grows. She picks “geography-plums and history-apples and and indeed 13 of the 19 contributors were women (p. 140). grammar-pears” and piles of candied fruits and sweets “boiled in a See Katy Brundan, “Cosmopolitan Complexities in Maria Edgeworth’s Ennui”, syrup called Research”. When she gets home, her brother remarks Studies in the Novel, Vol. 37, No. 2 (2005) for more on the FitzGerald connection. that it’s “just like a girl to think that a dream is real”, before an £750 [129756] adventure of his own in the magic garden forces him to admit it is true. Dunlop illustrated and co-wrote one other children’s book, Fairies, Elves, and Flower Babies, also published in 1899. Elizabeth Crawford, The Women’s Suffrage Movement, pp. 178–79. £700 [137887]

28 CHILDREN'S LITERATURE 73 74

73 curriculum, using a whole word (“look-say”) reading scheme, ELSON, William H., & William S. Gray. Elson-Gray with a limited vocabulary and simple illustrations, rather than phonics. This pre-primer introduces the three main characters Basic Readers. Pre-Primer [Dick and Jane]. (Dick, Jane, and Baby), followed by nine short stories, using The Philippine Islands: Scott, Foresman, and Company, 1930 a 68-word vocabulary. As the copyright explains, the booklet Octavo, pp. 40. Original black cloth-backed printed wrappers, covers contains material first used in The Elson Pupil’s Hand Chart, printed in black, green and orange. Housed in a green full morocco slipcase originally copyrighted in 1921. Copies of the original 1930 series and cloth chemise. With 39 colour illustrations in the text. Fine condition. of Elson-Gray Basic Readers are now rare. First edition of the first of the famous Elson-Gray Basic Readers. Grolier, One Hundred Books Famous in Children’s Literature, 73. The “Dick and Jane” series revolutionized the American reading £2,950 [138687]

74 (FAIRY TALE MANUSCRIPT.) The Veiled Fairy. [Scotland?,] December 1917 Small quarto (178 × 127 mm). Contemporary red quarter roan, drab boards, title in white gouache to front cover, neat manuscript in English on 11 pieces of card, on rectos only, yellow string ties attaching book block to binding. Illustrated by hand in ink and white gouache. A little rubbed, spine torn at head, some light marginal browning. An apparently unpublished story, prettily handwritten and illustrated by a mother for her young daughter during the First World War, with calligraphic gift inscription on the first page: “To Eileen, Christmas 1917, from Mother”. Perhaps written for a child who was about to leave home, the story revolves around a veiled fairy who builds a home for children (“Hame! Hame! Hame! Hame w’ud I be. Hame! Hame! Hame! to my ain Countree”) and tells them that they must go to school: “‘But before you begin school you will have a good holiday just like you’ve always had, only in fairy-land among tall hills and tumbling brooks … in a beautiful, comfy farm where you will have lots of Devonshire cream’ … But when they had to go away from home they cried again and asked, ‘May we never come back?’ And she said, ‘Yes, if you hold my hand tight I myself will bring you back … you shall find every stone and tree and flower and all your dolls and doves and bric-a-brac just as you left them”. 73 £975 [132845]

Peter Harrington 29 76 76

75 young readers for nearly 50 years … and won [Farley] international FARLEY, Walter. The Black Stallion. acclaim. More than 12 million copies … have been sold, in 14 countries” (New York Times obituary, 18 October 1989). The final New York: Random House, 1941 book in the series, which numbered 21 titles, was pubished in Octavo. Original grey cloth, spine lettered and decorated in red and black, 1989, the year of Farley’s death. top edge red. With the dust jacket. Housed in a red cloth solander box by the Chelsea Bindery. Black and white illustrations throughout by Keith £6,000 [108553] Ward. Jacket with chips, nicks and tears (with some loss), front panel with closed tear (old tape repair on verso) and black ink stains; spine of binding 76 slightly rolled and chipped at head; lengthy but neat gift inscription to half- title, a few marginal stains between pp. 116–23. A very good copy. (FLEMING, Ian.) BURNINGHAM, John. First edition, notably uncommon in the dust jacket. Winner of Three Chitty Chitty Bang Bang lithographs. the Young Reader’s Choice Award for 1944, this was the first in the [London: Queen Anne Press, 2014] long-running series of Black Stallion books, “which have charmed Three lithograph prints on art paper (297 × 420 mm). A fine set. Signed and numbered by John Burningham, each number 12 of 15, from a limited run of lithographs produced alongside the Queen Anne Press’s deluxe edition of Chitty Chitty Bang Bang published in 2014. The deluxe edition, for which Burningham reworked his original illustrations, was released to celebrate the 60th anniversary of the first adventure. Included in the deluxe edition were two lithographs printed in a smaller format. The prints depict the car crashing, flying, and sailing, and are referred to by the Queen Anne Press as “Gangsters”, “Flying Car”, and “Ship” respectively. £5,000 [134270]

77 (FRANCE.) An Abridgment of the History of France. For the Use of Schools. Chelsea: Printed by Stanhope and Tilling for T. Faulkner, 1805 Duodecimo (160 × 93 mm). Contemporary marbled calf, titles and compartments in gilt direct to spine, marbled endpapers. Contemporary gift inscription to “Katherine Alexander From the Countess of Beaumont” to front free endpaper verso. Spine ends chipped, sometime restored, extremities rubbed, contents clean and fresh. A very good copy. A charming bilingual juvenile history of France with parallel French and English title pages and texts. This is an early 75 publication by the Chelsea historian, translator, and publisher

30 CHILDREN'S LITERATURE 76 76 78

Thomas Faulkner (1777–1855), also a member of the Society area of cockling, top left corner piece slightly warped and broken in one of Antiquaries of Normandy. He published his Short Account of place, medallion pieces for William I and Edward V similarly warped. Chelsea Hospital the same year. Uncommon, with only the British A scarce survival in remarkably good condition. Library copy located in institutional holdings. Rare complete example of “the earliest dated jigsaw puzzle, apart from maps” (Hannas, pp. 93–94), presumably a reissue £1,250 [138688] from its first appearance in 1787, housed in the publisher’s wooden box. Created as a learning aid for children, a 1788 publisher’s 78 catalogue advertises the set as “Price 4s. 6d. printed on a royal (GAMES & PUZZLES.) HEWLETT, John, & W. Darton Sheet, or 10s. 6d. dissected, and pasted on Mahogany, with (engr.) Engravings for Teaching the Elements of English a Box, complete”. The present example has a different label to the first issue of 1787, with a different publisher’s address and History and Chronology after the manner of Dissected overall design. It also differs in the number of pieces included: Maps for Teaching Geography. London: for Bowles and the first issue numbers 42 pieces total (32 medallion portraits Carver [Carington Bowles, C. Dilly, & W. Darton], [1801] and 10 border pieces; see the Cotsen Children’s Library set at Engraving on buff paper mounted on wood (60 × 42.5 cm), cut into Princeton for the first issue). 46 pieces; the illustration comprising medallion portraits of English In the second half of the 18th century, dissected maps became monarchs—from William I to George II—surrounded by relevant dates, very popular for teaching geography. The London cartographer persons, or notable events of the reign. Housed in the original wood box, John Spilsbury is credited as the inventor of the first jigsaw puzzle sliding lid with engraved paper label to centre. Designed by John Hewlett, during the mid-1760s, the first being a map of Europe mounted on engraved by William Darton. Paper soiled with the occasional mark and mahogany and cut into separate countries. These were relatively expensive productions as they used hardwood, were handcut, and housed in carefully made boxes. In the wake of Spilsbury’s success a number of other publishers began to publish similar educational games, including William Darton (1755–1819). “The name of Darton … is threaded through the long history of children’s literature, and is still current” (p. 228). A writer, printer, bookseller, stationer, and engraver, he specialized in educational books and is perhaps best known for publishing the present work in collaboration with the schoolmaster John Hewlett (1762–1844). Sets of Hewlett and Darton’s Engravings are recorded as having appeared eight times at auction, but of those only one is listed as complete: the others lack pieces, have blank pieces supplied, or lack small portions of the lid. WorldCat also locates sets at Toronto (lacking the border and Edward III pieces) and Yale. Children’s books published by William Darton and his sons: a catalogue of an exhibition at the Lilly Library, Indiana University, April–June, 1992, item 20 (“One of the earliest historical jigsaw puzzles”). See Linda Hannas, The English Jigsaw Puzzle 1760 to 1890, Wayland, 1972 (Hannas’s collection formed the basis of the London Museum’s 1968 exhibition, “Two Hundred Years of Jigsaw Puzzles”). 77 £3,600 [134323]

Peter Harrington 31 First and only edition. “The battledore was an offshoot of the hornbook, and was printed … for the double purpose it had to serve. In school it was used for teaching children the alphabet, whilst out of school it served as the battledore in the game of shuttlecock and battledore” (Rosenbach). This version of battledore is believed to have been invented in about 1746 in London “by Benjamin Collins, famous as the printer of the first edition of The Vicar of Wakefield at Salisbury” (ibid.). Rosenbach 428. £1,250 [137864]

80 (GAMES & PUZZLES.) AKASHI, Akako (illus.) Children’s 79 board game. Tokyo: Jitsugyo no Nihon-sha, Meiji 44 [1911] One leaf (54 × 58.6 cm). Colour offset-printed paper sugoroku 79 (board game). Text in Japanese. Slight wear to extremities, (GAMES & PUZZLES.) The Uncle’s Present, A New one or two marks; in lovely, bright condition. Battledoor. Philadelphia: Jacob Johnson, sold by Benjamin First edition of this children’s board game (sugoroku), a lucky Warner, [c.1810–15] survival with the counters intact, as they would usually have been cut out in order to play the game. This game was inspired Small octavo, 4 pp. from a concertina-style folded sheet printed on by the first Japanese Antarctic expedition of 1910, led by explorer one side, bound within original printed pictorial wallet-style green Shirase Nobu. Japanese children were besotted with the idea card wrappers, with alphabets and numbers to covers, wood-engraved illustrations of sheep to front cover, and horses to rear cover, “Come, of the expedition and magazines and games such as this Read and Learn” to fore-edge flap, all within typographic decorative experienced great popularity. This particular sugoroku, published borders, title to flap verso. Engraved sheet showing 24 letters of the as a supplement to a New Year’s edition of the magazine Nihon alphabet (six to a page, no J or U), each illustrated with street vendors with Shonen, features 48 stops in various cities, including Tokyo, , their particular cries as captions. A little rubbed, somewhat darkened, New York, and London. small abrasions and green paper residues to flap verso, slight toning to contents. A remarkably well preserved copy. £1,250 [137805]

80

32 CHILDREN'S LITERATURE 81

A superb copy with an original watercolour 81 (GOBLE, Warwick.) KINGSLEY, Charles. The Water- Babies. London: Macmillan And Co., Limited, 1909 Quarto (280 × 223 mm). Finely bound by Sangorski & Sutcliffe in blue morocco, titles in gilt to spine, raised bands, clamshell and foliate flourish motifs to compartments, pictorial design from the “Play by me” plate in gilt to front board, ornate frames with repeat of the compartments’ motifs in corners of boards and turn-ins, blue watered silk endpapers, top edge gilt, others untrimmed. Housed in matching blue morocco solander box with repeat gilt tooling and lettering, and an original watercolour mounted behind a clear plastic window to the inside cover. 32 tipped-in colour plates (including the frontispiece) mounted on brown card, all with captioned tissue guards, title printed in red and black. An unmarked, superb copy. First Goble edition, deluxe issue, one of 260 large paper copies. This copy includes an original watercolour by Goble of the “Play by me, bathe in me, mother and child” plate, seen facing p. 32. The Water-Babies was first published in 1863, and first illustrated in 1886 by Linley Sambourne. London-born Warwick Goble (1862–1943) was an illustrator of children’s books who specialized in Japanese and Indian themes. He went to The City of London School and attended the Westminster School of Art. Having worked for monthly magazines until 1909, he then became resident gift book illustrator for Macmillan, and produced illustrations for The Water-Babies, and many other works including Stevenson’s Treasure Island and . £17,500 [137816] 81

Peter Harrington 33 82

82 construct of children “as apprentice adults, and therefore in [GODWIN, Mary Jane.] Dramas for Children. Imitated need of cultivating both reason and imagination, thought and feeling, heart and mind” (Paul, p. 145), William’s endeavour from the French of L. F. Jauffret, by the Editor of Tabart’s was to ensure that book and child were matched, for, as he Popular Stories. London: For M. J. Godwin, at the Juvenile explained in a letter to his wife, “a book read when it is desired Library, 1809 is worth fifty of a book forced on the reader without seasons & Duodecimo (155 × 90 mm). Contemporary marbled boards, somewhat occasions” (ibid.). crudely rebacked in late 19th-century green cloth. Engraved frontispiece Louis-François Jauffret (1770–1840) was a French pedagogue, by Charles Knight, dated 25 Oct. 1808; 3 pp. of publisher’s advertisements poet, and fabulist. He was the founder of the Société des at end. Cocked, some wear to extremities, boards rubbed, slightly shaken, Observateurs de l’Homme, thought to be the cradle of French light foxing to last few pages; else a clean copy. anthropology. Among others, Jean Itard’s memoir Victor de Rare first edition of these educational plays by Mary Jane Godwin l’Aveyron, l’enfant sauvage, considered by some the first documented (1768–1841), Mary Shelley’s stepmother. A scarce survival: case of autism, was read and discussed at the Société upon WorldCat lists one copy only in the UK (BL), five in the US and publication in 1801. A successful published author, advocate Canada, and one in Australia. of knowledge, and insatiable student of life, Jauffret found his Although generally attributed to William Godwin, Dramas for purpose as a popularizer of the sciences, and educator of youth Children was in fact written by Mary Jane Clairmont who, before — much like the Godwins. marrying Godwin, had worked as editor for Benjamin Tabart, With a contemporary prize inscription to the front free publisher and bookseller of the Juvenile Library in New Bond endpaper, “for application in English Lesson in the 3rd class Street. She thus brought her expertise and experience to the obtained by Margaret Martineau, 19th June 1809”. The school is not named, and would perhaps have been nonconformist in Godwins’ own rival Juvenile Library, begun in 1805. By that time, nature, much like the one briefly run by Mary Wollstonecraft the couple had, between them, five young children at home. in Newington Green. William, who was actively taking part in their education, making “no difference between children male and female” (Grenby), Matthew Orville Grenby, “The Child Reader, 1700–1840”, 2011, p. 53; Lissa Paul, The Children’s Book Business: Lessons from the Long Eighteenth Century, 2011. was particularly involved in helping Mary Jane’s son, Charles Clairmont, through his learning difficulties. Driven by his £3,250 [135586]

34 CHILDREN'S LITERATURE 83, 84, 85, 86, 87

83 85 GOLDREICH, Gloria & Esther. What Can She Be? GOLDREICH, Gloria & Esther. What Can She Be? A Lawyer. New York: Lothrop, Lee & Shepard Company, 1973 A Police Officer. New York: Lothrop, Lee & Shepard Co., 1975 Small quarto. Original blue boards, spine lettered in black. With the dust Small quarto. Original green boards, spine lettered in black. With the jacket. A fine copy in the slightly rubbed jacket. dust jacket. Spine and edges of boards slightly toned. An excellent copy First edition of the second book in Lothrop’s feminist career in a slightly rubbed jacket, a little loss to head of spine panel, a few short advice series (of which there are 11 in total), inscribed by Dahlov closed tears to top of rear panel. and Adolph Ipcar on the title page, “For Ippy, More options for First edition of the sixth book in Lothrop’s feminist career a guidance counselor” and signed by their son Robert Ipcar, advice series, inscribed by Dahlov and Adolph Ipcar on the the photographer for the series. Dahlov Ipcar was an American title page, “For the Saszows — Good law abiding citizens all? Merry Xmas from the Ipcar clan” and signed by their son Robert, dated 1975. £275 [123002]

86

83 GOLDREICH, Gloria & Esther. What Can She Be? A Geologist. New York: Lothrop, Lee & Shepard Co., 1976 artist and the daughter of William and Marguerite Zorach, Small quarto. Original orange boards, spine lettered in black. With the dust themselves also artists and Logan Medal of the Arts holders. jacket. A fine copy in the slightly creased and lightly toned jacket, a little loss to ends of spine panel. Most copies of volumes in this series were sent to schools and libraries; as a result, titles in this series are rare, especially with First edition of the eighth book in the series, inscribed by Dahlov the jackets and in such good condition. and Adolph Ipcar on the half-title, “For Ippy and George — any rocks in your heads?”, and signed by their son Robert. £300 [123003] £300 [123009] 84 87 GOLDREICH, Gloria & Esther. What Can She Be? An Architect. New York: Lothrop, Lee & Shepard Co., 1974 GOLDREICH, Gloria & Esther. What Can She Be? Small quarto. Original blue boards, spine lettered in black. With the dust A Film Producer. New York: Lothrop, Lee & Shepard Co., 1977 jacket. Very light rubbing to tail of spine. Otherwise a fine copy in the Small quarto. Original orange boards, spine lettered in black. With the dust bright jacket, sunning to spine, tops of joints chipped, a little rubbed. jacket. A fine copy in the very lightly toned jacket. First edition of the fourth book in the series, inscribed by Dahlov First edition of the the ninth book in the series, inscribed by and Adolph Ipcar on the title page, “For George and Ippy — Dahlov and Adolph Ipcar on the half-title, “For Ippy and George Another in the Ipcar saga — Merry Christmas with love”, dated — from Dahlov and Adolph and son Robert Ipcar Xmas 1977”, December 1974, and signed by their son Robert. and signed by their son Robert. £300 [123000] £350 [123010]

Peter Harrington 35 88

88 GRAHAME, Kenneth. Dream Days. New York & London: The Bodley Head, 1899 Octavo. Original blue cloth, titles to spine and front cover in gilt, spine 89 and front cover ruled in gilt, top edge gilt, others untrimmed. Spine sunned, rubbing to spine ends and tips, faint browning to board edges, tip a little bumped, the binding otherwise sharp and notably unfaded, touch of foxing to endpapers, a remarkably square and bright copy. internally remarkably clean and bright. A superb copy. First US edition, from the library of Charlotte Perkins Gilman First edition of “one of the central classics of children’s fiction” (1860–1935), the prominent American author and humanist, (The Oxford Companion to Children’s Literature). with her ownership inscription, “Gilman”, to the front free Grolier Club, One Hundred Books Famous in Children’s Literature, 61. endpaper. This is a lovely association copy between two disparate yet key writers of the period; Grahame’s The Reluctant £7,500 [138659] Dragon, which is included in this collection, is often grouped with Gilman’s The Yellow Wallpaper (1890) in fantasy anthologies of the period. Dream Days, a sequel to Grahame’s 1895 collection of short stories The Golden Age, was originally published in Britain in 1898. Both of these works were perennially popular in the US; Grahame received a letter from Theodore Roosevelt in June 1907 describing his great admiration for them both and requesting autographed copies. See Sandner & Weisman, The Treasury of the Fantastic: to early twentieth century literature (2001). £2,750 [130102]

One of the central classics of children’s fiction 89 GRAHAME, Kenneth. The Wind in the Willows. With a frontispiece by Graham Robertson. London: Methuen and Co., 1908 Octavo. Original blue-green cloth, spine and front cover lettered and blocked in gilt (spine showing Toad in his motoring outfit, front cover showing Mole and Rat bowing down before Pan), top edge gilt, others untrimmed. Frontispiece with tissue-guard. A touch of rubbing, front lower 90

36 CHILDREN'S LITERATURE 91 92

90 and 19 plates by Wyndham Payne. Ventnor Knight’s library ticket to front pastedown; ink gift inscription to front free endpaper. Cocked, extremities GRAHAME, Kenneth. The Wind in the Willows. a little rubbed but still bright and fresh, light scattered foxing, otherwise New York: Charles Scribner’s Sons, 1913 unmarked. A very good copy in the very good jacket, corners a little chipped, a few edge-splits, somewhat soiled and spotted, but not restored Octavo. Original blue cloth, title to spine in gilt and to front cover in red or sunned. and black on a white background, gilt, green, and blue illustrated design to front cover, illustrated endpapers, top edge gilt. With the dust jacket. First Wyndham Payne edition, the first British illustrator of Wind Colour frontispiece with tissue guard, 9 colour plates, all by Bransom. Gift in the Willows, preceding E. H. Shepard by four years. “Payne’s inscription to binder’s blank. A little bit of rubbing to extremities, some contribution was to place the characters in unmistakably English pages unopened, a few spots to text block, light rubbing to top edge, loss countryside. His inspired conception of Toad’s canary-yellow to fore edge of p. 3 not affecting text, 5 cm rip to top corner p. 117. A very caravan has remained through all ensuing illustrations” (Lanes). good, bright copy in the chipped and lightly soiled jacket, loss to spine ends, short closed tears and wear to extremities. Selma G. Lanes, Through the Looking Glass, p. 167. First illustrated edition, rare in the dust jacket. The classic work £700 [137879] was first published in 1908, illustrated only with a frontispiece. It is published for the first time here with 10 illustrations by 92 American artist Paul Bransom accompanying the text. GRAHAME, Kenneth. The Wind in the Willows. £2,500 [122601] London: Methuen & Co. Ltd, 1931 Large octavo. Original green cloth-backed grey boards, white paper label 91 to spine printed black, spare label bound in at rear. With the dust jacket. GRAHAME, Kenneth. The Wind in the Willows. Housed in a green quarter morocco solander box by the Chelsea Bindery. Illustrated throughout by E. H. Shepard, folding map at rear. A near-fine London: Methuen & Co. Ltd, 1927 copy in the jacket, lightly toned and foxed with tiny chips at extremities, yet Octavo. Original light blue cloth, titles in gilt to spine and front board, top still a very nice example. edge gilt, others untrimmed. With the dust jacket. Two-tone frontispiece First Shepard edition, signed limited issue, number 93 of 200 large paper copies signed by both Grahame and Shepard. The Wind in the Willows was first published in 1908 with only a frontispiece for illustration, and Shepard, well-known by then for his illustrations of A. A. Milne’s Winnie the Pooh series, was asked to illustrate a new edition, following on from Milne’s popular adaptation of the book for stage, Toad of Toad Hall. In 1931 Shepard visited Grahame at his house in Pangbourne to make sketches, and at their first meeting Grahame said to him, “I love these little people, be kind to them”. Shepard’s classic illustrations of anthropomorphised animals, published in 1931 in both this signed issue and in an unsigned trade issue, render this the most popular version of the book even today. 91 £9,500 [134351]

Peter Harrington 37 93

93 odd combination of imagery largely on a hunting theme, one GREENAWAY, Kate, & Walter Crane. with a scene reminiscent of the story of the careless bespectacled Wild Huntsman from Hoffmann’s Struwwelpeter, others bringing Six Minton porcelain nursery rhyme menu tiles. to mind ’s work. We have been unable to trace Stoke on Trent: Minton, 1879 other examples of this series — the oddness of the registration Each tile 145 × 105 mm, plain white porcelain with faintly impressed ridged stamp and the fact that they are entirely hand-painted suggests panel enclosing nursery rhyme designs hand-inked in sepia to the top and that they may perhaps be prototypes. A delightful and unusual left-hand side and a blank bisque, unglazed rectangle to be written on, all survival, presenting the work of the most influential children’s have Minton’s mark verso together with the date stamp 1878, an indistinct illustrators of in an entirely sympathetic setting. (See also Minton mark for 1879, and British Patent Office diamond/lozenge mark item 40 for Crane.) with somewhat confusing date lettering, but appearing to indicate 1873. Each tile protected in a modern white felt pouch, housed in a brown cloth £3,500 [138252] drop-back box with red morocco label. One of the Greenaway tiles with a small piece at the top right-hand corner broken off and professionally reattached, the repair now slightly yellowed, but overall very good indeed. 94 Charming set of six menu tiles with a nursery rhyme theme, the [GREENE, Graham.] The Little Train. unglazed portion allowing for a bill of fare to be written on in London: Eyre and Spottiswoode, 1946 pencil and erased, much like the memorandum pages in a pocket Oblong quarto. Original decorated yellow cloth, titles and train motifs to book. The decoration has been applied entirely by hand in sepia covers in black, green and red, top edge yellow, map endpapers. With the ink, with the lightest of touches to very sprightly effect. Two tiles dust jacket. Illustrated by Dorothy Craigie. Covers very gently bowed, slight are decorated with illustrations from Walter Crane’s The Baby’s foxing to endpapers. A very good copy in the toned jacket, very slight chips Opera (1876), two others with images from Greenaway’s Under the to tips and spine ends, short closed tear to foot of spine, another to foot of Window (1878); while the remaining pair bring together a slightly front panel, small chip and slight abrasion to head of front panel.

38 CHILDREN'S LITERATURE 94

First edition of the first of Greene’s children’s books, inscribed by First edition. Between the publication of The Little Train and its the illustrator, “My love to you, Dorothy Craigie”, on the title page. sequel, Graham Greene had resigned as director of fiction for Eyre All four of Graham Greene’s children’s books were illustrated by and Spottiswoode after falling out with fellow director Douglas Craigie. The first two books, the present work and The Little Fire Jerrold. Although Eyre and Spottiswoode had already committed Engine (1950), were not credited to him until the 1950s. This is in to publishing The Little Fire Engine, and had commissioned the second state jacket, with reviews on the front flap. Jarrold & Sons of Norwich to prepare for production, it was Max Parrish who eventually published the book. For this little known £1,500 [125171] publisher, adding Graham Greene to his list was a great triumph, particularly since Greene was now happy to announce his 95 authorship not just of this but of The Little Train as well. GREENE, Graham. The Little Fire Engine. Wobbe A24. London: Max Parrish, [1950] £1,250 [102534] Oblong octavo. Original yellow cloth decorated with three red fire buckets (not in Wobbe), top edge red, pictorial endpapers. With the dust jacket. Some minor soiling near to spine, spine slightly skewed, a few small chips and minor tears to edges of dust jacket.

94 95

Peter Harrington 39 97

97 HALLIWELL, James Orchard. Popular Rhymes and 96 Nursery Tales: a sequel to the Nursery Rhymes of England. London: John Russell Smith, 1849 96 Duodecimo in half-sheets. Original green pebble-grain cloth with blind HALDANE, J. B. S. My Friend Mr Leakey. lateral striations, gilt lettered and decorated spine, blind panel to sides, London: Cresset Press, 1937 gilt block of a child reading to front cover, all edges gilt, slate-green-coated endpapers. Old ink splash to front cover, gilt block a little rubbed, nick to Octavo. Original green cloth, spine lettered in silver, with the dust jacket. head of spine. A very good copy. Illustrated throughout by L. H. Rosoman. Head of spine very lightly soiled, endpapers and fore edge lightly spotted; a very good copy complete with First edition of this important little work; scarce in commerce. the dust jacket, not price-clipped, spine ends and upper corners a little James Orchard Halliwell (later Halliwell-Philipps, 1820–1889), chipped, slightly spotted, but very well preserved and scarce thus. antiquary and literary scholar, co-founder of both the Percy and Shakespeare Societies, is one of the most significant figures in First edition of this collection of fantasy stories for children by the the codification of English nursery rhymes. Popular Rhymes was a eminent British scientist John Burdon Sanderson Haldane (1892– sequel to his groundbreaking Nursery Rhymes of England (1842), both 1964). Haldane was chiefly distinguished for his work in genetics, of which “would remain standard works on the subject for half a but also contributed to many other fields of science, ranging from century” (Gregory, p. 116). Most familiar to modern readers are cosmology to the physiology of diving. His intention in writing Halliwell’s versions of Tom Thumb and Chicken Licken, and his the book about Mr Leakey, a magician who lives in a London flat important transcription from chapbook sources of Jack the Giant- in company with his animal servants, was to demonstrate that Killer; these are gathered in the chapter entitled “Fireside Stories”. science can be more exciting than magic ever was. “The book is “Much more than a collection, Popular Rhymes offered historical peppered with ‘asides’ on scientific topics. One of the best is the and comparative analysis of its verses and tales. It amplified the story of Mr Dobbs, who made a large income out of the railways scope of the earlier rhyme-book with a section of 19 folktales, ‘by travelling with excess luggage’, having devised special suitcases obtained both from oral sources and from chapbooks. The chapter which rose in the air when weighed: ‘You see, if your bag weighed rubrics were now much tighter and more definitive: Nursery a hundredweight more than it ought to you have to pay the railway Antiquities, Fireside Nursery Stories, Game-Rhymes, Alphabet- company, but if it weighs a hundredweight less than nothing, Rhymes, Riddle-Rhymes, Nature-Songs, Proverb-Rhymes, they have to pay you.’” Places and Families, Superstition Rhymes, Custom-Rhymes, and The Oxford Companion to Children’s Literature, p. 368. Nursery-Songs. Halliwell conceded his debt to Robert Chalmers’s £2,500 [134918] ‘elegant work,’ The Popular Rhymes of Scotland (1826), but also stressed the differences in content. Together the two ‘vernacular anthologies’ contained nearly all that was worth preserving of ‘the natural literature of Great Britain’” (Dorson, p. 68). Provenance: pencilled ownership inscription to advertisement facing title, “H. C. Hart / 89”, possibly Henry Chichester Hart (18476–1908), Anglo-Irish botanist and explorer, who, like Halliwell, was also a Shakespearean scholar, editing a number of volumes in the Arden edition. Richard M. Dorson, History of British Folklore, 2000, volume I, Routledge (2000); E. David Gregory, Victorian Songhunters: The Recovery and Edition of English Vernacular Ballads and Folk Lyrics, 1820–1883, The Scarecrow Press (2006). £750 [136692]

40 CHILDREN'S LITERATURE 98

98 HOFFMANN, Heinrich. The English Struwwelpeter. Leipzig: Friedrich Volckmar, 1848 Small quarto, pp. 24. Original decorative boards printed in black, vignette on rear cover, spine renewed. Illustrations throughout with hand-colour. Board edges worn, endpapers renewed, first page apparently sometime cleaned and repaired, paper repairs to p. 24, some signs of handling and 98 spotting throughout. A rare survival of this fragile publication. Scarce first edition in English of the children’s picture book effective on 1 September 1846. The convention extended British Der Struwwelpeter, among the rarest of all children’s books, due copyright privileges to imported Prussian works, at the same time to the fragility of the publication. A publishing phenomenon reducing import duty on them … Within Germany The English that is still in print today, The English Struwwelpeter first appeared Struwwelpeter was obtainable direct from the Literarische Anstalt, as a German children’s Christmas picture book, Dr Heinrich but the Free City of Frankfurt was located outside the scope of the Hoffmann’s Lustige Geschichten und drollige Bilder, of just 15 pages, 1846 convention, and so Rütten & Loening were unable to access published in 1845. The book was quickly expanded and renamed, directly the benefits that British copyright protection would offer with the character of a slovenly boy named Struwwelpeter it in Britain. Accordingly, they arranged for publication to occur accorded eponymous status. officially via a proxy in Leipzig, the thriving wholesale bookseller The English Struwwelpeter was initially produced with a similar and publisher, Friedrich Volckmar … binding to the German editions, consisting of strong boards with “The 1846 Convention symbol was normally ink-stamped on a flimsy spine, designed to fail quickly, so parents would be forced a publication’s title page. However, The English Struwwelpeter, to buy another copy. “The book was an immediate success, being lacking a conventional title page, was usually ink-stamped in the devoured by its readers to the extent that no copy is to be found lower right quadrant of the front cover, and consequently the in public collections in Britain, with comparatively few successor impression of the stamp is now often indistinct as a result of years editions surviving during the whole run of the first version down of wear. We have found the stamp only on the first version of the to 1858” (Grolier). book, prior to the re-drawn 12th edition of 1861. Not all extant Taken from the sixth German edition, and most likely translated into English by Alexander Platt (1819–1883), the copies are stamped but, among the copies of the first version exceptionally popular book played a key role in the history which we have examined, the presence of an 1846 Convention of international copyright. The English Struwwelpeter created a stamp tends to correlate with the presence on the front cover niche in the market for children’s books, and British publishers of the name of the publishers’ London agency, which suggests soon began producing “Struwwelpetriades” (picture books in that unstamped copies were destined for sale outside Britain, Struwwelpeter style). The attention that the publishers lavished for example in the or in Germany itself ” (p. 393– on protecting this work was most unusual for a children’s book. 397). The present copy is unstamped. “This children’s title was probably the greatest single German Grolier Club, One Hundred Books Famous in Children’s Literature, 31B; Schiller 135. Jane beneficiary of the first-ever major international copyright Brown and Gregory Jones, “The English Struwwelpeter and the Birth of International Copyright”, The Library, Volume 14, Issue 4, December 2013, pp. 383–427. agreement. This was signed at Berlin on 13 May 1846 on behalf of the kingdom of and the United Kingdom, and became £18,500 [137787]

Peter Harrington 41 99 101

99 101 HUGHES, Ted. Meet My Folks. London: Faber and Faber, 1961 [ISAAC, Frederick Simeon?] Odds and Ends in Prose Octavo. Original illustrated boards, titles to front cover and spine in red and Verse. By Pater. London: Privately Printed at the and blue. With the dust jacket. Illustrated by George Adamson. Slight Press, 1908 separation between gatherings A and B, else a very good copy in the dust jacket, rear panel stained, slight chipping at head of spine and tips. Tall octavo (247 × 184 mm). Finely bound in contemporary black First edition, presentation copy of Hughes’s first book of crushed morocco, titles in gilt direct to spine, gilt-ruled raised bands, compartments and turn-ins ruled and richly decorated with foliate children’s verse, inscribed by him to his sister Olwyn Hughes, and circlet motifs in gilt, boards panelled in single gilt rules with floral “To Olwyn with love from Ted April 1st, 1961”, on the front free and repeat foliate motifs to corners, green silk endpapers, edges gilt, endpaper, six days prior to publication. Hughes was very close unsigned but evidently quality work. Photographic portrait of the author to his sister Olwyn. After Plath’s death in 1963, Olwyn helped to as frontispiece with tissue guard, title printed in red and black, decorative bring up their children, became her brother’s literary agent, and opening initials, headpieces, and culs-de-lampe. Pictorial bookplate established the Rainbow Press with Ted in 1971 to produce fine of Bernard A. Isaac to front pastedown. A few minor marks to covers, press editions of his works. else a fine copy, printed on thick paper and handsomely bound. Sagar & Tabor A4a, their “AB” state, without priority. First and only edition. A truly sumptuous piece of private £2,250 [125956] publishing, produced as a gift for the author’s children and grandchildren, handsomely printed at the Chiswick Press and 100 finely bound by an unnamed binder of real quality. Among the varied pieces is “A Dream, by One who Dreamt It”, a prose fantasy, HUGHES, Ted. The Iron Man. London: Faber and Faber, 1968 conceived at the time of the Dreyfus case, of a Jewish state, Octavo. Original pictorial boards, titles in blue, white, and black to spine and “a beautiful land of very vast extent”, where Jews, driven out from front board. With the dust jacket. Frontispiece and 4 full-page illustrations the civilized countries of Europe by “hatred and envy of the race”, by George Adamson. Minute sunning to spine head, else a fine copy, without live in paradisal self-government. any marks, in the near-fine jacket, the spine barely faded, not price-clipped. With the bookplate of Bernard Alexander Isaac (1871–1938). If First edition, an unusually crisp copy. Of the 6,000 copies printed, he is one of the children for whom the book was printed, then the majority we have seen have come from school libraries, “Pater” was Frederick Simeon Isaac (c.1829–1915). With his siblings making this title perhaps the scarcest of Hughes trade editions. Benjamin and Alexander, Frederick was a partner in the City of It is the most popular of the poet’s works for children, and was London firm Isaac & Samuel. He was also a director of several subsequently made into both a rock opera by Pete Townshend South American utility and finance companies. He left £630,000, (1993) and an animated film, The Iron Giant (1999). including a range of legacies to Jewish charities. Sagar & Tabor A17a1. The book is likely to have been printed in small numbers and £1,250 [138689] is unsurprisingly rare. There are no copies listed on Library Hub, and WorldCat lists only the Toronto Public Library copy. We were unable to trace any other copy in libraries or auction records. Toronto Public Library call number 828 P1283. £1,750 [122897]

42 CHILDREN'S LITERATURE 102

“The Brothers Grimm of Japan” became a pioneer of Japanese creative children’s stories in the Meiji era following the publication of his story “Koganemaru”. 102 Following this success, he created the children’s literature IWAYA, Sazanami. Japanese Fairy Tales. magazine Shonen Sekai, published monthly between 1895 and 1914. In his twilight years, he toured many areas of Japan to read fairy Tokyo: The Hokuseido Press, 1938 tales to boys and girls. Twelve volumes, octavo (161 × 118 mm). Original hand-made Washi paper Loosely inserted are the Hokuseido Press compliments slip on covers, each volume in a different colour, most heightened with flecks of silver-flecked washi paper, and the publisher’s folding advertising silver, sewn Yotsume Toji-style bindings with washi-covered spine ends, and ordering slip for his own edition of Yasunosuke Fukukita’s printed title labels to front covers, colour pictorial endpapers. Housed in Cha-No-Yu, Tea Cult of Japan, published the same year. Hokuseido the publisher’s drop-back box with printed title labels to front flap recto and Press was one of several Meiji era cross-culture publishers verso. Each volume with a folding colour plate, and numerous monochrome making the most of and contributing to the wave of Japonism illustrations, tipped-in colophons printed on pearlescent paper. Minor creasing to a couple of volumes. A fine set in the original card box, with joints that emerged in France and swept through the West at the end discreetly repaired and stabilised. of the 19th century. Hokuseido notably published nearly all the works written by the English author and devotee of Japanese First edition of these classics of Japanese tales, rarely found culture Reginald Horace Blyth. The present set was intended for complete and in such lovely condition. It was compiled by “the circulation in the US and in Europe. Grimm of Japan”, as Hokuseido describes Sazanami [Sueo] Iwaya (1870–1933). He was an author, critic, folklorist, storyteller, and £1,950 [137079]

102 102

Peter Harrington 43 103 104

103 years, Jackson’s novels and biographies “gave African American JACKSON, Jesse. Call Me Charley. [New York:] Harper & writers an audience that had, in large measure, previously been denied them” (Oxford Companion to African American Literature, p. 222). Brothers, 1945 Octavo. Original red cloth, titles in white to spine and with pictorial £225 [138256] design to front board, top edge green. With the dust jacket. Title vignette and 10 line-drawing illustrations, all but one full-page, by Doris Spiegel. 104 Extremities a trifle rubbed and bumped, the binding otherwise sharp and firm, the contents untoned and without marks. A near-fine copy in the very JANSSON, Tove. Finn Family Moomintroll. Translated good jacket, mild wear to corners, faint dust soiling, not price-clipped. by Elizabeth Portch. London: Ernest Benn, 1950 First edition of the first children’s novel that focused on the Octavo. Original green cloth, spine lettered in red, Moomin image blocked contemporary experiences of African-American children. to front cover in red. With the dust jacket. Folding map; black and white This was Jackson’s first book and most popular book. While illustrations throughout by the author. Ownership signature to front free working as a juvenile probation officer, he recognised the endpaper. Very light soiling to cloth, tape repair to short tear on folding lack of appropriate reading material for African-American map. A good copy in the jacket, chipped with loss to title on spine panel, schoolchildren. Predating Brown v. Board of Education by nine tape repairs on verso. First edition in English of the third Moomin title. It was first published in Sweden in 1948. £1,000 [132848]

105 JOHNS, W. E. The Third Biggles Omnibus. Oxford: Oxford University Press, 1941 Octavo. Original blue cloth. With the dust jacket. Illustrations throughout. Contemporary award inscription to front free endpaper. Occasional faint foxing, else a very good copy in the dust jacket, a little chipped and toned. First edition of this collection of three Biggles novels set at the start of the Second World War, originally published between 1938 and 1940. In the first, Biggles and his crew are sent for a holiday but find themselves in the midst of the Spanish Civil War, and in the second they are asked to start an air force for the Eastern European country of Maltovia. The third novel relates Biggles’ first adventure of the Second World War, as he and his friends man an island base in the Baltic and must defend it from German planes and U-boats. 105 £1,250 [126559]

44 CHILDREN'S LITERATURE 106

106 Alphabet Illlustrated, published around 1855, are held insitutionally (Princeton and Cambridge). [JOHNSTON, George Liddell; James Albert Buchanan The amateur artist who painstakingly copied the work was Jay.] The Alphabet Illustrated. [Herefordshire, c.1858] James Albert Buchanan “Bertie” Jay (1839–1888). The album Landscape quarto (260 × 370 mm). Quarter blue skiver commercial has his ownership signature to the inside front cover dated album, drab grey-green boards, title and illustrations to front cover 6 September 1858. We have been unable to trace how Jay had access in manuscript in black ink, 60 thick stock paper leaves, stitched. Spine to Johnston’s work, which was likely published in a very small a little rubbed, ends and tips slightly worn, front inner hinge split but print run. Born to a wealthy Herefordshire family, Jay enrolled as a contents sound, a little foxing to contents, otherwise bright and clean; probationer at the Royal Academy in 1863, five years after executing remarkably well-preserved. this piece. He went on to become an equestrian painter, spending A finely executed alphabet book of captioned pen-and-ink a considerable amount of time working in Germany. He exhibited drawings, featuring personified letters in the Victorian grotesque at the Royal Academy (1878 and 1880), the Walker Art Gallery tradition. The drawings were executed by a talented amateur (1881), and three equestrian paintings of his were shown at Dundee artist, carefully copied from a rare, privately-published work, (October. 1885 – January. 1886). He left England for Australia in the The Alphabet Illustrated, by Reverend George Liddell Johnston, summer of 1888 in pursuit of commissions from racehorse owners, a feature of which is the caricatured, oversized heads of the and died while in Sydney, leaving behind a widow, Alice, and three figures in a similar vein to the illustrations Henry Holliday later daughters, one of whom, Cecil Jay (Mrs George Hitchcock), was produced for Lewis Carroll’s The Hunting of the Snark (1876). “An a successful Anglo-American portrait artist. artist of extraordinarily grotesque vision”, Johnston (1817–1902) Marshall Hall, The artists of Northumbria: a dictionary of Northumberland and Durham was ordained as a minister in 1849, leaving Northumbria to painters, draughtsmen and engravers, born 1647–1900 (1973). begin his ecclesiastical career in . He subsequently served £1,500 [137720] as chaplain to the British Embassy in Vienna from 1856 to 1885 before returning to London. In 1969 a sketchbook of his work in Vienna was discovered, filled with drawings “upon which his reputation as an artist almost entirely rests”. Just two copies of his

Peter Harrington 45 107

107 coloured plates. Lightly soiled and rubbed, the bindings firm, occasional faint offsetting, else clean and without marks. A very good set. (JUVENILIA.) [Collection of fairy tales:] The History of A lovely set of early Lumsden editions of juvenile chapbooks, Goody Two-Shoes, with the Adventures of her Brother with illustrations sometimes attributed to the workshop of Tommy; Beauty and the Beast; The Entertaining Tales of the celebrated engraver Thomas Bewick. James Lumsden Mother Goose; Vicissitude: or the Life and Adventures (d. c.1820) was a Glaswegian printer and engraver whose son, James Lumsden (1778–1856), apprenticed at his father’s company of Ned Frolic. Glasgow: J. Lumsden & Son, [c.1815–]1818 after his banking studies. A skilled businessman, Lumsden’s son Four volumes, duodecimo. Original wrappers in blue, yellow, and pink succeeded to control the business upon his father’s death, and respectively, 3 titles in black on printed label to front wrappers, manuscript the company “grew rapidly and diversified into manufacturing title to front wrapper for Vicissitude. Vol. 1: engraved frontispiece, title stationery and printing diaries, almanacs, and guidebooks” vignette, 6 plates, and 2 in-text illustrations; vol. 2: engraved frontispiece, (ODNB). Interestingly, he was also one of the founders of the 5 plates, and 1 in-text illustration; vol. 3: engraved frontispiece, title Clydesdale Bank. vignette, and 6 plates; vol. 4: hand-coloured frontispiece and 3 hand- The Hockliffe Project notes that “the lack of advertisements for Lumsden books, and the rarity of surviving copies, suggest that only a small number of copies were printed, and that they were seldom distributed beyond Scotland and the north of England. However, Lumsden’s production values were high, which suggests that the firm was hoping to reach a reasonably affluent readership”. Gumuchian 2759 (for Goody), 5748 (for Vicissitude); Hewins, C. M. “The History of Children’s Books”, The Atlantic Monthly, January 1888; The Hockliffe Project. £1,250 [138123]

Kerr’s notably scarce first picture book 108 KERR, Judith. The Tiger Who Came To Tea. London: Collins, 1968 Quarto. Original printed illustrated boards, plain endpapers. With the dust jacket. Colour illustrations throughout by the author. Neat gift inscription to front free endpaper. Slight toning to board edges, couple of small marks to contents. A very good copy in the mildly toned jacket, with a little 107 creasing and rubbing to extremities.

46 CHILDREN'S LITERATURE 108 109

First edition, notably scarce, of the first picture book by Kerr (1923– with a fund of folklore, Jessie believed herself gifted with ‘second 1919). The children’s classic, which originated as a bedtime story sight’ and her art was inspired by fantasy, while its minuteness for Kerr’s children, has never been out of print: it has been derived from close, myopic vision … Work for British publishers translated into 11 languages and sold more than five million copies. established her as a leading illustrator alongside Arthur Rackham, Kate Greenaway, and Laurence Housman” (ODNB). Since the £2,750 [134420] first retrospective shows in the 1970s, King’s art has steadily risen in critical and commercial favour. The present Bakst- 109 influenced work is among her finest books and a fascinating KERR, Judith. Mog the forgetful cat. amalgam of the decorative post-Beardsley style. A House of London: William Collins Sons & Co., Ltd, 1970 Pomegranates was first published in 1891 as a second collection for The Happy Prince and Other Tales (1888). Large octavo. Publisher’s pictorial boards. With the dust jacket. Illustrated throughout by the author. Ends gently bumped, otherwise fine. £1,650 [137882] First edition, rare presentation copy, inscribed by Kerr to a fellow author: “To Sheila Macleod in friendship and gratitude! Judith Kneale”. Sheila Macleod’s (b. 1939) first novel The Moving Accident was, like Kerr’s Orlando, published in 1968. Kerr (1923–2019) married screenwriter in 1954. Presentation copies are rare, and this is a nice literary association. £3,750 [120804]

110 (KING, Jessie M.) WILDE, Oscar. A House of Pomegranates. London: Methuen and Co Ltd, 1915 Quarto. Original dark blue cloth, titles and decorative designs in orange to spine and front board, top edge gilt, others untrimmed, monochrome pictorial endpapers. Housed in custom buckram-backed marbled paper solander box with titles in gilt to black morocco spine label. Colour illustrated title, 16 tipped-in colour plates mounted within printed decorative frames, and historiated opening initials by Jessie M. King. Two publisher’s promotional lists and order form for autumn 1915 publications, loosely inserted. Corners gently bumped, small nick to foot of spine, discreet colour touch up to top edge of rear board, occasional faint foxing. A very good copy indeed, the binding bright and firm, the contents clear and without ownership marks. First King edition of Wilde’s collection of fairy tales. Jessie Marion King (1875–1949) was the most important Scottish illustrator of the 20th century. “Influenced by a Gaelic-speaking nursemaid 110

Peter Harrington 47 111

111 112 KIPLING, Rudyard. The Jungle Book; [together with:] KIPLING, Rudyard. Just So Stories For Little Children. The Second Jungle Book. London: Macmillan and Co., 1894 London: Macmillan and Co., Limited, 1902 & 1895 Quarto. Original red cloth, titles and pictorial decoration to spine and Two volumes, octavo. Original blue cloth, titles and pictorial design to boards in black and white. With the pictorial dust jacket. Housed in a red spines and front boards gilt, dark green coated endpapers, all edges gilt. quarter morocco solander box by the Chelsea Bindery. With 22 plates by the Housed in custom blue morocco-backed slipcase with titles in gilt direct author, illustrated drop-cap initials, line drawings in the text. Spine ends to spine, and matching blue cloth chemises. Tissue-guarded frontispiece, slightly bruised, front inner hinge a little cracked at foot and rear inner hinge and numerous in-text and full-page illustrations. Loosely inserted are two cracked, but both firm, endpapers and first and last few leaves lightly foxed, publisher’s promotional leaflets for Kipling’s works. Bookseller’s ticket the occasional faint mark to contents but overall internally clean and fresh; (B. H. Blackwell) to front pastedown of vol. 2. Spines ends gently bumped, in the toned and chipped jacket, with Japanese tissue repairs to verso, one corners rubbed, vol. 1: a little cocked, vol. 2: small crease to fore edge of earlier tape repair to rear joint verso, the spine darkened, and a few small front board, else a clean and near-fine set, the bindings firm. perforations at joints. Overall a very good copy. First edition, rare such lovely condition, of Kipling’s best-known First edition, second state binding, in the rare dust jacket, prose works. The stories were loosely adapted into the 1967 and of Kipling’s famous collection of twelve stories and twelve poems, 2016 Disney movies of the same name. including “How the Camel Got His Hump” and “How the Leopard Stewart 123 & 132; Martindell 61 & 63. Grolier Club, One Hundred Books Famous in Got His Spots.” The first impression exists in two issues of the Children’s Literature, 52. binding. The first, on which the white blocking failed to adhere, £7,250 [137908] was superseded by this more stably blocked one, on which the white decoration remained intact. Unusually for jacket designs of this period, the jacket of Just So Stories reproduces an image different from that of the blocking on the boards. Grolier Club, One Hundred Books Famous in Children’s Literature, 57. £15,000 [130603]

48 CHILDREN'S LITERATURE Then three years old, the recipient was Janet Gladys Kidd (née Aitken, later Campbell, later Montagu, 1908–1988). She was the daughter of Kipling’s close friend Max Aitken, 1st Baron Beaverbrook, the highly influential Canadian-British press magnate and politician; this copy has the Beaverbrook bookplate to the front pastedown. Beaverbrook and Kipling met in 1910 when Beaverbrook relocated his family to Britain from Canada. In her autobiography, Janet recalls Kipling, whom she nicknamed “Mr Sad” as a child: “He had a drooping moustache and never seemed to smile … I felt a bit sorry for him but never said so because he never seemed to notice I was there … He would stand staring soulfully at us as we clattered past … I was always pleased to see him” (pp. 18–19). Kipling advised Beaverbrook on the purchase of Cherkley Court, his Surrey country house and became godfather to Beaverbrook’s youngest son, Peter. Later, a rift developed between the two men, when Beaverbrook endorsed Irish Home Rule. Janet recalled her sadness at his departure from Cherkley: Kipling “had come to seem as much a part of the house as we were. It was all about Ireland, I knew that … For Kipling, sad, dear Rudyard Kipling, the British Empire was life itself. He could not watch any part of it die. He wrote a poem in the Cherkley visitor’s book … ‘The four best gifts beneath , Love peace and health and honest friends’” (pp. 46–47). Despite the efforts of Janet and Kipling’s daughter Elsie, Kipling and Beaverbrook never reconciled. Richards A181; Stewart 260. Grolier Club, One Hundred Books Famous in Children’s Literature, 57. Janet Aitken Kidd, The Beaverbrook Girl: An Autobiography (1987).

112 £6,750 [137861]

113 114 KIPLING, Rudyard. Just So Stories For Little Children. KIPLING, Rudyard. If. Garden City, NY: Doubleday Page London: Macmillan and Co., Limited, 1902 and Company, 1910 Oblong duodecimo, uncut. Original deluxe red limp cloth boards, Large octavo. Original red pictorial cloth, titles to spine and front cover in front cover lettered and decorated in gilt. Printed in green and black, black and white. With 22 full-page illustrations by the author. Spine faded, decorative green frames. 20th-century pictorial bookplate to front covers otherwise bright, extremities a little frayed and rubbed, contents pastedown. Spine and corners a little rubbed, boards a touch bowed, slightly foxed, rear hinge partly cracked but holding; a very good copy. internally clean; a lovely copy. First edition, third printing (two months after the first), inscribed First separate edition, deluxe issue in the uncommon red binding by the author on the title page, “Janet Aitken from her obliged and variant, of Kipling’s most enduring poem. First published the obedient servant the author Jul. 1911”; Kipling has struck through same year in Rewards and Fairies, it was not republished separately his printed name and signed it below. Signed copies of this title in Britain until 1914, on the eve of the First World War. are rare, especially with such a close association; just six other inscribed copies are known. £2,000 [137335]

113 114

Peter Harrington 49 115 117

A seismic shift in the public’s taste for fairytales 117 115 LANG, Andrew (ed.) The Brown Fairy Book. London: Longmans, Green, and Co, 1904 LANG, Andrew (ed.) The Blue Fairy Book. Octavo. Original brown cloth, spine lettered in gilt, elaborate pictorial London: Longman, Green & Co., 1889 decorations to front cover in gilt, brown coated endpapers with Quarto. Original white quarter cloth, grey paper to boards, titles to spine illustrations in silver, edges gilt. With the dust jacket. Colour frontispiece in blue, raised bands to spine, edges untrimmed, partly unopened. With with tissue guard, vignette engraved title page, 7 colour plates, 22 black and numerous illustrations by H. J. Ford and G. P. Jacomb Hood. Bookplate to front white plates and numerous engraved illustrations in the text by H. J. Ford. pastedown. Spine cleaned and a little sunned and soiled, joints with superficial Spine ends lightly bumped, else a very good copy, the endpapers notably splits, minor wear around extremities, endpapers toned. A good copy. bright, in the dust jacket, with slight chipping at extremities and to rear fold, and a small mark to foot of spine panel. First edition, large paper copy, number 13 of 113 copies, the deluxe limited issue of the first in Lang’s series of “coloured” First edition, rare in the dust jacket, of the ninth instalment in fairy books, which continued through to The Lilac Fairy Book in Lang’s Fairy Book series, gathering tales from North America, Brazil, 1910. Only four titles from the series of 12 were issued in this Australia, Africa, Persia, India, Lapland, and the Pacific Islands. deluxe format. Immediately successful, the series effected £1,750 [128646] a seismic shift in the public’s taste for fairytales, partly due to “the devoted work of their illustrator, who ... provided 118 a benchmark in fantasy illustration” (Grolier). Grolier Club, One Hundred Books Famous in Children’s Literature, 51. LE GUIN, Ursula K. A Wizard of Earthsea. Berkeley: Parnassus Press, 1968 £1,250 [132247] Octavo. Original blue-green cloth, titles in black to spine, title and pictorial design in black to front board, green endpapers. With the pictorial dust 116 jacket. Title vignette, 5 maps (including 1 double-page), headpieces by Ruth LANG, Andrew (ed.) The Violet Fairy Book. Robbins. Minor rubbing to corners, faint spotting to edges, else a fine copy London: Longmans, Green, and Co, 1901 in the very good dust jacket, two small stains, slight soiling. First edition of the first instalment in Le Guin’s first work for Octavo. Original purple cloth, titles and elaborate pictorial designs to spine young adults, the Earthsea trilogy. “Although 6,800 copies of the and front cover in gilt, black endpapers, edges gilt. With the dust jacket. Colour frontispiece with tissue guard, 7 colour plates, 25 full-page engraved first printing were produced, most copies were sold to public and plates, illustrations within the text by H. J. Ford. Spine ends lightly secondary school libraries, and fine unmarked copies have proved bumped, faint marking to rear cover, else a very good, bright copy in the to be quite elusive” (Currey). dust jacket, small chips at extremities, spine panel a little darkened, short Currey 3421. tear at head of rear fold, a few faint soiling patches. First edition of the seventh title in the Fairy Book series. £2,500 [136572] As with any book published before the 1920s, and especially so for a children’s book, the retention of the original dust jacket is a pleasant surprise, as most were discarded at point of sale. £2,000 [128647]

50 CHILDREN'S LITERATURE 119 121

119 121 LEAR, Edward. A Book of Nonsense. London: Routledge, LEIGHTON, Clare. The Musical Box. London: Longmans, Warne and Routledge, 1862 Green and Co., 1932 Oblong quarto (207 × 131 mm). Later 20th-century red morocco, spine Oblong quarto. Original pictorial cream paper boards, titles to upper board and front cover lettered in gilt, marbled endpapers, gilt edges. With in black, colour illustration of village dancing to front cover, yellow floral illustrations by Lear throughout. Spine very lightly sunned with a couple of endpapers. Illustrated by Leighton throughout. Laid in loose, a newspaper tiny scratches, sporadic minor foxing, extensive discreet paper repairs at clipping review of Leighton’s Four Hedges and pamphlet reproduction of a extremities but impinging on text and illustration only once (p. 80). A good letter with the intention of reserving an area of natural beauty, originally copy in a near-fine binding. printed in , July 1934, illustrated by two engravings by Leighton. A handsomely bound copy of the fourth edition of Lear’s Book of Spine ends and tips slightly bumped, boards slightly soiled and rear board a little toned at edges, stitches a touch slack. A very good copy, front Nonsense, following the first of 1846. illustration bright and presenting nicely, contents clean and unmarked. £875 [134349] First and only edition, inscribed by the author on the front free endpaper, “To dear Ada and Jessey, hoping they are still young 120 enough to enjoy this. With much love from Clare Christmas 1932”. LEAR, Edward. Nonsense Songs, Stories, Botany, and £650 [137970] Alphabets. London: Robert John Bush, 1871 Quarto (205 × 160 mm). Contemporary brown pebble-grained cloth, 122 titles to spine in gilt, red speckled edges. Title vignette, 10 full-page and LEIGHTON, Clare. The Wood that Came Back. numerous in-text illustrations by Lear. Neat contemporary ink ownership inscription to front free endpaper. Corners gently bumped, rubbed, faint London: Ivor Nicholson & Watson, Ltd, 1934 scattered foxing to endpapers, light marginal finger-soiling, the contents Oblong quarto. Original purple cloth-backed yellow boards, titles to front otherwise clear. A very good copy. cover in black, forest illustration in green, pink, and black to front cover, First edition, containing the first book-form appearance of “The pink forest patterned endpapers. Illustrated throughout in black, pink Owl and the Pussycat” (which first appeared in the American and green. Head of spine a little bumped, boards slightly soiled, tips a little rubbed and two bumped, slight offsetting to front free endpaper. magazine Our Young Folks the previous year). Else a very good copy indeed, contents strikingly vibrant and fresh. £1,750 [137881] First edition, inscribed by the author to the front free endpaper “To dearest Ada, Jessey and Fanny with love from Clare. Christmas 1934. To amuse the nephews!”. £750 [137972]

120 122

Peter Harrington 51 123 124

123 A very good copy indeed, in the near-fine dust jacket, price-clipped, a trifle creased at extremities, minor soiling. L’ENGLE, Madeleine. [The Time Quintet:] A Wrinkle in Time; A Wind in the Door; A Swiftly Tilting Planet; First UK edition of the first instalment in the Time Quintet. Many Waters; An Acceptable Time. New York: Ariel Books, £2,000 [135806] Farrar, Straus and Cudahy,/Farrar, Straus & Giroux, 1962, 1973, 1978, 1986, 1989 125 Five works, octavo. Original cloth, with the dust jackets. Wrinkle in very LEWIS, C. S. The Chronicles of Narnia. [The Lion, the good condition, with rubbing to extremities and a faded spine panel, Witch and the Wardrobe; Prince Caspian; The Voyage of otherwise internally fresh, with the jacket chipped at the ends and corners with two closed tears to bottom of front panel and a few minor marks, the Dawn Treader; The Silver Chair; The Horse and His Swiftly Tilting Planet with some small chips to the edges of the jacket. The Boy; The Magician’s Nephew; The Last Battle.] London: other titles in excellent condition. Geoffrey Bles/The Bodley Head, 1950–56 First editions of the complete Time Quintet, each inscribed or signed, except for A Wrinkle in Time, which has a slip signed by the author laid in. The first impression of A Wrinkle In Time (here in the second state jacket with Newbery Prize sticker residue to the front panel) is scarce in commerce. A Wrinkle In Time is an important children’s fantasy work originally aimed at young female readers but with major crossover appeal. Upon publication, it won numerous awards, including the 1963 Newbery Medal, the Sequoyah Book Award, and the Lewis Carroll Shelf Award. Having sold more than 10 million copies worldwide, L’Engle’s novel has seen several adaptations, including a film, a play, an opera, and a graphic novel. A Wrinkle in Time is particularly notable for being an early sci-fi novel with a female author and a female protagonist. £8,750 [111206]

124 L’ENGLE, Madeleine. A Wrinkle in Time. London: Constable Young Books Ltd, 1963 Octavo. Original red and black patterned boards, titles to spine in gilt. With the pictorial dust jacket. Dust jacket design by Antony Maitland. Bookseller’s ticket of Hall’s Book Store in Melbourne and Prahran to front pastedown; neat ownership inscription of R. J. Lane to front free endpaper, dated 1964. Spine ends gently bumped, some abrasion and glue residue to pastedowns, faint partial toning to free endpapers.

52 CHILDREN'S LITERATURE 126 127

7 separately published works, octavo. Original cloth, various colours, titles Lewis has written, the books are ‘intoxicating’ to all but the most to spines in silver, map front endpapers to titles 2–5. With the dust jackets. relentlessly unimaginative readers, and must be judged the most Housed together in a dark blue leather entry slipcase by the Chelsea sustained achievement in fantasy for children by a 20th century Bindery. With colour frontispieces and black and white illustrations by author” (Carpenter, p. 370). Pauline Baynes. Pencilled ownership signature to front free endpaper Humphrey Carpenter (ed.), Oxford Companion to Children’s Literature (1995). of The Lion, the Witch and the Wardrobe. Spines gently rolled, ghosting to a couple of spines, a little foxing to edges and endpapers, otherwise clean £19,750 [137779] and unmarked; in the original jackets, a few minor chips, small portion of loss to foot of spine of The Lion, The Witch and The Wardrobe and rear panel of 126 Silver Chair, a little toning or slight sunning to spine panels, else bright and presenting nicely, none but The Silver Chair price-clipped. An uncommonly LOFTING, Hugh. Doctor Dolittle’s Return. bright set in very nice condition, entirely free from restoration or repair. New York: Fred’k A. Stokes Co, 1933 First editions, a complete set of the much-acclaimed Narnia Octavo. Original orange cloth, titles to spine and front cover in green, series, notably scarce in the original dust jackets. “As Naomi decoration to front cover in white, pictorial label to front cover, pictorial endpapers. Colour frontispiece with tissue-guard, illustrated title page and illustrations to text all by the author. W. D. Ent 1937 “Snow White” postage stamp to front pastedown. Spine gently rolled and lightly faded, slight wear to very tips, edges browned; an excellent copy. First edition, signed by the author on the half-title, “Sincerely yours, Hugh Lofting, May 1934”. Lofting’s works are uncommon signed. £1,500 [120118]

127 LOWTHER, George. The Adventures of Superman. New York: Random House, 1942 Octavo. Original red cloth boards, titles to spine and front board with blocked image in blue. With the dust jacket. Frontispiece and 9 full-page illustrations, with vignettes to text by Joe Shuster. A bright copy in the dust jacket with mild wear to extremities, light rubbing to corners and ends of spine, shallow chips to ends of spine. A very attractive copy. First edition of the first novelization of a comic book character, in a lovely example of the dust jacket. This was the first Superman story credited to someone other than the character’s co-creator Jerry Siegel. It was Lowther who also first provided many now- familiar details of Superman’s birth and early life, including many of the first mentions of aspects of life on the planet Krypton. 125 £1,750 [106858]

Peter Harrington 53 128 129 130

One of the earliest popular science writers 130 128 MEIL, Johann Wilhelm. Spectaculum Naturae & Artium, in vier Sprachen, Deutsch, Lateinisch, [MARCET, Jane.] Conversations on Political Economy. Franzosisch und Italianisch [title repeated in French]. London: Printed for Longman, Hurst, Rees, Orme, and Brown, 1816 Berlin: George Ludewig Winter, 1761 & 1765 Duodecimo (179 × 107 mm). Rebound to style in sprinkled calf, preserving original morocco label. Tiny foxing to initial and final leaves, a few faint Two volumes bound in 1, quarto (214 × 175 mm). Contemporary red paper creases to pages, small chip to corner of p. 29 not affecting text, else a near- boards, spine lettered in gilt, gilt ruled border to covers, red speckled fine copy. edges. Housed in a brown cloth flat-back box by the Chelsea Bindery. With 50 engraved plates by Meil, woodcut borders to title pages and First edition of Marcet’s popular work on economics, designed woodcut vinette tail-pieces. Provenance: Lawes Agricultural Library, with for the use of schools. Marcet (1769–1858) was one of the earliest their neat stamp and shelfmarks to pastedown. The library was assembled authors of popular scientific books. This was her most successful in the early 20th century by Sir John Russell, director of the Rothamsted work, running to many editions and exerting considerable agricultural research institution in Hertfordshire, and ranked as one influence on the economic theory of the mid-19th century by of the finest English collections of agricultural material. Contemporary helping to form the first impressions of young economists. Taking ownership signature to front free endpaper. Paper backing stripped to the format of a dialogue between a female teacher and pupil, the spine and around extremities, with some loss to gilt, light wear around extremities, 3 cm short closed tear to fourth leaf, some very light creasing text explores the concepts of capital, labour, property, commerce, to page corners, couple of instances of faint foxing. Still a very good copy and money, in a casual conversational style readily understandable in a highly fragile contemporary German paper-backed binding. by the book’s youthful audience. At a time when the discipline was First edition of both volumes of this rare polyglot pictorial generally deemed to be the preserve of men, Marcet’s work proved encyclopaedia of trades, technology, crafts, and nature, with highly popular. Macaulay wrote that “every girl who has read the text in four columns in German, Latin, French, and Italian. Mrs. Marcet’s little dialogues on political economy could teach The attractive illustrations show beekeeping, printing, engraving, Montagu or Walpole many lessons in finance”. bricklaying, and other trades, as well as scientific and military £2,250 [125362] equipment. The work was aimed at children, and its various languages no doubt intended it for a continent-wide market. 129 The work is scarce, with WorldCat listing only eight institutions with both volumes. MARCET, Jane. Stories for young Children. London: Longman, Rees, Orme, Brown, and Green, 1831 £10,000 [129021] Duodecimo. Original quarter roan backing marbled boards, spine lettered gilt. Bookseller’s ticket, Poole & Boult of Chester to front pastedown; gift 131 ownership inscription dated January 1832 to front free endpaper. Joints MILNE, A. A. When We Were Very Young; Winnie- professionally repaired and extremities refurbished; sewing a little strained and pages finger soiled in places with the odd stain; still a very good copy the-Pooh; Now We Are Six; The House at Pooh Corner. in its original binding. London: Methuen & Co., 1924–8 First edition of one of Marcet’s popular educational stories, this 4 separately published works, octavo. Original cloth (blue, green, red, and focussed on house-building and mining. Marcet was celebrated pink respectively), titles to spines gilt, rules and illustrations to boards gilt, for her works for children (see previous item), of which the top edges gilt. With the dust jackets. Housed in a custom green cloth flat present is an excellent example. back box. Illustrated throughout by E. H. Shepard. WWWVY is the corrected state as usual, with p. ix signed in the prelims. Publisher’s publicity slip £825 [126253] loosely laid in. A very nice set in bright cloth, spines gently cocked, a little

54 CHILDREN'S LITERATURE 131 132 offsetting to endpapers, House at Pooh Corner with a little mottling to front 133 joint, a little foxing to fore edges; in the notably bright jackets, with just a few spots of soiling, House at Pooh Corner with a couple of small closed tears. MILNE, A. A. The King’s Breakfast. London: Methuen & A lovely set, uncommon in such nice condition. Co., Ltd, Ascherberg, Hopwood & Crew, Ltd, 1925 First trade editions, a complete set of the Pooh books, uncommon Tall octavo. Publisher’s dark blue cloth-backed pink and white boards, in such nice condition. After the huge success of When We Were Very titles and pictorial designs in black to front board. With the dust jacket. Young, published in 1924, Milne was asked to contribute a story Black-and-white illustrations throughout by E. H. Shepard, 16 pp. of to the London Evening News. “The Wrong Sort of Bees”, published musical scores. Minor discolouration to spine, edges rubbed, a small stain on Christmas Eve 1925, was based on a bedtime story that Milne to fore edges, the binding otherwise firm and bright, partial toning to free had told his son Christopher. It starred Christopher’s stuffed bear, endpapers as often, else clean. A very good copy indeed, in the very good bought at Harrods for Christopher’s first birthday, known initially jacket, a little darkened, light wear to extremities, a couple of edge-splits as Edward or Edward Bear and later rechristened Winnie-the-Pooh and marks, not price-clipped. (after a favourite bear cub at London zoo). Winnie-the-Pooh (1926) First separate edition, presentation copy signed by Milne, was an immediate success and garnered even more enthusiastic the composer Fraser-Simpson, and E. H. Shepard, and reviews than its predecessor. Now We Are Six followed in 1927, and inscribed on the title, “To Betty With Love From H. Fraser- took just two months to eclipse the sales records of the previous Simson” to a member of his family. Harold Fraser-Simson two books. The final book, The House at Pooh Corner, was received produced many settings of children’s verse for Milne’s Pooh by critics with a delight tinged by sadness. “The Times Literary books and Kenneth Grahame’s The Wind in the Willows, among Supplement congratulated Milne on avoiding ‘the temptation others. The King’s Breakfast was originally published in 1924 in to repeat his successful formula mechanically’, though it was When We Were Very Young. ‘sad to see the stories end’” (Thwaite, p. 336). Ann Thwaite, A. A. Milne: His Life (1990). £1,250 [138075] £17,500 [136942]

132 MILNE, A. A. When We Were Very Young. London: Methuen & Co., 1924 Octavo. Original blue cloth, spine lettered in gilt, gilt vignettes to the boards, gilt fillet frame to front board, top edge gilt. With the dust jacket. Illustrated by Ernest H. Shepard. Bookseller’s ticket of Dutton’s to rear pastedown. Corners rubbed, the binding otherwise fresh and bright, faint toning to endpapers as often, internally clean. A near-fine copy in the very good jacket, a couple of small edge-splits to corners, lightly dust-soiled, otherwise unmarked. First edition, second state, with the page number ix present in the preliminaries (in copies of the first state the contents page ix is unnumbered). The first printing of When We Were Very Young sold out almost immediately, and by the end of the year more than 53,000 copies had been printed. £8,750 [138208] 133

Peter Harrington 55 134 135

134 135 MILNE, A. A. Winnie-the-Pooh. MILNE, A. A. Now We Are Six. London: Methuen & Co. Ltd, 1926 London: Methuen & Co., Ltd, 1927 Octavo. Original green cloth, spine lettered in gilt, gilt vignette to front Octavo. Original full vellum with yapp edges, titles in gilt direct to front cover, single gilt rule frame to front board, top edge gilt, yellow map board, untrimmed and partly unopened. Numerous in-text and full-page endpapers. With dust jacket. Illustrated throughout by Ernest H. Shepard. monochrome illustrations by Ernest H. Shepard. Boards a little bowed, as Contemporary ink gift inscription to “K.E.B. from H.C.” dated 18 October often, light scattered spotting to boards and edges, the binding otherwise 1926 to first blank. Spine ends a little bumped, faint rubbing to corners, firm, internally unmarked. A superb, unusually clean copy. the binding otherwise crisp and bright, faint toning to endpapers as often, Signed extra limited issue, one of 20 large-paper copies printed otherwise unmarked and fresh. A near-fine copy in the near-fine jacket, spine barely faded, slight dust-soiling, else remarkably well-preserved. on Japanese vellum and signed by the author and illustrator, this an out-of-series presentation copy inscribed to E. H. Shepard. First edition, a remarkably well-preserved copy. This is the most luxurious and exclusive format in which Milne’s £4,500 [138217] Pooh books were issued. £32,500 [138153]

136 MILNE, A. A. Songs from “Now We are Six”. London: Metheun & Co. Ltd., & Ascherberg, Hopwood & Crew, Ltd, 1927 Large octavo. Publisher’s blue cloth-backed drab boards, titles and design of Christopher in blue to front board label, untrimmed, partly unopened. Black-and-white illustrations throughout by E. H. Shepard, musical scores. Corners a little rubbed, else the binding firm and clean, occasional faint spotting, otherwise unmarked. A very good copy indeed. First edition, presentation copy, out-of-series from an edition of 100 copies signed by Milne, Shepard, and the composer Fraser- Simson, additionally inscribed, “This is a presentation copy for H. Fraser-Simson, Esq”. This work followed the success of Fraser- Simson’s first collection of musical settings for Milne’s poetry, Fourteen Songs from “When We Very Young” (1925). The songbook provides piano scores for ten songs from Now We are Six, including “Down by the Pond”, “Wind on the Hill”, and “Cradle Song”. £1,250 [138090]

136

56 CHILDREN'S LITERATURE 137

Winnie-the-Pooh dons traditional Russian costume 137 MILNE, A. A. The House at Pooh Corner. [With an original pen and ink drawing of Winnie-the-Pooh by E. H. Shepard.] London: Methuen & Co. Ltd, 1929 Octavo. Original pink cloth, titles to spine and pictorial design to front cover gilt, top edge gilt. With the dust jacket. Housed in a black quarter morocco soalnder box by the Chelsea Bindery. Illustrated throughout by E. H. Shepard. Spine bumped, partial tanning to half-title and colophon, dust jacket nicked and chipped to corners. Third edition, with an original signed pen and ink drawing on the title page of Winnie-the-Pooh in full traditional Russian costume playing a balalaika. Milne began planning his final Pooh book in 1927. Three years of intense publicity were taking their toll on the family, and Milne longed to return full-time to adult literature. Christopher Robin was growing up, soon to leave for boarding school, and The House at Pooh Corner would be a farewell. But first there was an introduction to be made. Milne had bought his son a stuffed tiger, “Tigger”, and told Shepard that he was longing to see the illustrations for this new character, who would become one of the author’s most popular creations. £17,500 [90169] 137

Peter Harrington 57 140

138 139 MILNE, A. A. The House at Pooh Corner. London: MILNE, A. A. The Hums of Pooh. London: Methuen & Co., Methuen & Co. Ltd, 1928 Ltd., & Ascherberg, Hopwood & Crew, Ltd., 1929 Octavo. Original pink cloth, spine lettered in gilt, vignette in gilt to front Large octavo. Publisher’s blue cloth-backed drab boards, titles in blue to cover within single gilt rule border, illustrated endpapers, top edge gilt. front board label, untrimmed. Numerous in-text and full-page black-and- With the supplied dust jacket. Frontispiece and illustrations in the text by white illustrations by Shepard, musical scores. Bookseller’s ticket (F. P. E. H. Shepard, of which 7 are full-page. Contemporary gift inscription to Sweeten of Blackpool) to front pastedown. A little wear to extremities, front free endpaper. Faint discolouration to endpapers and half-title. A very a couple of small stains to rear board, else the binding firm, light browning good copy in the supplied dust jacket, brown mark to fore edge of front to endpapers, faint spotting to first and last couple of leaves, otherwise panel, tiny chips at head of folds. internally clean and without marks. First edition of the final Pooh book, signed on the title page by First edition, number 63 of 100 copies signed by Milne, Shepard, E. H. Shepard. and composer Harold Fraser-Simson. This volume was dedicated to Cicely Fraser-Simson, Harold’s wife, with a reproduction of £3,000 [134081] Milne’s hand-written dedication and six-line poem, and scores for “Isn’t it Funny”, “How Sweet to be a Cloud”, and “Oh! The Butterflies are flying”. £1,250 [138091]

139 139

58 CHILDREN'S LITERATURE 141

140 Christopher Robin had begun boarding at Boxgrove School MILNE, A. A. Autograph letter signed discussing near Guildford. Had Christopher Robin gone to Cheam, he would have been a pupil at the same time as Philip of Greece, Christopher Robin’s school. London, 22 May 1930 the future Duke of Edinburgh. As it was, at Boxgrove Christopher Single sheet (190 × 139 mm) on letterhead (13 Mallord Street, etc.), Robin was far from being “very happy” and “on friendly terms written on one side only; with the original franked envelope addressed with everybody”; instead he was regularly taunted, teased, to Mrs Taylor, Cheam School, Surrey. Together with a typed copy of the and pushed down the stairs. poem sent by Mrs Taylor to Milne. A stamp collector has removed the stamp from the envelope, tearing the letter in two places in the £1,750 [132105] process, with paper loss at lower outer corner just shaving the underline under Milne’s signature; with an ink inscription on the envelope regarding its contents. 141 Milne writes to thank Mrs Taylor for the gift of some asparagus (MILNE, A. A.) SHEPARD, E. H. Tiggers don’t like and the comic verse she had sent him: “ … I had to eat it first to honey. 1961 make sure that it was the genuine thing … I’m wondering now Original artwork in black ink on artist’s board. Image size. 10 × 12 cm. Sheet whether I oughtn’t to have sent my boy to your school. Would size approx.. 13 × 17 cm. Excellent condition. Presented in a gilt frame. he have had asparagus and a hot bath on Tuesday, Thursday and Signed and dated in ink lower right by Shepard, 1961 and Saturday? Well, it’s too late now; but I’m sure you will be glad to inscribed by Shepard lower middle “Tiggers don’t like honey”. hear that he is very happy at Boxgrove, and on friendly terms with This image was first used for The House at Pooh Corner, first everybody … Yours sincerely, A. A. Milne”. published in 1928, page 23. “Tigger took a large mouthful Milne had written a comic piece on the absence of asparagus of honey … and he looked up at the ceiling with his head on from the literary canon for The Week-end Review, 17 May 1930. one side, and made exploring noises, and what-have-we-got- Mrs Taylor, wife of the headmaster of Cheam School, had here noises … and then he said in a very decided voice: ‘ met Milne and his wife Daphne at a recent dinner where Tiggers don’t like honey.’ ‘Oh!’ said Pooh, and tried to make Christopher Robin Milne’s future education was under it sound Sad and Regretful.” discussion. Mrs Taylor spotted the opportunity and bravely Together with a two-page autograph letter signed, dated 21 wrote Milne a 32-line comic poem (a typed copy present here) June 1961, to Miss Shirley: “I send you two drawings that I have to accompany her gift of asparagus, the poem incorporating specially made for your school library … most of my illustrative a hearty plug for the joys of Cheam. work is done in pen and ink … I like to keep my original From 15 January 1929, Christopher Robin had been at Gibbs, drawings”, signed Ernest H. Shepard. a boys’ day school in Sloane Square, Chelsea, but as Milne states in his letter, Mrs Taylor was slightly too late: only that month £47,500 [109941]

Peter Harrington 59 143

142 (MINERVA PRESS.) Fairy Tales. London: Printed for William Lane, at the Minerva-Press, 1794 Two volumes, duodecimo (172 × 103 mm). Contemporary tree calf, twin red and green morocco labels, spine gilt to compartments. With half-title to vol.1, final advertisement leaf to vol. 2, and 4 engraved illustrations; lacking the frontispieces to each volume. Contemporary ownership signature to front free endpaper of vol. I. Expert repair to former wear to calf and spines, rear covers with earlier calf onlays with marginally different marbling styles, colour and gilt enhanced; as a result, now an attractive, well preserved copy. First expanded Minerva Press edition. Many of the tales were first published by William Lane in 1788 under the title The Palace of Enchantment, and re-published by his Minerva Press in another edition of the same title in 1794. These tales constitute volume II of the present edition, renamed to Fairy Tales, with the first volume consisting of new tales. William Lane published many books of fairy tales over his career, but their fragility and child readership ensured that few survive. ESTC N8278; Blakey, p. 165. £3,500 [127237]

143 MONTGOMERY, L. M. Anne of Green Gables. Boston: L. C. Page & Company, 1908 Octavo. Original light purple vertical-grain cloth, titles to spine and upper board gilt, colour pictorial onlay to upper board. Housed 142 in a green half morocco solander case. Frontispiece and 7 plates.

60 CHILDREN'S LITERATURE 145 146

Contemporary ownership signature to front free endpaper. A superb copy Faint crumpling to spine tips, light spotting to edges of text block, else a of this vulnerable publication. bright copy in excellent condition. First edition, rare in such lovely condition. It was an immediate First edition. Most copies of the first edition went to school bestseller, with new printings nearly every month. Mark Twain libraries and are scarce in commerce in collectible condition. wrote to congratulate the author on the title character, “the dearest and most moving child since the immortal Alice” (Grolier). £1,500 [138691] Grolier Club, One Hundred Books Famous in Children’s Literature, 58. 145 £25,000 [138690] NESBIT, E. The Railway Children. 144 London: Wells Gardner, Darton & Co. Ld, 1906 Octavo. Original burgundy cloth, spine and front cover lettered and MORPURGO, Michael. War Horse. decorated in gilt, top edge gilt, others untrimmed. Frontispiece with Kingswood: Kaye & Ward, 1982 tissue guard, illustrated title, and 19 plates, half-title, dedication leaf and contents also printed on plate paper by C. E. Brock. Spine square, foot of Octavo. Original laminated pictorial boards, titles to front cover and spine spine and lower tips slightly bumped. An exceptionally lovely copy. in red and black. No dust jacket issued. Cover design by Victor Ambrus. First edition, rare in such nice condition. Nesbit’s most popular book was serialized in the London Magazine in 1905 before being published in book form the following year. £3,00o [137693]

146 NICHOLSON, William. An Alphabet. London: William Heinemann, [1897] Large quarto. Original cloth-backed pictorial paper boards, spine lettered in black, all edges red. With the advertisement for An Almanac of Twelve Sports for 189 tipped in to rear. Title page and 26 three-colour lithographs after the original woodcuts. Slight wear and rubbing to extremities, cloth lifting a little at spine head, endpapers lightly foxed, small tear to lower edge of rear free endpaper, overall a very good copy. First edition, the popular issue, the first of five picture books that Nicholson published with Heinemann and the work that “established Nicholson’s solo reputation” (ODNB), published in October 1897 but postdated 1898. There was also a deluxe edition of some 50 copies printed directly from the woodblocks and coloured by hand, and a library edition bound in full cloth. 144 £1,750 [116638]

Peter Harrington 61 147

147 suggestive rather than forceful. Very lovely in its faint blues and NIELSEN, Kay. Original watercolour: “List, ah list to the greens with tones of peach is the illustration plate 21 [i.e. this painting] where the high folly, the love birds and the blossom zephyr in the grove.” 1913 testify to the legacy of Japan” (Keith Nicholson, Kay Nielsen, 1975). Original pen, ink, watercolour and wash heightened. 270 × 310 mm. Nielsen produced 26 watercolours in total for the book, which Mounted and framed. A fine, beautifully characteristic piece in excellent was published in 1913. An article in the 1913 Christmas Bookman condition with a couple of faint spots in the yellow sky. recommending this work describes Nielsen as “a young artist An original watercolour, signed and dated “Kay Nielsen [19]13” of curiously original gifts. There are traces in his drawings for In in the lower left corner, for In Powder and Crinoline, a collection Powder and Crinoline of the influence of Aubrey Beardsley, and there of seven fairy tales chosen by Sir Arthur Quiller-Couch. This are also an imaginative daring, a fantasy, a fascinating grace and watercolour illustrates the story “Felicia or The Pot of Pinks” and decorative loveliness that are peculiarly his own and make his art appears at p. 52: “Nielsen shows in his development a fancy so unique amongst the illustrations of this year’s books”. delicate and an outlook so original that no charge of plagiarism can be brought against him. His colour work is delicate and £50,000 [111943]

62 CHILDREN'S LITERATURE 148

148 in purple, and text in brown. Slight wear to extremities, a little darkened, otherwise clean and without ownership marks. A near-fine copy. (NIELSEN, Kay.) East of the Sun and West of the First and only edition of this delightful and scarce book of Moon. Old Tales from the North. London: Hodder and Hawaiian nursery rhymes. WorldCat only lists three institutional Stoughton, [1914] holdings, all in the US, only one in Hawaii. The author appears Quarto. Publisher’s full vellum, decoration and titles in gilt direct to spine, to have been a relative of Johnny Noble (1892–1944), Hawaiian big decoration to front board in gilt within blue rules, top edges gilt, others band leader and co-author of the 1933 hapa hoale-style hit song untrimmed, pictorial endpapers heightened in gilt. With the original white “My Little Grass Shack in Kealakekuka, Hawaii”. watered paper-covered slipcase. With 25 tipped-in colour illustrations by Kay Nielsen mounted within gilt and black frames, with captioned tissue £375 [137841] guards and many other black and white drawings throughout the text. Silk ties detached and loosely inserted, the binding otherwise sharp, internally clean, the illustrations bright. A near-fine copy. Signed limited edition, number 5 of 500 copies signed by the artist, a near-fine copy of this magnificent work, hard to find in such good condition. The richness of the Danish Nielsen’s colour images for this lavish illustrated book of Norse pagan mythology was achieved by a four-colour process, in contrast to many of the illustrations prepared by his contemporaries, such as Rackham and Dulac, who characteristically utilized a traditional three-colour process. £17,500 [106880]

149 NOBLE, Gurre Ploner. In A Little Grass Shack. Nursery Rhymes From Hawaii. Honolulu: Keith-Stone, 1946 Oblong folio. Publisher’s orange paper-covered boards with colour illustrated labels to each, bound with two clear-plastic screws, titles in brown to front board label, colour pictorial endpapers. Each page with colourful crayon borders surrounding a sepia illustration by Lyn McKinney, title page printed 149

Peter Harrington 63 150

150 backed paper-covered boards, the lower red sand-grained paper, the front chromolithographically pictorial, yellow paper liner. Rubbed to (NURSERY FRIEZE.) [COX, Elijah Albert.] A Pageant of extremities, small stain to the pictorial panel clear of the image, small nick London for London’s Children Arranged for Cutting Out. to spine which is a little frayed head and tail, lacking the ties, liner chipped, [London: Underground Electric Railway Company Ltd, 1926] pamphlet a little browned, overall very good. First edition of this rare, beautifully produced work, designed “to Quad royal (100 × 128 cm). Lithograph printed in colours, title in blue. A couple of tiny expert repairs, some faint offsetting, well-preserved in enable her youthful friends, who have often admired specimens of her lovely, bright condition. skill, to become adepts in the charming art of paper flower making”. The techniques of paper flower-making are briefly explained in the Original nursery frieze poster depicting the history of the city, pamphlet, and “in the portfolio … there will be found six sheets, each produced by London Transport, starting with “The First Settlement” with a coloured representation of a bouquet … three sheets showing and ending with “London going about its business to-day”, showing the actual shapes into which the paper must be cut for the petals of Londoners, naturally enough, heading to the Underground. The artist, Elijah Albert Cox (1876–1955), designed posters for the Underground Group from 1915 to 1926. Cox studied at Whitechapel People’s Palace and the London College of Printing, going on to become a mural and poster designer and book illustrator, mostly historical and heroic adventures. He was elected to the Royal Society of British Artists in 1915. £750 [137743]

151 PEACHEY, Emma. The Little Flower Maker. London: A. N. Myers & Co, 1869 Octavo, 12-page booklet and 12 lithographed plates, six of them with hand colour, six being outlines of petal and leaf forms, all loosely inserted, as issued, in the original publisher’s green sand-grained cloth- 151

64 CHILDREN'S LITERATURE 152 152 the flowers … [finally] the sheet marked A, shows the manipulation Flower Modelling (1851), presumably not least because the intended requisite in order to perfect the flowers”. youthful audience and loose construction conspired against its An advertisement on the last page of the booklet reads: “Mrs. survival intact. A search of online institutional holdings reveals Peachey, by special appointment, Artist in Wax Flowers to the copies at the British Library and Yale only. Queen, instructs Pupils in making Wax and Paper Flowers, at 10 Berners Street, Oxford Street. Materials kept for sale at Soho £1,500 [136827] Bazaar, Counters 34 to 39”. The Little Flower Maker is considerably rarer than Emma Peachey’s better known The Royal Guide to Wax 152 PEAKE, Mervyn. Captain Slaughterboard Drops Anchor. London: Country Life, 1939 Quarto. Original decorated paper boards with green cloth spine. With the Peake designed dust jacket printed in colours. Housed in a green quarter morocco solander box. Illustrated throughout by Peake in black and white. Browning to title page and final leaf as usual but an excellent copy in the rather tanned dust jacket with some small areas of restoration at spine ends and corner folds. Rare first edition of Peake’s first book with a fine original pencil sketch by Peake on the front free endpaper, showing the pirate Captain Slaughterboard sitting on a rock holding a piece of paper with “Elizabeth” written on it in ink and below the sketch “from Doc”. This is a presentation copy from the artist’s father, Ernest Cromwell Peake MD (1874–1949), known as Doc, to his wife, Amanda Elizabeth née Powell (1875–1939), known as Elizabeth — a close and poignant association, as she died in the year of publication. The leaf is retrospectively signed by Peake at the foot, dated 1940, perhaps when he retrieved the book from his mother’s possessions. The book itself is of legendary scarcity, having been almost entirely lost in a warehouse fire prior to publication. Wartime restrictions precluded immediate reprinting and the book was not reissued until 1945. 151 £12,500 [138692]

Peter Harrington 65 153 154

153 155 (PERRAULT, Charles.) PLANCHÉ, J. R. (trans.) (POP-UP BOOK.) KUBATA, Vojtech. How Columbus Fairy Tales. London: George Routledge and Sons, 1869 Discovered America. London: Printed in Czechoslovakia for Octavo. Publisher’s decorative brown pebble-grained cloth, titles in gilt Bancroft & Co. Ltd, [c.1960] to spine and front board, pictorial designs blocked in gilt and black to Folio. Original triptych stiff card pictorial boards, illustration to inner cover spine and front board, and in blind to rear board, gilt edges, cream in light and dark blue, 8 pp. text stapled at fold, double-page pop-up spread endpapers. Engraved portrait frontispiece of Perrault, and 11 engraved with blue cloth hinge, depicting Columbus’s three ships against pictorial plates; 6 pp. publisher’s advertisements at end. Bookseller’s ticket background, volvelle in shape of ship’s wheel mounted to rear cover. (Pierce & Paterson, Quebec) to front pastedown, ink gift inscription Head- and tailpieces in black and white to text. Pop-up image size: 39 × 27 dated 1874 to frontispiece recto. Spine ends softened, extremities × 27 cm. A bit of wear to extremities, the cord rigging for the sails on the rubbed, four small nicks to front boards, front hinge cracked but firm, Santa María are still attached and the volvelle on the rear board functions else a clean, very good copy indeed. perfectly turning to reveal Columbus’s routes across the Atlantic; a fine First edition thus of Planché’s translation. This attractively copy in excellent working condition. produced edition includes “Blue Beard”, “The Sleeping Beauty”, This pop-up, in fine working condition, depicts Columbus’s “Puss in Boots”, and “The Story of Beauty and the Beast”, with three ships, the Niña, the Pinta, and the Santa María, on their illustrations by Edward Henry Corbould, William Harvey, and voyage. The designer, Vojtech Kubata (1914–1992), was a Czech James Godwin. This edition is uncommon: WorldCat only architect and artist who drew on his architectural training to gives three copies in institutions (Harvard, Minneapolis, and engineer complex three-dimensional folding scenes. “Relatively Birmingham); Library Hub adds a further three (National Trust unknown in his own time despite enormous sales in the West, Libraries, Oxford, and Dublin). he illustrated and designed more than 300 books, including the The Countess d’Aulnoy (1650/1-1705) termed her works contes de first Czech translation of Winnie-the-Pooh (1949)” (ibid.). Part of fées (fairy tales) and originated the term that is now generally used, Kubata’s Westminster Books “Panascopic Model Series”, this was but it is (1628–1703) who is generally considered originally published in 1954 by Artia in Czechoslovakia. This later the father of the genre. printing was produced for Bancroft, “the first Western publisher to market Kubata’s books, which were eventually translated into 37 £950 [137870] languages” (Grolier). Grolier Club, One Hundred Books Famous in Children’s Literature, 93. 154 £500 [123153] PERRAULT, Charles. Tales of Passed Times. Written for Children & Newly Decorated by John Austen. London: Selwyn & Blount Ltd, 1922 Quarto. Original blue paper-covered boards, titles in black with colour pictorial design of a fairy on paper label to front board. Numerous colour illustrations and line-drawings in the text by John Austen. Slight sunning to spine and edges, rubbed, a little toning to endpapers only, else a clean and bright, very good copy, without ownership marks, in the firm and square binding. First Austen-illustrated edition of Perrault’s tales, including “Little Red Riding Hood”, “Blue Beard”, “The Sleeping Beauty”, “Puss in Boots”, “Cinderella”, the illustrations in Austen’s early Beardsleyesque style. £650 [137838] 155

66 CHILDREN'S LITERATURE A festive personal gift from Beatrix Potter 156 (POTTER, Beatrix.) Christmas gift of a gilder’s set for her friend Gertrude Mary Woodward. [c.1896–1911] Gilder’s set, together 11 items: 4 booklets of transfer gold leaf from Geo. M. Whiley, interleaved with glassine and pink tissue, 3 with the original printed front wrapper; 2 gilder’s tip brushes of squirrel hair; 1 blank postcard; 1 small envelope; 3 small fibreboards, one of which is inscribed in pencil “Gold leaf 2/- book”. Wrapped in white laid paper with seated crowned watermark, inscribed by Beatrix Potter in manuscript, together with a stiff grey card wrapper addressed in another hand to “Miss G. M. Woodward, 129 Beaufort Street, London, S.W.” on printed paper label of “Madderton & Co., Ltd., Loughton, Essex, sole makers of the Cambridge colours”; together with a wood-backed chamois gilder’s cushion with leather thumb-holder to rear and remnants of the brown paper windshield 156 (215 × 142 mm). Housed together in a glass-fronted wooden oval case. Of the gold leaf booklets, 3 are mainly complete, the other disbound; brushes In her will, Potter left the sum of £50 to Gertrude, witnessed with a little hair loss, but mainly complete; white paper wrapped slightly foxed and creased where folded to contain gilder’s kit; grey card wrapper 31 March 1939, but just six months later, on 2 September, Gertrude folded and repurposed to enclose the set. Overall in excellent condition. predeceased her friend. Here, Potter appears to have put together a starter kit for A gilding set presented from Beatrix Potter to her lifelong close gilding as a Christmas gift for Gertrude, with all the equipment friend and fellow artist Gertrude Woodward, inscribed on the needed for a beginner. It includes a gilder’s cushion, several inner paper wrapper “with best wishes for Christmas & New Year booklets of both gold leaf and transfer foil to experiment with, from Beatrix Potter”. two “gilder’s tips” — thin brushes, used for the transfer of gold Gertrude Mary Woodward (1854–1939) was a professional leaf from the gilder’s cushion to the work. The design of the colour-wash illustrator who was commissioned to undertake cushion, still in use today, features a chamois leather pad with palaeontological drawings, including the infamous Piltdown a leather finger strap on the bottom, handled in a similar way to fossils. She was employed partly by the South Kensington Museum an artist’s palette. The cushion is used to hold the gold leaf while (now the V&A), where, around 1894, she met Beatrix, who spent preparing or cutting it, and the attached foldable paper (of which hours at the museum intensely drawing specimens and fossils. only a few fragments are still preserved here) acts as a windshield The two had much in common and became close friends. for the leaf. Accompanying the kit is a grey wrapper addressed Notably, when Potter decided to publish Peter Rabbit privately to Gertrude at her Chelsea home in 129 Beaufort Street, not far in 1901, she turned for advice on printers to Gertrude who from the Potters’ family home at Bolton Gardens, from the British recommended the London firm Strangeways and Sons. Potter later colourmakers Madderton & Co. Ltd. It seems probable that it recalled in a 1941 letter to her publishers: “I heard the name and originally accompanied an order of pigments posted to Gertrude, address of the printers through a friend at the N. History Museum who then repurposed it to wrap up the fragile and flighty bundle with whom I was working. Her father Dr Woodward edited the of gold leaf books more securely. Potter likely made the gift to her Geological Magazine; and she knew something about engraving and friend sometime between 1896, when Madderton & Co. became printing: you are obliged to have clay faced paper for the coloured a limited company, and 1911, by which time the census records books but it is inartistic” (Letters, 23 February 1941). that the Woodward family had moved to Arundel Gardens. Potter met Gertrude’s father Dr Henry Woodward in 1896, One of Gertrude’s sisters, Alice, was also a professional artist when he assisted her with the identification of some fossils she who worked both as a scientific illustrator and a prolific children’s had collected. He “identified Beatrix’s echinoderm ashahacia forbesi book illustrator. Through her friendship with Gertrude, Potter and explained that it came from the Lower Trigonia Grit (he also would certainly have been aware of Alice’s success. Potter’s later identified her trilobites)” (The Linnean, p. 34). Dr Woodward, biographer, Linda Lear, notes that “there is no specific reference keeper of geology at the South Kensington Museum, was an to Alice Woodward in Potter’s journal, but it is impossible to eminent naturalist and palaeontologist who created the catalogue imagine that both Alice and Gertrude did not encourage her for the British Museum’s fossils. As president of the Geological ambition to write and illustrate a ‘booklet’ for children”. Society of London in 1895, he proposed that women be allowed Journal of Beatrix Potter: From 1881–1897; Andrew Norman, Beatrix Potter: Her Inner entry, although his efforts were unsuccessful. World; Linda Lear, Beatrix Potter: A Life in Nature; The Linnean, Jan. 2000, vol. 16, p. 34. Gertrude occasionally chaperoned Beatrix during her brief courtship with Norman Warne. After Norman’s death, their £4,500 [133403] friendship continued, with Gertrude visiting her in the Lake District. She was later one of the witnesses at Beatrix’s small wedding to William Heelis on 15 October 1913. Three weeks before her wedding, Potter wrote to Gertrude on her way down from the Lake District that she was returning to London reluctantly: “I might be tempted to bolt … I was feeling the going away very much, but William has actually been invited up for a weekend soon … Please give my kind regards to Dr Woodward. My parents send theirs & my mother hopes to see you soon — they are nearly always in at 5 o’clock tea, but I dare say I may see you first if I’m near S.K. museum” (Letters, 24 September 1913). 156

Peter Harrington 67 157, 158, 159, 160

157 159 POTTER, Beatrix. The Tailor of Gloucester. POTTER, Beatrix. The Tale of Jemima Puddle-Duck. London: Frederick Warne and Co., 1903 London & New York: Frederick Warne and Co., 1908 Sextodecimo. Original floral patterned cloth, title to front cover gilt Sextodecimo. Original green boards, titles to front board and spine in on white cloth label, pictorial endpapers. Frontispiece and 26 colour white, pictorial label with illustration to front board, pictorial endpapers. illustrations by the author. Contemporary Christmas gift inscription to With the printed glassine dust jacket. Frontispiece and 26 colour front free endpaper. Light browning to spine and board edges, slight illustrations by the author. Spine very gently rolled, slight rubbing and bumps to extremities, an excellent copy. creasing to spine ends and very tips, light browning to spine and board edges, tiny puncture to rear inner hinge; a very good, notably bright, copy First trade edition, deluxe issue bound in art fabric, the first in the jacket with chips and creasing to edges, loss to spine ends, closed issue with single-page endpapers. Only this work and The Tale tear to foot of rear panel. of Squirrel Nutkin were issued in the present patterned cloth, First edition, in the rare glassine dust jacket, listing only books provided by Potter’s grandfather’s calico printing factory in published prior to 1908 and with the price of 1/- on the spine panel. Manchester, at her request. The art fabric binding, which (The first three impressions are otherwise indistinguishable, so Potter referred to as “a flowered lavender chintz, very pretty”, the presence of the jacket is crucial in this instance.) has vellum labels used for the title and author’s name, as it Linder p. 427; Quinby 14. was impracticable to print directly onto the fabric. The Tailor of Gloucester was first printed privately in 1902, with the author £4,500 [130716] adding 16 new illustrations for the present trade edition, which was published in October 1903. 160 Linder p. 423; not in Quinby. POTTER, Beatrix. The Tale of Timmy Tiptoes. £4,000 [118305] London: Frederick Warne & Co., 1911 Sextodecimo. Original dark brown boards, titles to front cover and spine 158 in white, front cover with onlaid paper panel with colored illustration of a squirrel in a red jacket, publisher’s glassine dust jacket, printed in black to POTTER, Beatrix. The Tale of Benjamin Bunny. the flaps and the rear panel with “1/-” price printed to the base of the spine. London: Frederick Warne & Co., 1904 Colored frontispiece and 26 full-page illustrations, uncoloured line vignette Sextodecimo. Original light brown moiré cloth expertly recased, titles on title by Beatrix Potter. Book, a near fine copy, dust jacket chipped to to spine and front board in gilt, elaborate floral decoration to front corners, loss to 1/5 of spine, tears to edges, small hole to front panel. board in gilt, pictorial label to front board, illustrated endpapers, edges First edition, rare in the publisher’s glassine dust jacket. The gilt. Colour frontispiece and 26 colour illustrations by the author. Gift story of Timmy and Goody Tiptoes is the only Beatrix Potter story inscription to front free endpaper. Spine minimally cocked, rubbing to apparently set in North America — although this is implicit rather extremities, touch of wear to very tips, crease to upper tip of frontispiece; than stated anywhere in the book. All the main animal characters a very good copy indeed. are indigenous to North America: grey squirrels, chipmunks, First edition, deluxe issue. As in the trade issue, this copy has the and a “large bear”, but the waters are muddied somewhat by following first impression variants on page 15: “muffatees” (as the presence of Yellowhammers (or Emberiza citrinella, the birds opposed to “muffetees” in the second issue onward) and “we” in which sing “Little bita bread and-no-cheese!”) whose range Roman type (as opposed to italics in the second issue onward). includes Europe and much of Asia but not America. Linder, p. 424; Quinby 6. Linder p.429; Quinby 20. £4,000 [121248] £2,750 [138693]

68 CHILDREN'S LITERATURE 161, 162, 163

161 a further leaf, substituted the one for the other and had this hybrid POTTER, Beatrix. The Tale of Mr. Tod. London and New plainly bound. Potter took the opportunity to replace the printed dedication “To Henry” with several illustrations of her pet dogs. York: Frederick Warne & Co., 1912 The first UK trade edition did not appear until 1952. Sextodecimo. Original grey boards, titles to front cover and spine in dark Linder p. 431; Quinby 29. brown, colour pictorial onlay to front cover, colour pictorial endpapers. Housed in a brown quarter morocco solander box by the Chelsea Bindery £12,000 [105980] with titles in gilt direct to spine. Colour frontispiece, 14 similar colour plates, and numerous black-and-white in-text illustrations by the author. 163 Slight wear to corners, boards a touch bowed, light finger-soiling, else a very good indeed, notably bright copy in a firm biding. POTTER, Beatrix. The Tale of Samuel Whiskers. First edition, presentation copy, inscribed on the front free Or, The Roly-Poly Pudding. London: Frederick Warne & Co. endpaper: “For Rose Hedges from Miss Potter. Wishing her Ltd, [c.1941] a Merry Christmas 1912.” Rose Hedges was in service to Beatrix Sextodecimo. Original red boards, spine and front cover lettered in white, Potter’s mother at the time of receiving this book. pictorial label to front cover, pictorial endpapers. Frontispiece, 17 colour Linder p. 429; Quinby 21. plates, outline illustrations in the text by the author. Spine slightly faded, tiny spot of wear to foot of spine, minor foxing to fore edge. A very good, £5,000 [137903] bright, copy. Inscribed by the author on the half-title, “Beatrix Potter, 162 Christmas 1941”. Though unmarked as such, this copy was [POTTER, Beatrix.] HEELIS, Beatrix. The Fairy originally owned by Margaret Coward, a child who lived at Broomriggs Cottage in Near Sawrey, less than a mile from the Caravan. Philadelphia: David McKay Co., 1929 author’s Lake District home, Hill Top Farm. Potter bought the Large octavo. Original green boards, illustration pasted down to front working farm in 1905 and lived there until her death in 1943, just board, gilt titles to spine. With the dust jacket. Housed in a red quarter two years after this copy was inscribed. Over the years, Potter morocco solander box by the Chelsea Bindery. 6 colour and numerous gave many of her books to the villagers and their children. The monochrome illustrations in the text by the author. Light bumped to lower character of John Joiner, the terrier who removes the floorboard end of spine, light occasional spotting to pages, in the dust jacket with light to release Tom, was based on young John Taylor, a Sawrey spotting, light wear along extremities, chips to ends of spine, closed tears along spine folds. A very good copy. carpenter and the son of the village shopkeepers. This is a later printing of the title first published in 1908 Signed limited edition, number 48 of 100 copies signed by in a large format as The Roly-Poly Pudding. In 1926 Frederick the author. The bibliographic history of this book is charming Warne decided to publish it in the small format consistent and endearingly amateurish. Potter considered the story of a with other books in the same series, and the title was changed miniature animal-run travelling circus as “too personal [and] to The Tale of Samuel Whiskers. autobiographical” for her comfortably to allow publication in England. She arranged for the Philadelphia publishing house £2,000 [124768] of David McKay to produce a nicely proportioned and illustrated edition. However, due to reciprocal arrangements between the US and England, publication in one nation implied a consequent relinquishment of rights in the other. Potter therefore took 100 sets of sheets from the US edition and had the local printer run off 100 copies of an altered first signature (8 pages), together with

Peter Harrington 69 164 165

164 edition format and it immediately established him as the leading PULLMAN, Philip. His Dark Materials. London: Scholastic, illustrator of lavishly produced gift books in the Edwardian era. In March 1905 Rackham’s original pictures were exhibited at the 1995–1997–2000 Leicester Galleries, which led to this deluxe edition being fully 3 separately published works, octavo. Northern Lights, original purple cloth, subscribed before the exhibition had closed. The exhibition spine lettered in gilt; The Amber Spyglass, original black cloth, spine and also attracted the attention of J. M. Barrie, who commissioned front cover lettered in gilt, orange endpapers; The Subtle Knife, original green Rackham’s next book. cloth, spine lettered in gilt, gilt knife design to front cover. With the dust Latimore & Haskell p. 26; Riall pp. 69–70. jackets. Northern Lights a little rubbed, couple of marks to boards, spine ends slightly bruised, contents mildly toned. A very good set, contents £8,500 [123180] clean and unmarked, in the bright sharp, jackets, not price-clipped. First editions, signed by the author on the title page in each volume. Northern Lights has the first issue points on the jacket (£12.99 price, “Point” on the spine panel, and 7–9 Pratt Street on the rear flap); it does not have the Carnegie Medal sticker, sometimes taken to be a sign of later state. Pullman’s epic trilogy of fantasy novels is recognized as one of the best children’s novels of the 20th century. The Amber Spyglass won the 2001 Whitbread Book of the Year award, becoming the first children’s book to do so, while the trilogy as a whole came third in the BBC’s Big Read survey of 2003. An eight-part BBC adaptation of Northern Lights premiered on 3 November 2019. £3,500 [137826]

165 (RACKHAM, Arthur.) IRVING, Washington. 165 Rip Van Winkle. London: William Heinemann, 1905 Quarto. Original vellum, titles to spine and front cover in gilt, pictorial 166 image blocked in gilt to front cover, top edge gilt, others untrimmed. Colour frontispiece and 49 colour plates mounted on brown paper with captioned RACKHAM, Arthur. Original watercolour from Peter tissue guards, black and white illustrations in the text, all by Rackham. Pan in Kensington Gardens: “He passed under the Original ties laid-in at rear. Spine slightly toned, covers bowed, loss to vellum at bottom tip of front cover, foxing to prelims. An excellent copy. bridge and came within full sight of the delectable Signed limited edition, number 26 of 250 copies signed by the Gardens”. London, 1906 artist, together with an original pen and ink portrait of Rip Ink and watercolour on paper (179 × 258 mm), within original buff card Van Winkle by Rackham, dated 17 July 1918. This was the first mount, outlined in black and grey ink and gold paper, glazed with UV book wholly illustrated by Rackham to be issued in a limited- protection glass in the original Leicester Galleries gilt frame (430 × 528

70 CHILDREN'S LITERATURE mm). Small chip to lower right corner of frame, few faint marks to mount, tape renewed around the verso of the frame where the watercolour has been removed for examination; excellent condition in the original frame. Original watercolour, signed and dated by Rackham at the top right, featuring the scene where Peter steers his little nest- ship into Kensington Gardens. The painting, along with all the other originals from the book Peter Pan in Kensington Gardens, was exhibited by Ernest Brown & Phillips at the Leicester Galleries, December 1906. There are two exhibition labels on the verso: the Ernest Brown & Phillips label and another printed exhibition label with the date and other details entered by hand, noting this as no. 21 in the exhibition, sold to the Hon. Walter James (Walter John James, 3rd Baron Northbourne (1869–1932). £47,500 [138694]

167 (RACKHAM, Arthur.) BARRIE, J. M. Peter Pan in Kensington Gardens (From “The Little White Bird”). London: Hodder & Stoughton, 1906 Quarto. Original vellum, titles to spine and front cover gilt, design blocked in gilt to front cover, map endpapers, top edge gilt, others untrimmed, yellow ribbon ties renewed. Colour frontispiece and 49 colour plates 167 mounted on brown paper with captioned tissue guards, black and white illustrations in the text, all by Rackham. Spine ends a little darkened, tiny illustrator. The text was extracted, with minor revisions, from Barrie’s split to head of spine, covers a little bowed (as often), text leaves with slight wave and faint scattered foxing, plates bright and clean. A very good copy. book-within-a-book in his London story-collection for adults, The Little White Bird (1902), and published specifically as a children’s gift Signed limited edition, number 267 of 500 copies signed by the book. The play was unpublished until 1928. artist. After the enormous success of the play Peter Pan (which opened Latimore & Haskell pp. 27–28; Riall p. 74. on 27 December 1904 and broke all previous theatrical records), Barrie sanctioned this publication in collaboration with Rackham as £6,000 [125705]

166

Peter Harrington 71 168

168 169 (RACKHAM, Arthur.) BARRIE, J. M. RACKHAM, Arthur. The Ingoldsby Legends. London: J. Peter Pan Portfolio. From Peter Pan in Kensington M. Dent and Company, 1907 Gardens. London: Hodder and Stoughton Ltd, 1912 Large octavo (252 × 200 mm). Contemporary art nouveau-style “vellucent” Elephant folio. Original full vellum, titles to front board gilt, new binding by Cedric Chivers of Bath in green morocco, spine and front cover cream silk ties. In a facsimile of the original box. With 12 tipped in lettered and tooled in gilt, hand-painted vellum vignette of Franciscan and mounted and signed plates reproduced from the original artwork monk and crow to front cover, turn-ins ruled in gilt, green marbled by Arthur Rackham. Moderate soiling to boards with some spotting, corners and ends of spine bumped, plates with slight wave to them. A very good copy. Number 3 of 20 copies signed by Arthur Rackham on each plate, with the book signed by the publisher and engraver/printer on the limitation page. Although the edition was limited to 100 copies, only about 20 were signed throughout by Rackham. Published to capitalize on the popularity of the stage production, this is the only suite of Rackham’s plates to be issued in an oversize portfolio format, with 12 of the artist’s personal favourites from Peter Pan in Kensington Gardens reproduced at their original size. Of Rackham’s designs Barrie wrote, “I like best of all the Serpentine with the fairies, and the P eter in his night-gown sitting in the tree. Next I would [sic] the flying Peters, the fairies going to the ball (as in the ‘tiff ’ and the fairy on cobweb)—the fairies sewing the leaves with their sense of fun (the gayest thing this) and your treatment of snow” (Ray 329). It’s possible that Barrie’s comments actually influenced Rackham’s selection here, as this portfolio includes all of the images the artist mentioned. Latimore & Haskell pp. 39–40; Riall p. 113. £22,500 [113285] 169

72 CHILDREN'S LITERATURE 170 endpapers, top edge gilt. Colour frontispiece and 23 colour plates tipped- 170 in on dark green paper, 12 tinted plates on plain paper, illustrations in the text. Spine and edges of covers faded to brown, rubbing to joints, 50 mm RACKHAM, Arthur. Original watercolour for tear to pp. 477/8, some pages unopened. An excellent copy. A Midsummer Night’s Dream (“–down topples she”). 1908 First revised edition, with the illustrations expanded and redrawn Ink and watercolour on card (175 × 240 mm). Signed and dated by the artist at the upper right-hand corner, with his caption outside the by Rackham from the first edition of 1898 so that there were margin on the bottom left. Glue residue to edges from previous framing, “better and larger reproductions, including a greater number sometime removed. Very good condition. Mounted and framed with UV of illustrations in colour” (Prefatory Note). acrylic (590 × 490 mm). The binding is a good example of Chivers’s vellucent technique, An original watercolour by Rackham for his 1908 edition of which he developed in the early 1900s. In contrast to the earlier A Midsummer Night’s Dream, signed and dated by the artist at the method used by Edwards of Halifax, the painting was not done on upper right-hand corner, with his caption outside the margin the underside of the transparent vellum, but on paper which was on the bottom left. attached to the binding and covered with vellum. The surface of the The illustration depicts a section of Act II, Scene 1, in which Puck recounts a trick he plays on human-folk where he disguises vellum was then tooled in gold, enhancing the impressive effect. himself as a chair only to vanish when sat upon. It appears on page Latimore & Haskell p. 11; Riall p. 26. 27 of the published work as a full-page line drawing. £1,800 [123254] In A Midsummer Night’s Dream, Rackham “developed his gift for drawing witches, gnomes, fairies, and anthropomorphized trees and brought them to a pitch of vivid characterization, sometimes with an unsettling frisson of horror” (ODNB). £15,000 [130494]

Peter Harrington 73 171

171 (RACKHAM, Arthur.) SHAKESPEARE, William. A Midsummer-Night’s Dream. London: William Heinemann; Doubleday, Page & Co. New York, 1908 172 Quarto. Original tan cloth boards, gilt titles to spine, gilt titles and vignette to front cover. With the dust jacket. Colour frontispiece and 39 colour plates mounted on tan paper with captioned tissue guards, black and of politician, keen horologist, and mechanic Sir David Lionel Goldsmid- white drawings to the text, by Rackham. Spine slightly cocked, edges and Stern-Salomons (1851–1925), Baronet of Broomhill, Tunbridge Wells, to front endpapers lightly foxed, occasional spot of foxing to contents. A near-fine free endpaper. Spine slightly sunned, a trifle rubbed, light foxing and toning copy, in a lovely example of the dust jacket, spine ends and tips lightly nicked. to free endpapers but not affecting the pastedowns, the contents sharp and First Rackham edition, scarce with the jacket in such lovely fresh, one silk page marker loose. An attractive, crisp copy. condition. First Rackham edition thus, signed limited issue, number 505 of Latimore & Haskell p. 32; Riall p. 87. 750 copies signed by the artist. Rackham’s first version of Grimm’s Fairy Tales, published in 1900, had no signed limited edition. £2,000 [137084] This is a revised and enlarged edition with some new illustrations, as well as others redrawn and coloured. 172 The translator, Mrs Edgar Lucas, was born Alice Erichsen, the (RACKHAM, Arthur.) GRIMM, [Jakob & Wilhelm]. daughter of Hermann Erichsen, a Danish businessman who had The Fairy Tales of the Brothers Grimm. Translated by settled first in , then in Upper Tooting, where Alice met her husband. She made successful translations from the Mrs. Edgar Lucas. London: Constable and Company Ltd, 1909 Danish of Hans Christian Andersen and Henrik Pontoppidan. Her Quarto (284 × 224 mm). Bound by Riviere & Son in blue half morocco sister was the artist and illustrator Nelly Erichsen (1862–1918). and vellum boards, publisher’s pictorial gilt vellum covers preserved and Latimore & Haskell p. 34; Riall p. 97. mounted on pastedowns, titles to spine in gilt, raised bands, top edge gilt, others untrimmed, two brown silk page markers. Colour frontispiece and £3,750 [137884] 39 colour plates mounted on plain paper, with captioned tissue guards, numerous full-page and in-text black and white illustrations, all by Rackham, title printed in red and black. Engraved armorial bookplate, dated 1908, 173 RACKHAM, Arthur. [Original Rackham-illustrated vellum binding:] The Open Road. Compiled by E. V. Lucas. London: Methuen & Co. Ltd, 1910 Octavo (164 × 108 mm). Quarter brown sheep, vellum-covered boards, spine lettered in blind, two original pen-and-ink drawings by Rackham applied directly to the front cover, top edge gilt, marbled endpapers, red silk page marker. Spine a little rubbed at extremities, a little spotting to rear cover. In excellent condition. A test piece by Rackham, practicing his technique for drawing 172 directly onto vellum, possibly in preparation for a private

74 CHILDREN'S LITERATURE 173 174 commission. The illustration features two unconnected design elements: vignettes drawn in black and coloured inks, each signed by Rackham with his initials, and very much in the style he used for the headpieces in the Haddon Hall library (1899–1903). The top scene depicts a delicately-tinted castle backed by billowing clouds enclosing a partially opened scroll, with marbled colour lightly applied, a spray of brambles to the right-hand side of the image, and two swallows in flight in the foreground, with Rackham’s initials next to the left-hand swallow. The scroll was evidently 174 designed to contain lettering, although it has been left blank here. The lower image, situated at a right-hand angle as if to enclose a 174 portion of text, depicts a wood nymph entwined in a thorny spray (RACKHAM, Arthur.) DICKENS, Charles. of roses and brambles, with Rackham’s initials worked into the foliage below the nymph. A Christmas Carol. London: William Heinemann; It is probable that Rackham purchased this plain vellum- J. B. Lippincott Co., New York, 1915 bound book for this purpose while holidaying in the village Large quarto. Original vellum, titles and pictorial decoration to spine and of Walberswick, Suffolk, where he often stayed (the book was front cover, pictorial endpapers, top edge gilt, others untrimmed, yellow originally “acquired from a private source in Southwold,” the ribbon ties renewed. Colour frontispiece and 11 colour plates mounted nearby town). The binding itself, executed in an amateur, though on thick brown paper, with captioned tissue guards, black and white illustrations in the text, all by Rackham. Gift inscription to first blank. Spine not unappealing style, was likely originally a gift from two pupils gilt a little rubbed, faint offsetting from plates; a very good, bright copy. to a governess or tutor—it bears a gift inscription on the first Signed limited edition of the first of Dickens’s works to be blank in childish handwriting, “To Miss Daniel, with love from illustrated by Rackham, number 448 of 500 copies signed by the Agatha & Edith”. The book itself was first published in 1899 and artist for sale in Great Britain, Ireland, and the Colonies, with an this is a later printing. additional 25 copies reserved for presentation. The drawing has been authenticated by both Robin Greer, Latimore & Haskell, pp. 44–5; Riall, pp. 124–5. president of the Arthur Rackham Society, and Richard Riall, Rackham’s bibliographer, and is accompanied by a letter of £5,000 [125707] provenance. We have not traced any other vellum binding by Rackham illustrated with this unusual technique of applying colour directly to the surface of the vellum. The more commonly encountered method for illustrating vellum is the vellucent technique, developed by Cedric Chivers of Bath sometime around 1903 (see item 169). Several of Rackham’s works were put into Chivers bindings at an early date, though Rackham did not, as far as we know, execute any vellucent bindings himself. See Scott, Artists at Walberswick: East Anglian Interludes 1880–2000, pp. 63–4. £4,500 [117312]

Peter Harrington 75 175 176

With an autograph postcard from the author later joined the committee of Penarth Yacht Club. He had e vidently written to the author to express his appreciation of 175 the series—the majority of which were RANSOME, Arthur. . published by the time of their correspondence—and share his London: Jonathan Cape, 1932 love of sailing. This is the third book in the series, and the first which Ransome himself illustrated. Octavo. Original green cloth, title to spine and front cover in gilt, Hammond A27(a). illustrated endpapers. With the dust jacket designed by Clifford Webb. Black and white illustrations by the author. A fine copy in the unusually £5,500 [122906] bright and sharp dust jacket, spine just faintly toned, panels slightly soiled and a little rubbed, couple of short closed tears to edges, spot of abrasion to rear panel, but overall presenting very nicely. 176 First edition, together with an autograph postcard from the REY, Margaret & H. A. Pretzel. author to a young fan, “I am glad you liked them. And thank [New York:] Harper & Brothers, 1944 you for not asking questions. Best wishes for fair weather! Large octavo. Original red cloth, titles and puppy motif blocked in black to ”. The postcard, postmarked 4 July 1945 from front board. With the dust jacket. Colour illustrations throughout by H. A. Coniston, features a printed border of Swallows and Amazons Rey. Minor bumping and rubbing to corners, otherwise bright and firm, illustrations by Ransome. internally clean, the colours sharp, and without marks. A near-fine copy in The recipient, Brian Field-Hyde, was a 12-year-old student the very good jacket, some wear with a little loss to extremities, a few edge- at Tettenhall College, Wolverhampton, and a keen sailor who splits, price-clipped. First edition, rare in such good condition and with the dust jacket. From the authors of Curious George. £1,000 [138079]

175 176

76 CHILDREN'S LITERATURE 180

First edition, inscribed by the author on the front free endpaper, “To June, Love x” . A tribute to the jazz saxophonist Charlie “Bird” Parker in the form of a children’s book, “this story was compiled by one Charlie to a late and great Charlie” (preface). £2,000 [136537]

180

177 ROSSETTI, Christina G. Sing-Song. A Nursery Rhyme Book. London: Macmillan and Co., and New York, 1893 177 Octavo. Original green ribbed moiré silk cloth, titles gilt to spine, all edges gilt. With 120 illustrations by Arthur Hughes, engraved by the ROBINSON, W. Heath. Bill the Minder. Brothers Dalziel. Spine a little toned, extremities somewhat rubbed, some London: Constable & Co. Ltd, 1912 occasional minor spotting but otherwise clean within, a very good copy. Quarto (287 × 228 mm). Original vellum, titles and illustrations to spine Enlarged edition, presentation copy inscribed by the author: and front cover gilt, top edge gilt, others untrimmed, renewed yellow silk “Henry Edward Stewart, Xmas 1893, from Christina G. Rossetti”. ties. Illustrated title page, 16 colour plates with captioned tissue-guards, The recipient was the infant son of the Rossetti family’s doctor, Sir numerous monochrome illustrations in the text, all by W. Heath Robinson. Edward Stewart, who especially attended on Christina. Rossetti’s Foxing to prelims and endmatter; an excellent copy. nursery rhymes were first published in 1872, but expanded for this Signed limited edition, number 253 of 380 copies signed by edition, retaining the charming illustrations of Arthur Hughes. the author and illustrator, who in this work “notably in the line £4,500 [136358] drawings, surpassed himself ” (ODNB). £2,500 [118626]

178 (ROBINSON, W. Heath.) HUNTER, Norman. The Incredible Adventures of Professor Branestawm. London: John Lane The Bodley Head Ltd, 1933 Quarto. Finely bound by the Chelsea Bindery in royal blue morocco, titles and decoration to spine, raised bands, single rule to boards, inner dentelles, marbled endpapers, gilt edges. With coloured frontispiece and numerous black and white illustrations by W. Heath Robinson. The occasional minor blemish, an excellent copy in a fine binding. First edition of the first Professor Branestawm title, the first in an unusually extended series, written over a 50-year period, and the only one illustrated by Heath Robinson. £1,500 [138696]

179 (ROLLING STONES.) WATTS, Charlie. Ode to a Highflying Bird. London: Beat Productions, [1964] Small octavo. Original white boards printed in black. Housed in a custom grey cloth chemise with titles in gilt to spine. Illustrated in colour by the author. Slight wear to corners, boards a little rubbed; a near-fine copy, with the price label of “Seven Shillings” tipped to the front free endpaper. 179

Peter Harrington 77 181

181 ROWLING, J. K. Harry Potter and the Philosopher’s Stone. London: Bloomsbury, 1997 Octavo. Original pictorial wrappers, titles to front cover in yellow, white and dark green, titles to spine yellow, white and black. Housed in a red quarter morocco solander box by the Chelsea Bindery. Ink ownership inscription reading “Paul Heath, 5 Perkins” to front pastedown. Spine 182 sunned, laminate lifting at edges, mostly to front cover, light toning and spotting; a fair copy. Playfully inscribed for a young fan First edition, paperback issue, inscribed by the author “To Paul, Best Wishes, J K Rowling” on half-title and dated “18/3/98”. 182 Rowling signed this copy during a school visit in Wales for a young ROWLING, J. K. Harry Potter and the Philosopher’s boy who had been given the book as a present by his aunt. Stone; [together with:] — Harry Potter and the This is one of 5,150 copies in wrappers, with all the requisite points of the first printing: Bloomsbury imprint, 10-down-to–1 number Chamber of Secrets. London: Bloomsbury, 1997 & 1998 line, the list of equipment on p. 53 with “1 ” appearing twice Two separately-published works, octavo. Philosopher’s Stone in original in the list, and the misprint “Philospher’s” on the back cover. pictorial wrappers, Smarties sticker to front cover, issued without a dust It was published simultaneously with the casebound issue of 500 jacket. Chamber of Secrets in original pictorial boards, with the dust jacket. Philosopher’s Stone slightly faded at spine, covers slightly creased, light copies. This copy has the “1997 Gold Award Smarties Book Prize” creasing to top corners of some pages; a very good copy. Chamber of Secrets sticker on the front cover. lightly bumped at spine ends, small mark to fore edge, a couple of marks Errington A1 (aa). Grolier Club, One Hundred Books Famous in Children’s Literature, to front free endpaper and half-title; an excellent copy in the dust jacket, 100. lightly faded at spine panels with very slight creasing at spine panel ends. £30,000 [135240] First edition of Chamber of Secrets; first edition, eleventh impression of Philosopher’s Stone; both inscribed by the author at a signing for Iain Dallas when he was a nine-year-old boy. He had written various spellings of his name in pencil on the title page of Philosopher’s Stone: “Iain / Eoin Dallas / Ian Dallas / Ean Dallas”. Rowling, seeing this, inscribed the title page of Philosopher’s Stone: “To Iain (not Eoin / Ian or Ean) with best wishes J. K. Rowling”. She then inscribed the copy of Chamber of Secrets on the front free endpaper, “To Iain (how about Eeyan?) J. K. Rowling”. A charmingly inscribed set of books, showing Rowling enjoying interacting with her young fans at a time when her fame was rapidly growing. Errington A1(a), A2(a). 182 £5,750 [123527]

78 CHILDREN'S LITERATURE 183, 184, 185

183 First edition, inscribed by the author on the title page: ROWLING, J. K. Harry Potter and the Chamber of “To George, J. K. Rowling”. It is uncommon to encounter this title inscribed: Rowling did a signing tour for Goblet of Fire but the Secrets. London: Bloomsbury, 1998 vast majority of autographed copies were simply signed. Octavo. Original pictorial boards. With the pictorial dust jacket. Contents Errington A9(a). very faintly toned as often, a near-fine copy in the bright jacket with very slight rubbing to extremities. £3,000 [124530] First edition. Errington A2(a). 186 £2,250 [132680] SALTEN, Felix. Bambi. New York: Simon and Schuster, 1928 Octavo. Original green vertical-ribbed cloth, spine lettered gilt and with 184 thick gilt rule at head and tail, front cover with deer motif in gilt in central panel, pictorial endpapers, top edge yellow. Frontispiece and 25 plates by ROWLING, J. K. Harry Potter and the Prisoner of Kurt Wiese, vignette title page printed in black and green. Spines dulled Azkaban. London: Bloomsbury, 1999 and slightly rolled. A very good copy. Octavo. Original pictorial boards. With the dust jacket. A fine copy in the First edition in English, with a photographic portrait of the bright jacket. author mounted opposite the title page, inscribed by him “for Mr Nelson Craig cordially Felix Salten, 1935”. The portrait is First edition, with the requisite points: the number series on the same as that used by Salten on his press card for the Union the copyright page from 10 down to 1, “Joanne Rowling” as the of Foreign Correspondents in Vienna (issued December 1932). copyright holder, and the dropped line (line 24) of text on page 7. Inscribed photographs of Salten are extremely uncommon. It is generally held that there were 2,500 copies of the first state. In Bambi was originally published in German in 1923. the second state, the dropped text is corrected, and the copyright attributed to “J. K. Rowling”. £3,500 [107906] Errington A7(a). £2,500 [131370]

185 ROWLING, J. K. Harry Potter and the Goblet of Fire. London: Bloomsbury, 2000 Octavo. Original pictorial boards, titles to spine and front cover in blue and black. With the dust jacket. An excellent copy in the dust jacket, tiny indentation on front panel.

185 186

Peter Harrington 79 187

187 argued, proved that demand for women writers was growing, and SAVIGNAC, Alida de. Les Contes Bleus. that women “no longer needed to hide behind the masculine name whereas men ‘do us the honour of disguising themselves Paris: Louis Janet, [c.1830] as women’” (quoted in Morgan, p. 220). Two volumes bound in 6 as issued, trigesimo-secundo. Original pink moiré- See Véronique Chagnon-Burke, “‘A Career True to Woman’s Nature’: effect paper-covered boards housed in two side-by-side compartments in Constructing the Woman Artist in France’s Midcentury Feminine Press”, in the tray-lid box of issue, the lid with mounted hand-coloured mezzotint Wendelin Guentner, ed., Women Art Critics in Nineteenth-Century France (University illustration of a ruined castle within a hand-painted border of animals of Delaware Press, 2013), pp. 117–134; Cheryl A. Morgan, “Unfashionable on a background of intertwined trees and flowers, en grisaille on a black Feminism? Designing Women Writers in the Journal des Femmes”, in Dean de la paper, top of the lid and tray edged with gilt embossed frieze of cherubs and Motte & Jeannene M. Przyblyski, eds., Making the News: Modernity & the Mass Press acanthus, pale cream silk ribbon “lifters” intact. Each volume with a vividly in Nineteenth-Century France (University of Massachusetts Press, 2009). hand-coloured engraved frontispiece, tissue guards present, one of them after Colin, one after Westall. Light wear to extremities of volumes; box a £1,250 [125728] little worn with rubbed corners, one corner professionally repaired after split, lid professionally relined and internally repaired at corners. Remains 188 highly attractive and in very good condition. First edition of this charming set of instructive tales for children by (SENDAK, Maurice.) BOND, Gladys Baker. the French bluestocking Alida de Savignac (1790–1847). Volume I Seven Little Stories on Big Subjects. comprises three stories, each bound separately: “La Petite Malade New York: Anti-Defamation League of B’nai B’rith, [1955] imaginaire”, “Juliette à Rome, ou les histoires du temps passé”, Seven volumes, duodecimo. Original printed wrappers, wire-stitched as and “Camille”. Volume II is similarly divided: “La Veillée”, issued. With the original box. Each volume with cover illustration and “Chacune son défaut”, and “Lettres de Juliette à Marguerite”. vignette line drawings by Maurice Sendak. Box a little rubbed and showing WorldCat locates just two complete sets, at the Bibliothèque light signs of handling, blue biro inscriptions on base (reproducing nationale Française and the Morgan. Savignac was a strong advocate of women’s education and a prolific journalist who contributed regularly to publications which explicitly celebrated women’s writing, such as the Journal des Dames and the Journal des Femmes. She was “the perfect embodiment of how education could allow a woman to maintain her social position” (Chagnon-Burke, p. 13). From a middle-class family, her father died when she was 14, and the family fell on hard times. However, Savignac was able to maintain her social status as one of the founders, along with Jeanne-Justine Fouqueau, of the Journal des Demoiselles, for which she also wrote travel narratives (récits de voyages). In her reviews, Savignac advised her young readers to admire female artists and take them as role models. She also encouraged them to attend the Salon. Such journals, Savignac 188

80 CHILDREN'S LITERATURE 190 signatures from the Hollywood Walk of Fame, including “Marilon 189 Monrow”). A couple of marks to covers, contents foxed. A very good set. SENDAK, Maurice. Where the Wild Things Are. First editions. “The tales deal with conflicts children face, particularly in regard to bullying and physical violence. Sendak, New York: Harper & Row, 1963 then a self-taught artist in his late twenties just beginning to try Oblong quarto. Original cloth-backed pictorial paper boards. With the his hand at illustration, supplied the cover art and several line Sendak-designed dust jacket. Housed in a turquoise quarter morocco vignettes. One imagines that Sendak’s parents were very happy solander box by the Chelsea Bindery. Illustrated throughout by Sendak. to hear about his Seven Stories gig” (Barry, pp. 88–89). Light residue from bookplate removal to front pastedown, minute crease at corner of pp. 7/8, book block ever so slightly shaken. A near-fine copy in the Born in 1928 in , to Polish Jewish parents, Sendak was jacket, front flap price-clipped at foot as issued, first-issue price of $3.50 keenly aware as a child of what was happening in Europe during at head of flap intact, minor toning, small chips and nicks at extremities, the Second World War. Much of his mother’s family had emigrated short closed tear at head of front panel and light creasing at head of rear and been saved from the Holocaust, but his father’s family hadn’t panel, small pencilled notation to rear panel. fared as well. As a teenager, Sendak pored over old photographs First edition, inscribed by the author on the half-title: “For Janet of his lost relatives and he told the New York Times in 2006, “the Anderson, Maurice Sendak 4/15/82”. It has the ticket for a book Holocaust has run like a river of blood through all my books”. signing at Newcomb Hall Bookstore at the University of Virginia The fact that one of his first paying jobs as an artist was a series loosely inserted. The ticket is signed by Janet Anderson on the of pamphlets for the ADL cannot be surprising. Institutionally back—Anderson served as a book designer at the University of uncommon: WorldCat locates sets at only seven international Virginia Press. holdings (all in the US); none are listed on Library Hub among There were multiple issues of the book, but this copy is the British and Irish institutional libraries. earliest issue, distinguished by the number Hanrahan A15. Rebecca Rego Barry, Rare Books Uncovered: True Stories of Fantastic 63–21253 to the title page, the codes 40–80 and 1163 to the front Finds in Unlikely Places, 2018, pp. 88–89 flap, and the absence on the rear flap of the mention of the £975 [126954] Caldecott Award bestowed upon the book on publication. Where the Wild Things Are was criticized at the time of publication for its darker elements, but was soon acclaimed as a triumphant piece of both children’s storytelling and book design. It has remained a classic of 20th-century children’s literature, and was adapted into a film in 2009. Hanrahan A58. Grolier Club, One Hundred Books Famous in Children’s Literature, 97. £17,500 [133220]

190 SENDAK, Maurice Off to Bed without their Supper. [From Where the Wild Things Are.] Harper & Row, 1971 Sheet size: 26.5 × 58.0 cm. Original process lithograph on white wove paper. Very good condition. Edition of 200, inscribed in pen by the author “To Jerry with Pleasure! Maurice Sendak May 78” on the lower right. This image from Where the Wild Things Are was created in 1971 as part of a project with 19 different images from eight different books, comprising Maurice Sendak’s favourite pictures, those that he felt could exist on their own without text, for framing or hanging on the wall. 189 £2,250 [121849]

Peter Harrington 81 192 193

191 192 SERRAILLIER, Ian. The Silver Sword. SEUSS, Dr. The Cat in the Hat. London: Jonathan Cape, 1956 New York: Random House, 1957 Octavo. Original orange boards, title and vignette to spine in black. With Small quarto. Original non-laminated pictorial paper-covered boards. With the dust jacket. Colour frontispiece and illustrations to text by C. Walter the pictorial dust jacket. Housed in a turquoise full morocco solander box Hodges. Edges and endpapers lightly foxed, otherwise unmarked, a square, by the Chelsea Bindery with an onlay of The Cat in the Hat to the front. tight copy in the original dust jacket, slightly toned but still bright, with Illustrated throughout by the author in two colours. An excellent copy in minor chips to spine ends and tips, not price-clipped. the jacket that is just a little rubbed at the extremities. First edition of the children’s classic, subsquently published in the First edition, inscribed by the author on the front free endpaper US under the title Escape from Warsaw. Set in wartime Poland, and verso, “for Brent, best wishes, Dr. Seuss” . This is an exceptionally partly based on eyewitness accounts from Jan Stranksy’s East Wind nice, unrestored copy of the first issue, with the price code on the Over Prague, it featured in the Imperial War Museum’s exhibition jacket 200/200 and the boards not laminated as in later issues “Once Upon A Wartime: Classic War Stories for Children” in 2011. of this landmark children’s book. £575 [137799] Grolier Club, One Hundred Books Famous in Children’s Literature, 95; Younger & Hirsch 7. £15,000 [138697]

193 SEUSS, Dr. Yertle the Turtle and Other Stories. New York: Random House, 1958 Quarto. Original pictorial paper covered boards, titles to front cover and spine in white and black. With the dust jacket. Illustrated throughout by the author. Small contemporary gift inscription to front free endpaper. Extremities slightly worn, joints a little tender, endpapers partially tanned and lightly foxed, contents toned and with occasional faint spot. An excellent copy in a rubbed and lightly chipped and scuffed jacket with one small brown speck to front panel. First edition, inscribed by the author on the front free endpaper verso, “For Juanito, with best wishes—from Dr. Seuss.” Younger & Hirsch 82. £1,250 [138700]

191

82 CHILDREN'S LITERATURE 195

In 1938 Carter distinguished three states of binding: A with the 194 same blocking as this, but all in gilt; B, as here, with the horse’s head, titling, and the rustic portions of the decoration in black (Carter mistakenly describes the titling as gilt, which leads to the B binding being described as a variant), the other parts being gilt; and C, blocked in black and gilt, with a much smaller horse’s head gilt in a medallion, facing left, the same design used for the later editions. Carter A and B are primary, and the earliest dated inscribed copies are Christmas 1877. Anna Sewell died on 25 April 1878. Carter, More Binding Variants, pp. 37–38; Quayle, pp. 96–97. Grolier Club, One Hundred Books Famous in Children’s Literature, 42. £17,500 [123401]

Rarely found in such excellent contemporary condition 194 195 (SHAKESPEARE, William.) LAMB, Charles [& Mary.] 194 Tales from Shakespeare. London: printed for Thomas SEWELL, Anna. Black Beauty. London: Jarrold and Sons, [1877] Hodgkins, at the Juvenile Library, 1807 Octavo. Original brown cloth, rebacked with original spine laid down, spine Two volumes, duodecimo (160 × 99 mm). Contemporary black straight- and front board lettered and decorated in black and gilt, rear board blocked grain half morocco, marbled sides, titles to spines in gilt, gilt ruled to in blind, brown endpapers (Carter’s B binding), edges trimmed. Housed in a spines and covers, marbled edges. 20 engraved illustrations by William custom red morocco-backed slipcase and chemise. Housed in a custom dark Mulready. Faint ownership signature to front pastedown and contemporary red folding case, front cover with a panelled onlay of Black Beauty. Engraved ownership inscription to title page of each volume. Spine ends and tips frontispiece after C. Hewitt, 8 pp. publisher’s ads at end. Tips restored, worn, rubbed, boards scuffed and rubbed, a little wear to edges, a couple of tiny inner hinges reinforced, occasional soiling, a well-read copy, good. worm holes to joints, a little worm-tracing hinges, occasional faint mark First edition, presentation copy, inscribed by the author in her or spot of foxing to contents. An excellent set. own hand, “For the Patients of the London Temperance Hospital First edition, with the imprint of the printer T. Davison on the verso with the Author’s best wishes” on the first blank, and with a of p. 235, vol. I, and with the Hanway Street address in the final secondary ownership inscription (“Hughes”) above. Conceivably adverts. The Tales were chiefly the work of Charles’s sister Mary this is John Hughes (1827–1896), who was treasurer of the London Lamb, who had previously written Mrs Leicester’s School and edited Temperance Hospital for around 25 years. The hospital, in Poetry for Children for William Godwin’s Juvenile Library. Fourteen Hampstead Road, London, opened on 6 October 1873 by initiative of the 20 adaptations were by Mary, the rest by Charles. “Originally of the National Temperance League, and was managed by a board the Tales were to be anonymous but Godwin persuaded the of 12 teetotallers. Anna Sewell and her mother Mary were both unreluctant Charles to have his name printed on the title-page” (St heavily involved in the temperance movement and the theme is Clair, The Godwins and the Shelleys). It is very unusual to find the first strongly invoked in Black Beauty. edition in such excellent contemporary condition. This Victorian classic was the only book written by its bedridden author, who died shortly after publication. Presentation Ashley III.42; Gumuchian 3614; Muir, English Childrens’ Books 102–3. Grolier Club, One Hundred Books Famous in Children’s Literature, 24. or inscribed copies are understandably rare and the majority are not inscribed by the author herself, but by her mother. £4,500 [116180]

Peter Harrington 83 196 197

196 to, and appreciates, ‘The Splendid Vet’ of this book. With all kind SMITH, Dodie. I Capture the Castle. thoughts from Dodie Smith. Finchingfield, Essex. November 1956”. Smith’s allusion to the Dearly family is a reference to the owners Boston: Little, Brown and Company, 1948 of Pongo, Missis, and the puppies in the book. Octavo. Original grey cloth, spine lettered in blue, castle vignette to front cover in blue. With the dust jacket, designed by Samuel Bryant from £3,750 [137907] a sketch by the author. Vignette illustration by Ruth Steed from a sketch by the author. Spine and edges slightly faded, touch of foxing to cloth, 198 a little offsetting to endpapers, internally clean. A very good copy in the bright jacket with just a little mild toning, less so than usual, couple of SMITH, Jessie Willcox. Mother Goose. nicks and a little creasing to extremities, short closed tear to foot of front New York: Dodd, Mead & Company, 1914 fold with light repair to verso. Oblong quarto. Original black cloth, titles to spine in white, full colour First edition of the author’s debut novel, published in October illustration mounted on front board, pictorial endpapers. In the original 1948, preceding the UK edition published the following year. pictorial box. Colour frontispiece and 11 colour plates, 5 half-tone plates, Smith, who began her career as a playwright in London, wrote numerous in-text illustrations, title printed in black and blue. Neat ink I Capture the Castle in Doylestown, Pennsylvania, after emigrating gift inscription to front pastedown “To Thomas Alden Nolder, from to the US with her husband during the Second World War. On her Mother, Christmas 1915”. Extremities a touch rubbed, light scuffing return to England, Smith returned to writing plays and published to front board pictorial onlay, the binding otherwise firm and bright, slightly shaken but internally clean and fresh. A very good copy in the her most famous work, The One Hundred and One Dalmatians (1955). original box, traces of previous repairs, worn, a side panel loose, the I Capture the Castle was adapted into 2004 film, starring Romola others starting, otherwise unmarked. Garai, Bill Nighy, Rose Byrne, and Tara Fitzgerald. £950 [133028]

197 SMITH, Dodie. The Hundred and One Dalmatians. London: Heinemann, 1956 Octavo. Original blue cloth, titles to spine in silver, pictorial endpapers. With the dust jacket. Housed in a black cloth solander box by the Chelsea Bindery with titles in silver direct to spine and Dalmatian puppy and pawprints blocked to both covers and spine in white. Numerous full-page and in-text black and white illustrations by Janet and Anne Grahame- Johnstone. Ownership inscription to verso of front free endpaper. Spine ends gently bumped, extremities lightly rubbed, spine a touch faded, else unmarked. A very good copy indeed, in the very good jacket with the usual toning to spine, slight chipping to corners, a few edge-splits, else bright and not price-clipped. First edition, presentation copy, inscribed by the author on the first blank, “To Peggy Sutherland. Who, like us—and the Dearlys—goes 198

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First edition. Smith was commissioned by is in a Jamaican patois which, as the introduction notes, would Good Housekeeping to produce 17 illustrations for Mother Goose. have reminded US readers of the Brer Rabbit stories. This was They were first published as a series issued between December Smith’s first book length collection – two of her stories, published 1912 and April 1914 in black-and-white only. “The Jessie Willcox in the 1896 Journal of American Folklore, are credited as the first Smith Mother Goose was an instant success and the series of transcriptions to use Jamaican pidgin rather than standard English. illustrations ranks among the finest ever rendered for these classic Pamela Colman Smith (1878–1951) was born in London to nursery rhymes” (Nudelman). American parents and spent her formative years in Jamaica, where Edward D. Nudelman, “Jessie Willcox Smith: American Illustrator”, p. 37. she listened to the Annansi tales as a child. On her return to England in 1900 she began performing the tales in public readings, £2,750 [138704] and “crowds flocked to Pamela’s telling of Annancy stories in the U.S. and England” (Kaplan, p. 74). (For Anansi, see also item 41.) 199 A pioneering artist, folklorist, poet, editor, publisher, SMITH, Pamela Colman. Annancy Stories. suffragette and theatre designer, active from around the 1890s to the 1920s, “Pamela struggled with those who did not understand New York: R. H. Russell, 1899 her and had a hard time positioning her within existing gender, Large quarto. Original pale green cloth-backed illustrated paper- class and racial categories ... Pamela defied convention and covered boards, titles to front board in red. 25 full-page black-and-white easy categorisation and, most importantly, blazed an important illustrations (including the frontispiece), title vignette, and head- and tail- path for female artists” (ibid., pp. 11–14). However, perhaps her pieces, all by the author. Slight wear to extremities, the binding otherwise greatest claim to lasting fame came from what she termed “a big bright, a little shaken, internally clean. An unusually well-preserved copy. job for very little cash!” (ibid., p. 74). The commission was for the First and only edition of this celebrated collection of Jamaican illustrations of what is now known as the Rider-Waite deck, folktales, rare in such well-preserved condition. Smith’s the most popular tarot deck in England and America. illustrations “are the first known published drawings of Anansi, a Stuart Kaplan, Pamela Colman Smith: The Untold Story (2018). traditional African folktale character who is also one of the most important characters in Caribbean folklore . . . The setting of £2,750 [137852] Pamela’s tales is distinctly Jamaican, with several references to the practice of obeah … a series of magical and religious practices that were popular in the Afro-Caribbean, notably Jamaica, but were outlawed during British imperial rule” (Kaplan, p. 28-29). The text

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200 The piece is divided into two. The left side lists the virtues of (SPENSER, Edmund.) Hand-embroidered and Holiness, Temperance, Chastity, Friendship, Justice, and Courtesy beneath the names of heroes St George, Sir Guyon, Britomart, and stencilled panel illustrating The Faerie Queen, c.1910, Sir Artegall. The right side lists the vices of Hypocrisy, Falsehood, together with: LANG, Jeanie. Stories from The Faerie Treachery, Pride, Mammon, and Idleness beneath the names of Queen Told to the Children, with pictures by Rose le villains Duessa, Archimago, Sir Turpine, and Acrasia. The panels Quesne. London: T. C. & E. C. Jack, [1906] from left to right depict the stories of Una and the Lion, St George and the Dragon, Britomart and the Magic Mirror, The Quest of Large fabric hanging (222 × 66 cm), hand-stitched and painted in six panels. Sir Guyon, Pastorella, and Cambell and the Triamond, following Lang: small quarto, original black cloth, titles and decoration to spine and front cover in gilt, illustrated paper panel to front cover showing Una and their order in Lang’s retelling. Only St George and the Dragon the Lion, top edge gilt, other untrimmed. Frontispiece and 7 plates by Rose differs slightly from Le Quesne’s designs, depicting St George le Quesne. A spray of rust spots to top edge; remarkably well-preserved; on horseback in the style of Walter Crane’s depiction of the fight bookplates of Harold Edgar Melville (1896–1925) and gift inscription to the in his edition of The Faerie Queen (1895–7). For the two designs same from his mother, Louisa Gertrude, to the front endpapers. featuring Britomart, Rose le Quesne “made Britomart a stunning An attractive amateur hand-embroidered panel featuring pre-Raphaelite beauty with auburn hair and a soulful expression, scenes from Spenser’s Faerie Queene, a piece that captures the as she reacts to the magic mirror” (Richmond, p. 95). aesthetics and interests of the arts and crafts movement in a The hanging is offered together with a copy of Stories from The charmingly childlike manner. The hanging was likely created Faerie Queen Told to the Children. as embroidery practice; the images mostly follow the illustrations Albert Charles Hamilton, The Spenser Encyclopedia, University of Toronto Press (1997), of Rose le Quesne featured in Jeanie Lang’s Stories from The Faerie p. 290; Velma Bourgeois Richmond, The Faerie Queene as Children’s Literature: Victorian and Edwardian Retellings in Words and Pictures, McFarland & Co., (2016), pp. 94–9. Queen (1906), a retelling expressly designed to bring the stories to a young audience. £5,000 [136011]

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201 203 STEVENSON, Robert Louis. Treasure Island. STEVENSON, Robert Louis. Treasure Island and London: Cassell & Company, Limited, 1883 Kidnapped. London: Cassell and Company, Ltd, 1909 Octavo. Original grey-green cloth, gilt lettered spine, black coated Octavo. Publisher’s deluxe pink-orange limp covers in straight-grained endpapers. Housed in a custom made brown cloth, fleece-lined solander morocco with yapp edges, titles in gilt direct to spine, pictorial design of box. Frontispiece map (tissue guard present) with captions printed in a tree with foliate and floral motifs in gilt to spine and within gilt rules to red, brown and blue. With the visiting card of the American banker front cover, gilt edges, green pictorial silk-grained endpapers with gold Albert Henry Wiggin (1868–1951) laid-in. Spine toned and a little rolled, dusting effect, white silk page marker. Title page and editor’s note within a few old splash marks to front cover, inner joints superficially split but elaborate borders of English rose, Scottish thistle, and Irish shamrock quite sound, scattered light foxing, head of a handful of leaves lightly motifs; a map. Neat contemporary gift inscription to first blank. Spine a creased. A very good copy. touch sunned, slight splaying to covers, a tiny hole to front joint, edges a trifle rubbed, still a very attractive binding, faint foxing to first and last few First edition, with all the issue points and the first-state October leaves, otherwise clean and unmarked. advertisements. Originally written as a pendant to the now- First combined edition (first published thus in August 1907), famous treasure map the author had drawn to entertain his young fifth impression, in an attractive deluxe binding. Treasure Island stepson “on a rainy day in the Scottish Highlands” (Grolier), (1883) and Kidnapped (1886) were the first of Stevenson’s novels to Treasure Island was serialized in Young Folks magazine from be published by Cassell, both first serialized in Young Folks, then October 1881 to January 1882 under the pseudonym “Captain afterwards published in book form, and they remained among the George North”. It was only with the appearance of this first best-sellers on Cassell’s list for many years. edition, however, that it received any kind of critical attention. Indeed, it “was immediately hailed by critics as a classic”. £450 [138093] Grolier 48. 204 £9,750 [107122] STREATFEILD, Noel. Tennis Shoes. 202 London: J. M. Dent, 1937 STEVENSON, Robert Louis. A Child’s Garden of Verse. Octavo. Original orange cloth boards, titles to spine green, pictorial image in block to spine. With the dust jacket designed by D. L. Mays. Illustrations London: Longmans, Green & Co., 1885 to text by D. L. Mays. Slight roll to spine; a near-fine copy, bright and Octavo (164 × 115 mm). Later pink morocco, raised bands to spine, ruling unmarked, in a fresh and sharp example of the dust jacket, with just a little and title to spine in gilt, concentric ruling to covers in gilt, board edges gilt, discreet repair to spine ends. turn-ins gilt, top edge gilt. With original spine and front cover bound in at First edition of the second book in the popular Shoe Series, which rear. Bookplate of James Mann to front free endpaper. An insignificant dark started with Ballet Shoes (1936). spot to rear cover, a few dark marks to text block. Otherwise, a fine copy. First edition, one of 1,000 copies, this copy from the library of £2,250 [138702] English journalist and author Charles Whibley whose half-brother Fred had a curious link to Stevenson. A copra trader in , he married a local woman called Meri Matavaka. Meri’s previous “avaga” (husband) was Jack Buckland, Stevenson’s inspiration for Tommy Hadden in The Wrecker (1892). Buckland became friends with Stevenson and Fanny Vandegrift Stevenson in 1890 when they were passengers on the trading cruise of the Janet Nicoll from Sydney. £2,500 [122615]

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205 of myths and legends. She spent the bulk of her life in a STREATFEILD, Noel. A Vicarage Family; Away from wheelchair, and “most of Sutcliff ’s intellectual stimulus had come from books read aloud by her mother … It seems to the Vicarage; Beyond the Vicarage. London: Collins, have been Kipling who made the deepest impression” (ODNB). 1963, 1965, 1971 The illustrator Cyril Walter Hodges (1909–2004) was an English Three works, octavo. Original boards, with the dust jackets. The first title in artist and writer best known for illustrating children’s books— very good condition, with the spine panel somewhat faded and rubbed, the he was the winner of the annual Greenaway Medal for British latter two in excellent condition. children’s book illustration in 1964. He illustrated six of Sutcliff ’s First editions, presentation copies to Streatfeild’s amanuensis books, this being the first. and proof-reader June Allen, inscribed by the author in each work: £500 [135706] A Vicarage Family, “For June with love Noel 1963”; Away from the Vicarage, “For June, Thank you for your hard work, love, Noel 1965”; 207 Beyond the Vicarage, “To June with love Noel 1971”. It is very unusual to have a complete presentation set of the trilogy as here TAYLOR, Isaac. Scenes in Europe, for the amusement and instruction of little tarry-at-home travellers. £500 [111041] London: Printed for J. Harris, 1819 206 Octavo (128 × 99 mm). Contemporary (possibly publisher’s) green quarter sheep over plain card boards, “European Scenes” written on front cover SUTCLIFF, Rosemary. The Chronicles of Robin Hood. in a contemporary hand. Folding map of Europe frontispiece, 28 woodcut Oxford: Geoffrey Cumberlege, Oxford University Press, 1950 plates, each with three illustrations, i.e. 84 in total. From the library of the author John Fowles (1926–2005), with his embossed book stamp on the Octavo. Publisher’s green cloth, titles in gilt on spine, green and black front free endpaper. Worn, frontispiece with short closed tear along fold, pictorial endpapers. With the pictorial dust jacket. Colour frontispiece, 7 a little foxed and browned, some pencilled markings, yet still a very good other similar plates, and numerous in-text black-and-white illustrations by C. copy of a fragile volume. Walter Hodges. Bookseller’s ticket of H. Petty to front pastedown. Spine ends a trifle bumped, edges a little foxed. A near-fine copy in the very good dust Second edition, first published the previous year, of a popular jacket, minor wear to extremities, small hole and rubbing to front panel. travel book for children, which underwent eight editions by 1825. This copy has a contemporary prize inscription, awarding the First edition of the author’s first published book. Rosemary book to Ellen Fox “for attention to lessons, and good behaviour Sutcliff (1920–1992) was an English novelist best known for January 1820” on the front free endpaper, and her ownership children’s books, especially historical fiction and retellings signature on the facing pastedown. The book prints scenes of notable buildings, curiosities and events for each European country, with accompanying text and occasionally poetry. £475 [136398]

208 TERENCE. Comedies … The whole adapted to the capacities of youth at school, as well as of private gentlemen. In two volumes. London: printed for J. Oswald, 1750 Two volumes, octavo (202 × 121 mm). Contemporary calf, volume number in gilt to each spine otherwise unlettered, blind double rule to cover edges with blind roll along joints, gilt cover edges, plain endpapers, red edges. Ownership signature to initial binder’s blank of vol. II. Somewhat 208 oddly misbound (title pages and preliminaries in wrong volumes) but all

88 CHILDREN'S LITERATURE 209 210 complete and the text itself uninterrupted. Vol. II with slight stain and 210 chip to spine and faint stain to rear cover, front endpaper of same volume lifted with slight burn-hole, but otherwise in remarkably good condition, (KNIGHT, Hilary.) THOMPSON, Kay. Eloise à Paris. contents clean. Paris: Pont Royal (Del Duca—Laffont), 1962 A very desirable copy of Terence’s comedies, attractively bound Tall quarto. Original colour pictorial boards, titles in red and black on spine in an understated contemporary binding and finely printed, with and front board, illustrated red endpapers, Broadway postcard designed the text in parallel Latin and English. The editor and translator by Hilary Knight loosely inserted. Illustrated throughout in red, pink, and Samuel Patrick (1684–1748), classical scholar and schoolmaster blue by Hilary Knight, title page in black, red, blue, and pink. Slight wear at Charterhouse School, “appears to have been a figure like Scott’s to extremities and bottom edge, somewhat darkened, lightly rubbed; a very good copy. Dominie Sampson, deeply read in the classics and ignorant and oblivious of most other matters. He established some reputation First edition in French, inscribed by the illustrator, together with as a scholar by his translation of Terence’s Comedies (1745)” (ODNB). an original drawing: “to Elegant, Beautiful, Brilliant Elizabeth Although stated second edition, this is a reissue of the first edition Welch from Hilary Knight and Eloise, April 27th 1972”, with a of 1745, with the title pages and preliminaries reset. drawing of Eloise listening to records and eating sandwiches, captioned “Eloise says The Supreme pleasure is Elizabeth Welch’s ESTC T137476. sliced cucumber sandwiches and recordings—eaten and played on £750 [137212] a Sunday afternoon at about 4:30”. The recipient was Elisabeth Welch (1904–2003), an American- 209 born singer, actress, and entertainer, whose career spanned seven decades. She sang in Broadway, London, and Paris, and THOMPSON, Kay. Eloise. rubbed shoulders with some of the biggest names of the time, New York: Simon and Schuster, 1955 such as Cole Porter and Cab Calloway in the early 1930s. “After Quarto. Original white boards, titles and decoration to spine and the war Welch reigned supreme in London’s West End in three cover in black and red, pictorial endpapers. With the dust jacket. Pink, sophisticated revues: Tuppence Coloured (1947), in which she red and black illustrations by Hilary Knight throughout. Mild toning to introduced Edith Piaf ’s ‘La vie en rose’ to the British public, boards, in the bright dust jacket with just a touch of wear to extremities. Oranges and Lemons (1949), and Penny Plain (1951)” (ODNB). Perhaps A lovely copy. the two met through Knight’s work of illustration for posters for First edition, inscribed by the author on the front free endpaper, Broadway musicals, as per the one accompanying this copy. “For Jessica, with absolutely love from me Eloise and Kay Eloise in Paris, the second title in Thompson’s Eloise series, was first Thompson.” Included is a copy of the original sheet music for Eloise. published in the US in 1957 and in the UK the following year. £5,500 [111785] £3,000 [134525]

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211 the bombing of London in 1940. The coloured versions of the TIMLIN, William M. The Ship that Sailed to Mars. illustrations “had been commissioned for their first American edition, and were in the American publisher’s hands when Allen & London: George G. Harrap & Company Limited, [1923] Unwin decided to include them in the second impression. Quarto. Original quarter japon, spine lettered and decorated in gilt, front The original art was called back for reproduction in Britain, then cover lettered in black, grey paper-covered boards. With the dust jacket. returned across the Atlantic” (Hammond & Anderson p. 15). The Title page and letterpress printed in blue and black, 48 mounted colour first edition was published on 21 September 1937 and the first plates, 48 mounted pages of letterpress, all on grey paper. Contemporary impression of 1,500 copies was sold out by December. gift inscription on the front free endpaper. Discreetly restored with spine lining secured and hinges repaired. A very good copy in the dust jacket, Hammond & Anderson A3. light chipping and creasing around extremities, a few faint marks to rear panel, but in unusually well-preserved condition. £10,000 [134336] First edition, in the rare dust jacket. Timlin’s only published book, The Ship That Sailed to Mars is a fantastical illustrated gift book 213 that rivalled those of Rackham, Dulac, Goble, and Nielsen. The (.) VERY, Lydia L. Red Riding Hood. book was published in Britain by George Harrap, who had earlier Boston: L. Prang & Co., 1863 published Willy Pogany, and they followed a similar format here, reproducing Timlin’s original calligraphic text mounted, like the Duodecimo. Original die-cut wrappers (170 × 62 mm) depicting Red Riding Hood carrying her basket, with the wolf at her feet. With the original plates, on grey matte paper. “The most original and beautiful envelope (179 × 74 mm). Colour illustrations by the author throughout. children’s book of the 1920s … a magical combination of science Extremities very gently rubbed, a couple of small dark stains to wrappers. fiction and fairyland” (Dalby, pp. 102–3). An excellent copy in a lightly stained and worn envelope. Richard Dalby, The Golden Age of Children’s Book Illustration, 1991. First edition, generally considered the first shaped toy books £6,500 [128777] published in North America. Presented between wrappers shaped as Red Riding Hood, Very’s version retells the Grimms’ story in rhyme. 212 £675 [103436] TOLKIEN, J. R. R. The Hobbit or There and Back Again. London: George Allen and Unwin, 1937 214 Octavo. Finely bound by the Chelsea Bindery in full green morocco, raised TRAVERS, P. L. Mary Poppins. London: Gerald Howe Ltd, 1934 bands to spine, lettered and decorated in gilt, single gilt rule to covers, gilt ruling and decoration to turn-ins, cream moiré doublures and endpapers, Octavo. Original yellow cloth, titles in dark blue to spine and front board, edges gilt. With an elaborate onlay to both the front and back covers. design of Mary Poppins blocked in dark blue to front board, publisher’s Housed in a green quarter morocco solander box by the Chelsea Bindery. device to rear board, top edge blue, black-and-white pictorial endpapers. Colour frontispiece, 4 full-page plates from drawings by the author (3 in With the dust jacket, and wraparound promotional band. Housed in colour, one monochrome: “Mirkwood”), 8 full-page line drawings. The custom black cloth clamshell box by the Currier Bindery, with titles direct occasional minor blemish, an excellent copy in a fine binding. to spine in gilt. Black-and-white illustrations throughout by Mary Shepard. A fine copy, cloth bright, contents clean and without marks of ownership, First colour-illustrated edition, preceded only by the first in a bright and sharp example of the dust jacket, spine ends just a little printing, which was uncoloured. Only 2,300 copies were printed nicked, spot of abrasion to spine and head of front panel from a small of this edition, of which 423 copies in sheets were destroyed in sticker previously removed, not price clipped.

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texts for children which would provide interesting as well as proper moral and religious instruction. After establishing two successful education establishments — a Sunday school and a weekday school of industry for girls — Trimmer wrote spelling books, companion prayer books, and fables for pupils to read, and she is credited with popularizing the use of pictorial material in children’s books. “As one of the most prolific and popular writers on education and of children’s books, her influence was strong throughout the first part of the nineteenth century. Her most important contribution was in showing how educational material could be made appealing to children” (ODNB). This copy has nice provenance, with the bookplate of English 213 historian Adolphus William Ward (1837–1924) who founded a girls’ school in 1890. He was master of Peterhouse, Cambridge, at the time of ownership. First edition of the first Mary Poppins book, rare in such a beautiful condition and with the wraparound band present. The £750 [117689] illustrator Mary Shepard was the daughter of E. H. Shepard, who famously illustrated the Winnie-the-Pooh books. The book was adapted by Walt Disney into a musical film in 1964, starring Julie Andrews and Dick Van Dyke, and a sequel, Mary Poppins Returns, was released in 2018, starring Emily Blunt as Mary Poppins. Grolier Club, One Hundred Books Famous in Children’s Literature, 78. £10,000 [137847]

215 [TRIMMER, Sarah.] New and Comprehensive Lessons; Containing a General Outline of the Old Testament; with Twenty-Four Engravings. London: printed for J. Harris, 1813 Duodecimo (133 × 85 mm). Contemporary calf, spine lettered and ruled in gilt. Contemporary ownership inscription and later bookplate to front pastedown. Light rubbing to extremities, corners bumped, front board skilfully reattached, a very good copy. First edition of the popular educationalist’s biblical guide for children, published posthumously as the first of two books, the second on the New Testament. While educating her own children, Trimmer (1741–1810) became aware of the need for 215

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216 TWAIN, Mark. The Adventures of Tom Sawyer. Hartford: The American Publishing Company, 1876 Square octavo. Original blue cloth, decoratively stamped and lettered in gilt and black, peach coated endpapers, all edges gilt. Housed in a blue morocco- backed slipcase and cloth chemise (wear to raised bands). Frontispiece and numerous wood-engraved text illustrations by True Williams and others, 4-page publisher’s advertisements at end, versos of half-title and preface blank. Bookplate of the noted children’s book collector Mildred Greenhill. Light rubbing to extremities, rear hinge starting, otherwise square and firm in the binding, the cloth clean and bright, a few small marks internally, as often with this paper stock, closed tears to lower margins of pp. 99–102 not affecting text, a very good to near-fine copy. First American edition, first printing, the superior cloth issue with gilt edges. The American edition was originally available at $2.75 for cloth, $3.25 for cloth copies with gilt edges or bound in library-style leather, and $4.25 for “half-turkey, elegantly bound”. As with much American work of this era, the leather bindings have not generally fared well and the blue cloth with gilt edges is preferred by discerning collectors, such as Mildred Greenhill, whose copy this was, many of whose books were passed into the library of H. Bradley Martin. 217

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“The irresponsibility, the love of odd adventure, and the sense of 218 natural justice as opposed to the village code, which characterize the WHITE, E. B. Stuart Little. New York: Harper & Brothers, 1945 heroes of this book and its sequel Huckleberry Finn, presented a sharp contrast to the Sunday School or rags-to-riches literature which was Octavo. Original grey cloth, titles and pictorial decoration to spine and front cover in white and green, with a drawing of Stuart on the front board, then the common fare doled out to children … these books let fresh pictorial endpapers. With the dust jacket. Illustrated throughout by Garth air into the minds of parents who had shut the door on their own Williams. Ink ownership inscription of Virginia Leukhardt, dated 1949, to childhood, and they will be classics the world over as long as there front free endpaper. Slight wear to extremities, corners gently bumped. A are boys” (Grolier American 79). near-fine copy in the very good dust jacket, lightly soiled, a little loss to fore BAL 3369; Johnson p. 27. Grolier Club, One Hundred Books in Children’s Literature, 41. edges and top of rear panel. First edition of White’s first children’s book, in the first issue dust £45,000 [137725] jacket, with the printed price $2.00 on the front flap.

217 £1,250 [136190]

TWAIN, Mark. The Prince and the Pauper. 219 Boston: James R. Osgood and Company, 1882 WHITE, E. B. Charlotte’s Web. Quarto. Original dark green cloth, front cover and spine lettered and New York: Harper and Brothers, 1952 decorated in gilt, black and in blind, toned white endpapers. Housed in a custom green cloth flat backed folding case. Two page facsimile letter, Octavo. Original light brown cloth, spine and front cover lettered in black facsimile coins and signature as frontispiece, numerous illustrations to and blue, blue and white spider-web patterned endpapers. With the dust the text. Spine rolled and a little dulled, cloth otherwise bright, rear hinge jacket. Numerous line-drawing illustrations by Garth Williams. Minor cracked but text block firm, a little colour to spine ends, occasional mark to bumping to spine ends, small patch of faint discolouration to lower edge contents. A very good copy in bright cloth. of front board, minute nick to lower tip of front board, otherwise clean and firm. A crisp, near-fine copy in the very good dust jacket, occasional light First US edition of Twain’s first attempt at historical fiction, second toning, corners sometime discreetly restored, a couple of tiny edge-splits, state, text corrected on p. 124 (“state”), p. 263 (“do”) and page 362 extremities rubbed, else unmarked and not price-clipped. (“reined”). The London and Montreal editions of this work “were First edition, inscribed by the author, “For Lynn Bushell with issued some days prior to the Boston edition” (BAL). In the B state greetings from E B White”, in blue ink on the half-title. White won binding, with true binder’s endpapers at both front and back. Twain the Laura Ingalls Wilder Medal in 1970 for Charlotte’s Web and for had originally intended the story to take the form of a play and had Stuart Little. Charlotte’s Web became one of the bestselling American even toyed with the idea of setting it in Victorian England before children’s books of all time, and was translated into more than deciding to place the action in the time of Henry VIII. twenty languages. BAL 3402. Grolier Club, One Hundred Books in Children’s Literature, 92. £950 [137789] £9,500 [137825]

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220 221 WILLIAMS, Margery. The Velveteen Rabbit or How Toys (WILLIAMS, Margery.) HAGUE, Michael. Become Real. With Illustrations by William Nicholson. Original watercolour, “The Velveteen Rabbit”. [c.1993] London: Heinemann, 1922 Watercolour and ink on artist paper. Image size: 29 × 23 cm. Presented in a Quarto. Original pictorial boards, title to spine in orange and front handmade gold leaf frame with UV glass. An excellent example of Hague. board in black, pictorial endpapers. With the dust jacket. With 7 Original watercolour of the Velveteen Rabbit by American chromolithographs, of which 3 are double-page. A little rubbing to head illustrator and author Michael Hague, signed by him in the lower of front board and extremities, a near-fine, bright copy in the jacket with a little chipping to spine ends and tips, closed tear to fold of rear flap, in right hand corner. Produced for one of Hague’s calendars for the well-preserved condition. month of February, it features the Velveteen Rabbit and other toys. First edition, with the rare dust jacket. The first impression £2,500 [109466] of this beautiful and much-loved collaboration between Margery Williams and William Nicholson is notable for the 222 chromolithographic printing of Nicholson’s illustrations (see also item 151). They were replaced by a cheaper process in WILLIAMS-ELLIS, Amabel. Fairy Tales from the British subsequent printings. “It is loved by parents and teachers as a Isles. London & Glasgow: Blackie, 1960 gentle introduction to the subjects of change and loss, and to the Octavo. Original red cloth, titles in gilt to spine, pictorial design of different ways there are of being ‘real’. Adapted numerous times a seed sower and tree in gilt to front board, top edge red, colour pictorial for children’s theater and animation, The Velveteen Rabbit remains endpapers. With the dust jacket. Colour frontispiece, 7 similar colour Williams’s most enduring work” (Grolier). plates, and numerous black-and-white in-text illustrations by Pauline Grolier Club, One Hundred Books in Children’s Literature, 70. Baynes. Spine ends a touch bumped, discreet white paint stain to foot of spine, else the binding bright and firm, light foxing to edges, £17,500 [138352] otherwise clean and without marks or annotations. A very good copy

94 CHILDREN'S LITERATURE 221 222 indeed, in the very good jacket, laminate starting to lift along front joint, light toning, a few edge-splits, not price-clipped. First edition, signed by the illustrator on the half-title and with an impish correction of the title from “Fairy”, which she crossed out, to “Mouse Tales”. Baynes (1922–2008) had already worked with Williams-Ellis on her previous publication, The Arabian Nights (1957). She had also successfully illustrated several of Tolkien’s works, starting with Farmer Giles of Ham (1949), for which she had “created detailed and witty illustrations in the style of a medieval manuscript which delighted Tolkien, who remarked that she had ‘reduced my text to a commentary on her drawings’” (ODNB). £900 [138071]

223 [WOLLSTONECRAFT, Mary.] Original Stories, from Real Life. Dublin: Printed for J. Jones, 1792 Duodecimo (170 × 97 mm). Contemporary sheep, red morocco label, spine ruled in gilt. Extremities and joints professionally refurbished, discreet paper repair to front free endpaper, light running stain in bottom corner, some foxing, else a very good copy. First Dublin edition of Wollstonecraft’s only work written directly for children; the fourth overall, first published in London in 1788. With two female gift inscriptions, the first on the half-title dated 1792 from Elizabeth Pim to Anne Jackson, who in turn re-presented the book in 1842 to her niece Elizabeth Garrat. Notably scarce, with WorldCat listing just nine copies in institutional holdings. ESTC T178632; Windle A3(c). £2,750 [125578]

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