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Download Catalogue PDF ’s lit ren era d tu il r h e c Peter Harrington london 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, new york 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 edinburgh 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 paris 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 Anna Sewell’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), Lewis Carroll (32 to 35), A. A. Milne (131 to 141), Maurice Sendak (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), Arthur Rackham (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 Beatrix Potter 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 Edward Lear’s Nonsense Songs, Stories, Botany and Alphabets, item 120. Design: Nigel Bents. Photography: Ruth Segarra. Peter Harrington london catalogue 161 CHILDREN’S LITERATURE 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 John Tenniel: 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] 2 CHILDREN'S LITERATURE 4 “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.
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