modern and contemporary prints, art and photobooks

Peter Harrington london We are exhibiting at these fairs: Christmas 2018 opening hours:

1–2 February 2019 Fulham Road pasadena Rare Books LA Mon 26 Nov – Sat 22 Dec Pasadena Convention Center Mon–Thu: 10am–7pm Fri & Sat: 10am–6pm 300 East Green Street Sun: closed Pasadena, CA 91101 Sun 23 Dec – Wed 26 Dec: closed 8–10 February Thu 27 Dec – Sat 29 Dec: 10am–6pm Sun 30 Dec – Tue 1 Jan 2019: closed oakland 52nd California International Antiquarian Book Fair Wed 2 Jan 2019: Normal business Oakland Marriott City Center hours resume Oakland, CA 94607 Dover Street www.cabookfair.com Mon 26 Nov – Sat 22 Dec 7–10 March Mon–Fri: 10am–7pm new york Sat: 10am–6pm Sun: closed Park Avenue Armory 643 Park Avenue Sun 23 Dec – Tue 1 Jan 2019: closed New York, NY 10065 www.nyantiquarianbookfair.com

25–28 April london London Original Print Fair Royal Academy of Arts Piccadilly, w1j obd www.londonoriginalprintfair.com

Front cover: Coloured Greys [2]; Bridget Riley, item 63; back cover: Lightness of Being [Queen Elizabeth II.], Chris Levine, item 44. Design: Nigel Bents; Photography: Ruth Segarra

2 Christmas 2017: Peter Harrington Modern and contemporary prints, art and photobooks

All items from this catalogue are on display at Fulham Road

chelsea mayfair Peter Harrington Peter Harrington 100 Fulham Road 43 Dover Street London sw3 6hs London w1s 4ff uk 020 7591 0220 uk 020 3763 3220 eu 00 44 20 7591 0220 eu 00 44 20 3763 3220 usa 011 44 20 7591 0220 www.peterharringtongallery.co.uk usa 011 44 20 3763 3220

VAT no. gb 701 5578 50

Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Registered in England and Wales No: 3609982 1 (Muhammad Ali) David King Portrait II. London: Fior Photos, 1999 Silver gelatine photograph hand printed by Mike Spry at Downtown Darkroom. Sheet size: 50.5 × 60.7 cm. Excellent condition. Presented in a black wooden frame with conservation acrylic glazing. photographer’s proof aside from the edition of 25. Inscribed on the verso in pencil by King, “Muhammad Ali, Photograph by David King, 1974 -> 1999, photographer’s proof ”. David King’s photographs of Ali were taken in 1974 at his training camp in Deer Lake, Pennsylvania, when he was preparing for his world heavyweight title fight against George Foreman, held later that year in Kinshasa, Zaire, known as the “Rumble in the Jungle”. King documented everything in the lead up to the fight, from the intense sparring sessions to the quiet times he spent with his family and friends. King’s biography, I Am King: A Photographic Biography of Muhammad Ali, was published by Penguin in 1975. £1,750 [124640]

2 (Muhammad Ali) David King Portrait III. London: Fior Photos, 1999 Silver gelatine photograph hand printed by Mike Spry at Downtown Darkroom. Sheet size: 50.5 × 60.7 cm. Excellent condition. Presented in a black lacquer frame with conservation acrylic glazing. photographer’s proof aside from the edition of 25. Inscribed on the verso in pencil by King, “Muhammad Ali, Photograph by David King, 1974 -> 1999, photographer’s proof ”. £1,750 [124639]

3 (Muhammad Ali) David King Portrait V. London: Fior Photos, 1999 Silver gelatine photograph hand printed by Mike Spry at Downtown Darkroom. Sheet size: 50.5 × 60.7 cm. Excellent condition. Presented in a black lacquer frame with conservation acrylic glazing. one of an edition of 25, signed and numbered on the verso by king. £1,750 [124636]

2 Christmas 2017: Peter Harrington 4 photographer’s proof aside from the edition of 25. Inscribed on the verso in pencil by King, “Muhammad Ali, (Muhammad Ali) David King Photograph by David King, 1974 -> 1999, photographer’s proof ”. Ali’s Back. London: Fior Photos, 1999 £1,750 [124641] Silver gelatine photograph hand printed by Mike Spry at Downtown Darkroom. Sheet size: 50.5 × 60.7 cm. Excellent condition. Presented in a black wooden frame with conservation acrylic glazing.

All items are fully described and photographed at peterharrington.co.uk 3 4 Christmas 2017: Peter Harrington 5 Francis Bacon Three Studies of the Male Back. Paris: Michael Peppiatt for Art International, 1987 Three lithographs in colour on Arches wove paper. Image sizes: 60.5 × 45 cm. Sheet sizes: 80.8 × 59 cm. Excellent condition. Presented in three grey wash wooden frames with conservation acrylic glazing. signed limited edition, number 20 of 99 prints, each plate signed by Bacon lower right in pencil, and numbered lower left. This triptych is after an oil on canvas executed in 1970 depicting Bacon’s lover George Dyer sitting in front of a mirror. Sabatier 21. £50,000 [129709]

All items are fully described and photographed at peterharrington.co.uk 5 6 Banksy Monkey Queen. London: Pictures on Walls, 2004 3 colour screenprint on wove paper. Sheet size: 50 × 35 cm. Excellent condition. Presented float mounted in a white wooden frame with conservation acrylic glazing by Darbyshire. signed limited edition, number 468 from an edition of 750. This work is accompanied with a Pest Control authentication certificate. £12,500 [127738]

7 Banksy Soup Can (Original). London: Pictures on Walls, 2005 5 colour screenprint on wove paper. Sheet size: 50 × 35 cm. Small amount of stray silver ink to extreme top edge as published otherwise in excellent condition. Presented float mounted in a handmade white gold leaf frame with acrylic glazing. signed limited edition, number 38 of 50, signed and dated by Banksy lower right, numbered lower left, with Pictures on Walls blind stamp lower left. This work is accompanied by a Pest Control authentication certificate. £27,500 [127735]

6 Christmas 2017: Peter Harrington All items are fully described and photographed at peterharrington.co.uk 7 8 9 Peter Beard [Title in Japanese:] The Last Word from Paradise. Tokyo: Cecil Beaton’s Scrapbook. London: B. T. Batsford Ltd, 1937 Shueisha, 1979 Quarto. Yellow cloth-backed floral wallpaper boards with green cloth tips, Quarto. Original white glossy paper covered boards, titles to spine and front spine lettered in red, floral wallpaper endpapers. With the dust jacket. board brown, pictorial map front endpapers, photographic rear endpapers. Illustrated throughout, printed in blue and black on white and pink paper. With the photographic dust jacket. With black and white photographs Many halftone photographic reproductions. Tiny discolouration at base throughout, some folding. A near-fine copy in the lightly rubbed jacket. of boards, some very faint foxing to contents, else a very good copy in the scarce dust jacket, chipped at extremities and to spine panel. first edition. It was published to coincide with the exhibition of the same name, held at the Seibu Museum of Art in Tokyo in March first edition. Featuring 34 studies on a wide variety of subjects, and April 1979. it was published in September 1937 to a fanfare of publicity over the inclusion of articles on the private lives of Hollywood film stars. It was £600 [129888] published at the height of Beaton’s pre-war fame, and followed shortly after his two famous commissions for Wallis Simpson that year: her pre-wedding Vogue photoshoot in the scandalous “lobster” dress and the formal photographs of her wedding to the Duke of Windsor. £750 [126551]

8 Christmas 2017: Peter Harrington 10 11 Burton Y. Berry Werner Bischof Teenage Styles and Trends 1967–71. A Retrospect. Lucerne: 24 Photographies. Avec une introduction de Manuel Gasser. Privately printed by C. J. Bucher Ltd., 1972 Bern: L. M. Kohler, 1946 Quarto. Original photographic boards, titles to front board in white. With Quarto. Publisher’s original white cloth-backed paper on boards portfolio, the original brown paper wrapper with Teenage printed in black to one edge. cloth ties, titles to front board in white. With 1 plate mounted to front cover Housed in a silver flat-back cloth box with black lettering by the Chelsea of portfolio and 23 loose black and white plates housed inside. Just a hint of Bindery. 63 full-paged black and white photographs. Spine just a touch rubbing to extremities of plates. Near-fine in the lightly rubbed and slightly rolled. An excellent copy. soiled portfolio. first edition, with the scarce wrapper. A collection of first edition, first printing, featuring 24 photographs by the photographs taken by retired American diplomat Burton Yost Berry award-winning Swiss photographer and photojournalist. With an in metropolitan cities worldwide in an attempt to capture the fashion introduction by Manuel Gasser on a folded sheet. of the “in” crowd. £750 [128751] Parr & Badger III, pp. 77 & 80. £5,000 [123974]

All items are fully described and photographed at peterharrington.co.uk 9 12 (Black Panthers; Huey P. Newton) Bill Olive Happy Birthday, Huey P. Newton ’69. Los Angeles: Earl Newman Posters, 1969 Screen print on heavy wove paper. Sheet size: 89 × 58.5 cm. Presented in a hand-finished black frame with conservation acrylic glazing. Small amount of ink loss due to a printing fault in the screen printing process to extreme left edge otherwise in excellent condition. Psychedelic poster celebrating the birthday of Huey P. Newton (1942–1989), the political and urban activist who co-founded the Black Panther Party in 1966 with Bobby Seale. Initially the Panthers were a community and grassroots organization seeking to break the cycle of poverty, drug abuse, and crime in the Bay Area; they became famous for organizing free breakfasts for schoolchildren. After Martin Luther King Jr.’s assassination in April 1968, some of the black community questioned the strategy of non-violent resistance and political agitation, favouring rhetoric and programmes that promoted African American separatism as well as the use of violence to obtain it. Newton was charged with two murders, although he was never convicted; he was also tried for embezzlement. He was killed in a West Oakland crack house after a dispute with a drug dealer. Not much is generally known about the artist, Bill Olive, who did a handful of other notable psychedelic posters during this period, other than he was an English artist, who had come to work for Earl Newman posters in Los Angeles, arriving in January 1968. £3,000 [127599]

13 (Brontë & Haworth photographs) Set of 43 lantern-slides. [Heckmondwike:] 1904 43 glass lantern-slides (82 × 82 mm). Housed in a wooden slide container (375 × 105 × 100 mm), with 50 numbered slots, and metal latch. Plates crisp and fresh, thin crack to glass of plate labelled “Moorseats, Hathersage”. Box a little scuffed and scratched, subsequent slide listings to paper label on inside of lid in pencil, “paid by cheque, thank you” faintly etched to lid of box, damage to dividers of slots numbered 41–3. A beautiful set of lantern lecture slides of key locations and figures in the lives of the Brontë sisters. The majority of the plates are labelled in manuscript in ink, and are produced from an article in The Bookman, October 1904, with the text from The Bookman occasionally visible on the reverse of the plates. The photographs used in the article were by John James Stead, a local Brontë scholar, and it seems

10 Christmas 2017: Peter Harrington possible that these plates were his, as the Brontë Society records a as Oakwell Hall and Hollows Cottage, as well as key locations from meeting at which Stead “exhibited a most interesting series of about the Brontës’ lives, including two slides with photos from the Héger 50 lantern slides of places associated with the lives of the Brontë Pensionnat in Brussels. They also include engravings from the 1897 sisters”, meaning this set is near complete. editions of Shirley and Jane Eyre by the illustrator F. H. Townsend, Stead was a founding member of the Brontë Society and an facsimile autographs by the sisters, and a section of the original acquaintance of Ellen Nussey; Nussey is known to have given him her manuscript of Jane Eyre. brother Henry’s diary, in which his proposal to Charlotte Brontë was In 1907 Stead published a series of short articles in the Brontë Society noted, as well as one of the locks of Charlotte’s hair Nussey took at Transactions, at least six of which correspond to images in these slides, the funeral, which he later donated to the British Library. Stead was and which can serve as lecture notes to the plates. active in reconciling the dual demands for both literary criticisms of £2,750 [129437] the Brontës and accurate biographical works, and in 1897 published the Chronology of the Principal Events in the Lives of the Brontës, a work still referenced by Brontë scholars. The plates feature locations that are thought to have inspired Charlotte Brontë’s Shirley and Jane Eyre, such

All items are fully described and photographed at peterharrington.co.uk 11 14 (Die Brücke: Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, & Karl Schmidt-Rottluff) Katalog zur Ausstellung der K. G. Brücke in Galerie Arnold, Dresden, Schloßstraße. September 1910. Dresden: Künstlergruppe Brücke, 1910 Quarto. Original ochre wrappers with title and illustration in black to front cover. Housed in a black quarter morocco solander box with chemise by the Chelsea Bindery. With 20 original woodcuts printed on wove paper; 4 by Heckel including the front cover, 11 by Kirchner including 5 with mainly text, woodcuts. Half of the woodcut illustrations are based on paintings 3 by Pechstein and 2 by Schmidt-Rottluff. About 4cm loss to foot of spine and by other members of the group. corresponding split to the lower joint, otherwise a very good bright copy. Bolliger & Kornfeld 42. Heckel; Dube 177–179. Kirchner; Dube 700–703, 721–726. first edition. Although the Brücke Group was originally formed Schmidt-Rottluff; Schapire 49–50. in 1906, the exhibition at Galerie Arnold in 1910 was the first major £35,000 [126256] show where they created a catalogue illustrated with original

12 Christmas 2017: Peter Harrington work”, and worked on the 38 roundels over the subsequent 16 years (Introduction). The roundels do not depict the flowers themselves, but were inspired by the folklore surrounding the flowers’ names. Much of the folklore was told to Burne-Jones by Lady Eleanor Leighton Warren, a close friend and long-term correspondent of 15 the family. Burne-Jones wrote to Leighton Warren asking for further tales, noting that, “I want the name and the picture to be one soul Edward Burne-Jones together” (Memorials of Edward Burne-Jones, 1906, Vol. II p. 118). The The Flower Book. London: Henry Piazza et Cie, for the Fine Art roundels were worked in watercolour, gouache, and gold paint, and Society, 1905 reproduced here by Piazza by hand-stencilling watercolour over Folio (320 × 262 mm). Original green morocco, titles to spine and front collotypes using the pochoir technique. Notably striking plates cover in gilt, frames to covers in gilt, top edge gilt, others untrimmed, grey include “The Witches’ Tree” (xv), which is a treatment of “The endpapers. Housed in a green morocco-backed, cream velvet lined, folding Beguiling of Merlin”, and “Meadow Sweet” (xxxv), which combines box with metal clasp. Printed in red and green. With 38 colour plates and 4 the ship from “The Sirens” with the central figures of “Arthur in pages of facsimile manuscript. A fine copy. Avalon”. Burne-Jones’s wife, Georgina, who was responsible for the first edition, number 235 of 300 copies, initialled “F.A.S.” [Fine publication, sold the original plates to the British Museum in 1909. Art Society] on the limitation page. Burne-Jones (1833–1898) “began £15,000 [128679] the series for his own pleasure in 1882, as a rest from more laborious

All items are fully described and photographed at peterharrington.co.uk 13 16 (William Burroughs) Keith Haring & Brion Gysin Fault Lines. Munich & New York: Edition Schellmann, 1986 Oblong quarto. Original red cloth, spine and front board lettered and decorated in gilt, fore edge untrimmed. With the publisher’s black card slipcase. With 52 full-page illustrations in black and white by the authors. A 17 fine copy in a faintly rubbed slipcase. Gian Burrurini & Allen Ginsberg signed limited edition, presentation copy, inscribed by London. Verona: Editrice SAF, 1969 Haring to William Burroughs on behalf of Brion Gysin who died just before the sheets were ready for signing: “For William with love – Quarto. Original grey boards, titles to front board gilt. With the photographic dust jacket. Black and white photographs throughout. Corners Keith & Brion 86†”. This is number 11 of 200 copies signed by Haring and spine somewhat bumped, boards a little marked. Internally a touch and with the posthumous stamped signature of Gysin. browned, but otherwise still clean. A very good copy in the slightly toned £3,750 [124279] and nicked jacket. first edition. Butturini’s photographs, together with a poem by Allen Ginsberg, depict “the poor and the working class who failed to make good in the 1960s, contrasting that with the tourist view”. Butturini, an Italian graphic artist who arrived in London on a work assignment in 1969, began photographing the capital, starting at Victoria station after encountering the heroin addicts there. Parr & Badger III, pp. 154–5. £1,500 [127382]

14 Christmas 2017: Peter Harrington 18 19 Anthony Caro & David Pelham (Marc Chagall) Julien Cain Leaf Pool 1996–2000. London: Bernard Jacobson Gallery, 2000 The Lithographs of Chagall. Monte Carlo; Boston; New York: Quarto. Original dark grey boards, titles to front cover in white. Housed in André Sauret; Boston Book and Art Shop Inc.; Crown Publisher’s Inc., the heavy duty slipcase with locking device, titles to front cover and spine 1960–86 in white. This is a collaboration between the sculptor and award-winning 6 volumes, large quarto. Original tan cloth, titles to front covers and spines designer and paper-engineer David Pelham with the book opening up into in black. With the original lithographic pictorial dust jackets. Vol. II is a wall mounted card sculpture (29.8 × 64.5 × 8.9 cm). It may be locked open housed in the publisher’s plain card slipcase. Text of vol. III in French. and hung on a wall, displayed flat or kept as a book on a bookshelf. A few Profusely illustrated throughout and with 28 original lithographs by Chagall. trivial smudges, else near-fine. With the bookplate of lawyer Israel Perry to the front pastedown of vol. V. signed limited edition, number 103 from an edition of 500, Bookseller’s ticket to rear pastedown of vol. III. A near-fine set, with minor signed and numbered by Caro in silver ink on the base of the rubbing to extremities, in the jackets with nicks to spine ends, chip to head sculpture. of spine of vol. I, with a couple of short closed tears to top edge. Chips to head of spine and rear panel of glassine to vol. III, closed tear to head of rear £2,500 [127385] panel of vol. V. first editions of the catalogue raisonné of Chagall’s lithographic work, a monumental feat of publishing which took more than two decades to complete. Volumes I and II contain 24 of the original lithographs, including their dust jackets, the remaining 22 of which are bound in as plates. Four original lithographs feature as the frontispieces and dust jackets of volumes III and IV. £4,500 [128730]

All items are fully described and photographed at peterharrington.co.uk 15 20 21 Salvador Dalí Salvador Dalí Sagittarius. Paris & New York: Leon Amiel, 1967 Scorpio. Paris & New York: Leon Amiel, 1967 Coloured lithograph after an original gouache on Arches paper. Sheet size: Coloured lithograph after an original gouache on Arches paper. Sheet size: 72.8 × 51.8 cm. Excellent condition. 72.8 × 51.8 cm. Excellent condition. signed limited edition, number 118 from an edition of 250 on signed limited edition, number 118 from an edition of 250 on Arches paper, signed by Dalí in pencil lower right and numbered Arches paper, signed by Dalí in pencil lower right and numbered lower lower left. One of 12 plates from The Twelve Signs of the Zodiac portfolio. left. One of 12 plates from The Twelve Signs of the Zodiac portfolio. Field 67–6. Field 67–6. £3,750 [129899] £3,750 [129903]

16 Christmas 2017: Peter Harrington 23 Salvador Dalí Dalí. Edited and arranged by Max Gérard. Translated by Eleanor R. Morse. New York: Harry N. Abrams, Inc., 1968 Quarto. Original pictorial cloth, spine lettered in white, pictorial endpapers. With the pictorial-gilt dust jacket. Copiously illustrated throughout in colour and toned gravure. Spine a touch rolled, light wear to extremities, edges a little stained. A very good copy in the somewhat worn, creased and scuffed jacket with one short tear to rear panel. first edition in english, issued the same year as the French edition, no priority established. Boldly inscribed, together with an original drawing by the artist in pencil to Peter Owen on the verso of the front free endpaper. Peter Owen founded Peter Owen publishers in 1951 and went on to publish some of Dalí’s work. A splendid collection of Dalí’s work, produced under his supervision, in a beautiful pictorial-gilt dust jacket with The Persistence of Time inset on the front panel. 22 £3,750 [126201] Salvador Dalí Capricorn. Paris & New York: Leon Amiel, 1967 Coloured lithograph after an original gouache on Arches paper. Sheet size: 72.8 × 51.8 cm. Excellent condition. signed limited edition, number 118 from an edition of 250 on Arches paper, signed in pencil by Dalí lower right and numbered lower left. One of 12 plates from The Twelve Signs of the Zodiac portfolio. Field 67–6. £3,750 [129906]

All items are fully described and photographed at peterharrington.co.uk 17 24 25 Salvador Dalí Salvador Dalí Sommiel innocente. (Innocent Sleep.) Paris: Cercle de Bibliophilie L’ange. (The Angel.) Paris: Cercle de Bibliophilie du l’Automobile du l’Automobile Club de France and Editions Francony, 1974 Club de France and Editions Francony, 1974 Drypoint etching in colours on Vélin d’Arches paper. Plate size: 27 × 21 cm. Drypoint etching in colours on Vélin d’Arches paper. Plate size: 27 × 21 cm. Sheet size: 37.7 × 27.7 cm. Excellent condition. Presented in a white gold leaf Sheet size: 37.7 × 27.7 cm. Excellent condition. Presented in a white gold leaf frame with conservation acrylic glazing. frame with conservation acrylic glazing. signed limited edition, number 3 of 20 on Arches, signed by Dalí signed limited edition, number 3 of 20 on Arches, signed in in pencil lower right and numbered lower left. This is one of 10 prints pencil lower right by Dalí, numbered lower left. One of 10 prints from Le paradis perdu portfolio. from Le paradis perdu portfolio. Field 74–11A; Michler & Lopsinger 712(c). Field 74–11; Michler & Lopsinger 704(c). £1,750 [129769] £1,750 [129771]

18 Christmas 2017: Peter Harrington 26 27 Salvador Dalí Salvador Dalí Le fuite de Satan. (The Flight of Satan.) Paris: Cercle de Bibliophilie La Reine Iseult et sa fille. (Queen Isuelt and her Daughter.) du l’Automobile Club de France and Editions Francony, 1974 Geneva: Pamela Verlag, 1970 Drypoint etching in colours on Vélin d’Arches paper. Plate size: 27 × 21 cm. Drypoint etching printed in colours on BFK Rives wove paper. Plate size: Sheet size: 37.7 × 27.7 cm. Excellent condition. Presented in a white gold leaf 40 × 26.5 cm. Sheet size: 45 × 33 cm. Light toning to borders from previous frame with conservation acrylic glazing. mount otherwise in excellent condition. Presented in a white gold leaf frame signed limited edition, number 3 of 20 on Arches, signed in with conservation acrylic glazing. pencil lower right by Dalí, numbered lower left. One of 10 prints signed limited edition, number xviii of 25 numbered in roman from Le paradis perdu portfolio. numerals aside from the edition of 125. Signed in pencil by Dalí lower Field 74–11G; Michler & Lopsinger 713(c). left, numbered lower right, and with orange tree blind stamp lower left. £1,750 [129773] Field 70–10M; Michler & Lopsinger 409b. £1,500 [125605]

All items are fully described and photographed at peterharrington.co.uk 19 28 Bruce Davidson Brooklyn Gang. Santa Fe: Twin Palms Publisher, 1998 Quarto. Original black cloth, titles to spine and front board yellow, green endpapers. With the photographic dust jacket. With 71 black and white photographs. A near-fine copy. first edition, signed by the photographer on the title page. This is the first publication of the complete set of a series 29 of photographs taken during the summer of 1959 by Magnum (Marcel Duchamp) George Hugnet photographer Bruce Davidson. The photographs follow “The Jokers”, one of the many youth gangs in Brooklyn at a time when there were La Septieme face du dé. Poëmes, découpages. Paris: Éditions “an estimated thousand gang members in New York City”. The Jeanne Bucher, 1936 photographs are accompanied by a short text by the photographer Quarto. Original hand-sewn green wrappers with titles and embossed photo and a longer interview with one of the former gang members. illustration to front cover in black. Housed in a black cloth flat-back box by the Chelsea Bindery. Illustrated cover by Duchamp and 20 collage poems by £600 [128726] Hugnet. Front cover lightly chipped to corners and edges, with grazing to the Man Ray image causing a slight loss, damp stain to head of back cover, internally a few light marks but predominantly a bright copy.

20 Christmas 2017: Peter Harrington first edition, limited issue, number 164 of 250 copies, from a first editions, signed limited issues, Nothing but Home number total edition of 296 copies. Duchamp’s cover combines a photograph 90 of 100 copies, Desperate Cars number 22 of 100 copies, and Under by Man Ray of his readymade “Why Not Sneeze, Rose Selavy” with House Arrest number 81 of 100 copies. Each work has an original titles whose letters contain the names of many in the surrealist signed and matching numbered photograph loosely inserted. pantheon, including Sade, Freud, Rimbaud, Paracelsus, Swift, £750 [128740] Heraclitus, Chaplin, Jarry, Uccello, and Saint-Just. Roth 101, p. 92; Schwarz 444. 31 £7,500 [127717] Guido Guidi 30 Varianti. Tavagnacco, Italy: Art&, 1995 Quarto. Original white wrappers, titles to spine black. With the dust Sébastian Girard jacket. With 97 full page photographs. Spine a little creased, shelf wear to Nothing but Home; [with] Desperate Cars; [and] Under House extremities, front wrapper a touch soiled. A very good copy in the tanned Arrest. Self-published, 2009–11 and lightly soiled and rubbed jacket. Together 3 works, quarto. Original photographic paper covered-boards, titles first edition, with text in English and Italian. to spines and front boards white. Colour photographs throughout all works. £600 [129212] Minor shelf wear and light rubbing to extremities. Near-fine copies.

All items are fully described and photographed at peterharrington.co.uk 21 22 Christmas 2017: Peter Harrington 32 Richard Hamilton Swingeing London 67 – poster. Milan: ED 912 Edizioni di Cultura Contemporenea, 1968 Photo-offset lithograph in colours from 6 plates on Fabriano paper. Sheet size: 70.5 × 50 cm. Excellent condition. Presented in a lime wax ash frame. signed limited edition, number 24 of 50, signed by Hamilton and numbered in pencil lower left. In 1967 Hamilton formed a collage from newspaper cuttings that had been amassed at art dealer Robert Fraser’s gallery after the arrest of Fraser and Mick Jagger for drug possession. The collage includes a photograph of Fraser and Mick Jagger handcuffed together in a police van taken by John Twine. This is the first use of the photograph by Hamilton in his various prints using this image. Verlag 69. £15,000 [127177]

33 Richard Hamilton Palindrome. New York: Multiples Inc and Castelli Graphics, 1975 Lenticular acrylic with collage, laminated on collotype in 5 colours on Chromolux paper, mounted as issued. Sheet size: 72.5 × 57.1 cm. The top edge of the lenticular looks as though it has damp staining but there is no damp staining to the attached mount, so presumably this is a production fault. Presented in a lime waxed ash frame. signed limited edition, number 22 from an edition of 100, signed and numbered by Hamilton in black pen lower left. It was printed by Hamilton and Heinz Häfner at Eberhard Schreiber, Stuttgart, and photographed and laminated at Vari-Vue, Mount Vernon, New York. £6,000 [127176]

All items are fully described and photographed at peterharrington.co.uk 23 24 Christmas 2017: Peter Harrington 34 35 Keith Haring (Damien Hirst) Robert Sabbag Eight Ball. Kyoto: Kyoto Shoin International Co., 1989 Snowblind. Edinburgh: Rebel Inc., 1998 Large octavo. Original pictorial boards, titles to spine black, titles to front Octavo. Original glass mirror boards with sliver spine, titles to spine in board red and black, red endpapers. Illustrated throughout. Extremities a blind. With the metal credit card-style bookmark and the rolled-up $100 bill touch bumped, boards a little rubbed and soiled. A very good copy, internally as issued. Housed in the original printed slipcase. Book designed by Damien clean. Hirst. A fine copy. first edition, first printing, presentation copy, inscribed signed limited edition, number 595 of 1,000 copies signed by by Haring to fellow artist Sean Kalish: “For Sean – Thanks for the Damien Hirst, Robert Sabbag, and Howard Marks on the title page. drawing. Our collaboration is really turning out great. Nice working Snowblind, Robert Sabbag’s account of the cocaine smuggler Zachary with ya’. Keith xxx”, together with an original cartoon self-portrait Swan, was originally published in 1976. by him. Haring and Kalish worked together in 1989 on a series of £1,375 [129720] etchings. £3,000 [128741]

All items are fully described and photographed at peterharrington.co.uk 25 36 David Hockney Secret Knowledge. Rediscovering the Lost Techniques of the Old Masters. London: Thames & Hudson, 2001 Quarto. Original yellow cloth, spine lettered in black, dolphin design to front cover stamped in blind, pictorial endpapers. With the dust jacket. With 198 photographic plates. A fine copy in the dust jacket. first edition, signed by the author on the half-title verso. From the collection of the Greek poet and publisher Nikos Stangos, who published Pictures by David Hockney in 1979, though unmarked as such. In Secret Knowledge, Hockney lays out his theories about how some of Western art’s most famous masterpieces, such as those by da Vinci, Caravaggio, Velázquez, and Van Eyck, were actually created. He offers fascinating insights into the history of art, including the concept that many Old Masters used mirrors and various optical devices to project images onto their canvasses and then traced the scenes. £750 [129739]

26 Christmas 2017: Peter Harrington 37 David Hockney & Stephen Spender China Diary. London: Thames and Hudson, 1982 Quarto. Original red cloth, titles to spine and design to front cover gilt. With the original lithograph housed in a printed red folder. All housed in the publisher’s printed box. Illustrated with 158 watercolours, drawings, and photographs. Original 5 colour hand-drawn lithograph drawn on 1 lithographic stone and 4 aluminium plates on Somerset satin-finish mould- made rag paper, folded 3 times to form four paper panels. Sheet size 48 × 54 cm. Some staining and rubbing to box, else a near-fine copy. first edition, signed limited issue, one of 1,000 unnumbered copies signed by Hockney and Spender, together with a print signed, numbered and dated by Hockney in pencil lower right, all as issued. Tokyo 234. £2,500 [124986]

38 David Hockney; Stephen Spender (ed.) Hockney’s Alphabet. Written contributions edited by Stephen Spender. London: Faber and Faber for the AIDS Crisis Trust, 1991 Folio. Original bright yellow buckram, spine lettered in gilt on a dark blue background, cream endpapers. Housed in the original light grey cloth slipcase. With 27 colour illustrations. A fine copy. signed limited edition, specially bound in yellow buckram and signed by Hockney and Spender in green and red ink respectively. This work was a collaborative effort created to raise money for the AIDS Crisis Trust. Spender invited several British and American writers to contribute with texts that could accompany Hockney’s specially drawn alphabet. The written contributions are by Douglas Adams, Martin Amis, Julian Barnes, William Boyd, Margaret Drabble, Patrick Leigh Fermor, William Golding, Seamus Heaney, David Hockney, Kazuo Ishiguro, Erica Jong, Doris Lessing, Norman Mailer, Ian McEwan, Arthur Miller, Iris Murdoch, Nigel Nicolson, John Julius Norwich, Joyce Carol Oates, V. S. Pritchett, Craig Raine, Susan Sontag, Stephen Spender, John Updike, Anthony Burgess, Ted Hughes, Paul Theroux, Gore Vidal, and T. S. Eliot. Norman Mailer declined his invitation, but his “letter refusing seemed such a good model for Polite Rejection” that it was nonetheless published as his contribution (Preface). £700 [126867]

All items are fully described and photographed at peterharrington.co.uk 27 28 Christmas 2017: Peter Harrington 39 small crease to top right corner otherwise in excellent condition. Presented in a white gold leaf frame with acrylic glazing. Gustav Klimt One of an edition of 500 (there were also 10 proofs). Printed by The Akt eines jungen Mädchens (Rot und Blaustift). [Nude of a Art Institution Max Jaffé in Vienna and issued as one of 25 prints young girl (red and blue pencil).] Vienna: Gilhofer & Ranschburg, from the portfolio Fünfundzwanzig Handzeichnungen. 1919 £2,000 [126018] Collotype in colours on matt art paper tipped onto thin cream card with mount as issued. Sheet size: 52 × 32.6 cm. Some damp staining to the mount and small crease to top right corner otherwise in excellent condition. 41 Presented in a white gold leaf frame with conservation acrylic glazing. Gustav Klimt One of an edition of 500 (there were also 10 proofs). Printed by The Skizze zu einem Fries im Palais Stocklettes, Brüssel. [Sketch of Art Institution Max Jaffé in Vienna and issued as one of 25 prints a Frieze in the Palace Stock Lette, Brussels.] Vienna: Gilhofer & from the portfolio Fünfundzwanzig Handzeichnungen. Ranschburg, 1919 £2,500 [126017] Collotype on matt art paper tipped onto thin cream card with mount as issued. Sheet size: 52.1 × 32.5 cm. Some damp staining to the mount 40 otherwise in excellent condition. Presented in a white gold leaf frame with acrylic glazing. Gustav Klimt One of an edition of 500 (there were also 10 proofs). Printed by The Akt, stehend, mit Tuch (rot getönt). [Nude, Standing, with Art Institution Max Jaffé in Vienna and issued as one of 25 prints Cloth (red tinted).] Vienna: Gilhofer & Ranschburg, 1919 from the portfolio Fünfundzwanzig Handzeichnungen. Collotype on matt art paper tipped onto thin cream card with mount as £1,750 [126023] issued. Sheet size: 51.3 × 33.7 cm. Some damp staining to the mount and

All items are fully described and photographed at peterharrington.co.uk 29 42 43 (Oskar Kokoschka) Edith Hoffman David LaChapelle Kokoschka. Life and Work. London: Faber and Faber Limited, 1947 Artists and Prostitutes. London: Taschen, 2005 Octavo. Original yellow cloth, spine lettered in gilt on red ground. With Folio. Original pink and black cloth. Housed in contrasting black and pink the dust jacket. Tipped-in colour frontispiece, 4 tipped-in colour plates, 30 solander box. A fine copy. black and white plates, illustrations in the text. Spine very slightly darkened, signed limited edition, number 692 of 2,500 copies signed extending onto edges of covers, spine ends and tips lightly rubbed. A very by the photographer. A superb large-format Taschen publication good copy in the chipped dust jacket, spine slightly faded, short closed tears, a little loss to ends of joints, 3 small rips and dark marking to rear panel. showcasing the vibrant colour-saturated photography of David LaChapelle. Once dubbed the Fellini of photography, LaChapelle first edition, presentation copy, inscribed by the artist to his has worked for the most prestigious international publications and sister, “For my beloved sister Biboschl at Xmas 1947 with thousand has been the subject of exhibitions in both commercial galleries kisses from her brother Oskar, London, 16.xii.47”, on the front free and leading public institutions around the world. The full-bleed endpaper. Berta Kokoschka (b.1889) is mentioned only briefly in colour illustrations are colour-separated and reproduced in Pan4C, a this biography, “their [Oskar and brother Bohuslav] sister married a modern reproduction technique which provides unequalled intensity Czech and thus returned to the country from which the father came” and colour range. (p. 26). £2,500 [127752] £1,500 [125586]

30 Christmas 2017: Peter Harrington during two sittings at Buckingham Palace. The work depicts the Queen wearing the Diamond Diadem, created for George IV and worn by Her Majesty for the procession to her coronation in 1953. £30,000 [130446]

45 John Lennon & Yoko Ono; Bob Gruen 44 Sometime in New York City. Guildford: Genesis Publications Limited in association with the estate of John Lennon, 1995 LEVINE, Chris Folio. Original black leather-backed silkscreened aluminium boards, spine Lightness of Being. [Queen Elizabeth II.] London: 2004 lettered in silver, edges silver. With the original slipcase and housed in 3D lenticular print. Sheet size: 68 x 48.6 cm. Framed size: 88.6 x 68.8 cm. a silkscreened solander box with metal title plate to the lid. Illustrated Excellent condition. Presented in the artists white wooden frame inside a throughout with photographs by Bob Gruen on 200gsm matt art paper with larger white wooden frame with UV protective glazing. trace overlays. A fine copy. unnumbered aside from the edition of 200, signed in black felt signed limited edition, number 284 of 2,500 copies signed by tip on a label to the verso. To create the three-dimensional portrait, Ono and Gruen from a total edition of 3,500. Chris Levine took over 10,000 images and 3D data-sets of the Queen £750 [125314]

All items are fully described and photographed at peterharrington.co.uk 31 32 Christmas 2017: Peter Harrington 46 48 Roy Lichtenstein Roy Lichtenstein Haystack #2. Los Angeles: Gemini G.E.L., 1969 Haystack #3. Los Angeles: Gemini G.E.L., 1969 Lithograph in 2 colours and screenprint in 1 colour on Rives BFK paper. Image size: 34 × 59.7 cm. Sheet size: 52.7 × 77.6 cm. Excellent condition. Lithograph in 2 colours and screenprint in 1 colour on Rives BFK paper. Presented in a light wooden box frame with conservation acrylic glazing. Image size: 34.3 × 59.9 cm. Sheet size: 52.5 × 78.1 cm. Excellent condition. Presented in a light wooden box frame with conservation acrylic glazing. signed limited edition, number 64 of 100, signed and dated by Lichtenstein in pencil lower right, numbered lower left. G.E.L. blind signed limited edition, number 64 of 100, signed and dated by stamp lower right. Lichtenstein in pencil lower right, numbered lower left. G.E.L. blind Corlett 66. stamp lower right. Corlett 67. £14,500 [127387] £14,500 [127389] 47 49 Roy Lichtenstein Roy Lichtenstein Haystack #5. Los Angeles: Gemini G.E.L., 1969 Haystack #7. Los Angeles: Gemini G.E.L., 1969 Lithograph in 2 colours and screenprint in 1 colour on Rives BFK paper. Image size: 34.1 × 59.7 cm. Sheet size: 52.4 × 78.1 cm. Excellent condition. Lithograph in black and embossing on Special Ajomari paper. Image size: Presented in a light wooden box frame with conservation acrylic glazing. 34.6 × 60 cm. Sheet size: 52.7 × 77.8 cm. Excellent condition. Presented in a light wooden box frame with conservation acrylic glazing. signed limited edition, number 64 of 100, signed and dated by Lichtenstein in pencil lower right, numbered lower left. G.E.L. blind signed limited edition, number 64 of 100, signed and dated by stamp lower right. Lichtenstein in pencil lower right, numbered lower left. G.E.L. blind Corlett 69. stamp lower right. Corlett 74. £14,500 [127388] £14,500 [127390]

All items are fully described and photographed at peterharrington.co.uk 33 34 Christmas 2017: Peter Harrington 50 Roy Lichtenstein The Solomon R. Guggenheim Museum. New York: The artist and Leo Castelli Gallery, 1969 Screenprint in 4 colours on Rives paper. Image size: 58.7 cm diameter. Sheet size 73 × 73 cm. Colours attenuated. Presented float mounted in a handmade black wooden frame with conservation acrylic glazing. signed limited edition, number 66 of 250, signed and dated by Lichtenstein in pencil lower right and numbered lower left. This image was created for Lichtenstein’s first solo exhibition in a New York museum and was also produced as a poster to advertise the show with typography encircling the image. Corlett 83. £12,500 [125211]

51 Robert Mapplethorpe; Bruce Chatwin Lady Lisa Lyon. New York: Viking Press, 1983 Quarto. Original photographic wrappers, titles to spine and front wrapper black and white. Illustrated throughout. Tail of spine a little bumped, mild rubbing to extremities. A-near fine copy. first edition, signed by mapplethorpe and inscribed by Lyon on the half-title, “for Bill, L.A. ‘83”. £750 [128760]

All items are fully described and photographed at peterharrington.co.uk 35 52 54 Eddie Martinez Harland Miller No Title 2. Copenhagen: Edition Copenhagen, 2015 Armageddon: Is It Too Much To Ask? London: Paragon Press, 2017 Original lithograph on 300 gsm Velin d’Arches paper. Sheet size: 69.5 × 49.5 cm. Polymer gravure with photo-etching and wood block printing on Excellent condition. Presented in a black wooden frame with acrylic glazing. Hahnemuhle Bright White 350 gsm paper. Sheet size: 180 × 119.5 cm. signed limited edition, number 74 of 80, signed by Martinez and Excellent condition. Presented in a black wooden frame with acrylic glazing. dated lower right in pencil, numbered lower left. signed limited edition, one of 50, signed by Miller and £1,250 [129290] numbered in pencil on the verso. Miller’s design is inspired by the op-art cover imagery of the popular psychology books from the 1960–70s. 53 £25,000 [125606] Eddie Martinez No Title 5. Copenhagen: Edition Copenhagen, 2016 Original lithograph on 300 gsm Velin d’Arches paper. Sheet size: 69.5 × 92.5 cm. Excellent condition. Presented in a black wooden frame with acrylic glazing. signed limited edition, number 48 of 60, initialled by Martinez and dated lower right in pencil, numbered lower left. £1,750 [129288]

36 Christmas 2017: Peter Harrington All items are fully described and photographed at peterharrington.co.uk 37 55 (Pablo Picasso) Aristophanes Lysistrata. A New Version by Gilbert Seldes. New York: The Limited Editions Club, 1934 Quarto. Original pictorial patterned boards, spine and front cover lettered in white, fore and lower edges untrimmed. Housed in the original blue paper- covered slipcase and chemise. Illustrated by Picasso with 6 original etchings and 34 lithographed drawings. Spine a little sunned, else a fine copy in the box, neatly repaired to bottom edge, with 6 cm loss. first and limited edition, number 1,103 of 1,500 copies signed by Picasso. This finely produced work features Picasso’s sensitive line drawings, which carefully “capture the braggadocio of both the men and women in the play” (Rutledge, p. 36). Rutledge, Harry C., The Guernica Bull: Studies in the Classical Tradition in the Twentieth Century (2008). £5,750 [125683]

56 Pablo Picasso Portrait de Vollard I. Paris: Ambroise Vollard, 1937 Aquatint on copper on Montval laid paper with Vollard watermark. Plate size: 35 × 25 cm. Sheet size: 44.5 × 34 cm. Light tape residue to verso from previous hinging otherwise in excellent condition. Presented in a gilt wooden frame. first edition, one of 250, signed by picasso in red pencil lower right. This is one of 100 etchings in the neoclassical style from the Vollard Suite that Picasso produced from 1930 to 1937 for the art dealer Ambroise Vollard. Picasso produced 97 plates, rounded up with three portraits of the art dealer. Baer 617; Bloch 232; Coppel 99. £12,500 [125744]

38 Christmas 2017: Peter Harrington

57 Pablo Picasso Buste de Femme avec Fichu. (Bust of a Woman with Kerchief.) Paris: Jacques Frelaut, 1939 Copper aquatint with scraper and burin on Vergé Ancien deckle edged laid paper. Plate size: 25.8 × 22.2 cm. Sheet size: 52.2 × 39 cm. Excellent condition. Presented in a handmade white gold leaf frame with acrylic glazing. second state, signed by picasso in pencil lower right. A test print by the printer Jacques Frelaut from 1960, this is a portrait of Dora Maar, the lover and muse of Picasso from 1935 to the early forties. Baer 672 IICa; Bloch 324.0. £12,500 [125599]

58 Pablo Picasso Femme dans un fauteuil et guitariste. Paris: Louis Leiris, 1959 Linocut from one block in black, brown and beige on Arches paper. Image size: 53 × 63 cm. Sheet size: 62 × 75 cm. Paper cracked before printing but inked evenly over the cracks and unevenly varnished over the black with a black shiny oil based ink at time of printing. Condition as issued. Presented in a handmade gold leaf frame with conservation acrylic glazing. signed limited edition, number 21 of 50, signed by Picasso in pencil lower right, numbered lower left. Printed by Hidalgo Arnéra, Vallauris. Baer 1232 IIB; Bloch 917; Kramer 30. £48,000 [123550]

40 Christmas 2017: Peter Harrington All items are fully described and photographed at peterharrington.co.uk 41 42 Christmas 2017: Peter Harrington 59 60 Pablo Picasso Pablo Picasso Le Déjeuner sur l’herbe d’aprés Edouard Manet. (The Peintre barbu avec modèle nu et un spectateur. (Bearded Luncheon on the Grass after Edouard Manet.) Paris: Galerie Painter with Nude Model and a Spectator). Paris: Louis Leiris, Louise Leiris, 1962 1963 Linocut from one block printed in black, brown and beige on Arches paper. Dry point aquatint with burin on Vélin de Rives BFK watermarked paper. Image size: 35 × 27 cm. Sheet size: 62.5 × 44.1 cm. Excellent condition. Plate size: 31.5 × 41.5 cm. Sheet size: 45.6 × 55.2 cm. Excellent condition. Presented float mounted in a handmade white gold leaf frame with acrylic Presented in a handmade white gold leaf frame with conservation acrylic glazing. glazing. signed limited edition, number 33 of 50, signed by Picasso in signed limited edition, number 3 of 50, signed by Picasso in pencil lower right, numbered lower left. Printed by Arnéra, Vallauris, pencil lower right, numbered lower left. this linocut is one of a series of radical reinterpretations of Manet’s Baer 1116 IVB.b; Bloch 1122. famous painting, begun by Picasso in June 1954 and continued over £15,000 [125609] the next decade. Baer 1328; Bloch 1096; Kramer 88. £35,000 [126011]

All items are fully described and photographed at peterharrington.co.uk 43 44 Christmas 2017: Peter Harrington 61 62 Pablo Picasso Pablo Picasso Peintre et sa toile, avec un Modèle. Paris: Galerie Louis Leiris, 1965 L’étreinte VI. Paris: Galerie Louis Leiris, 1967 Etching and aquatint on Richard de Bas paper. Plate size 27.1 × 37.6 cm. Sheet Aquatint on Vélin de Rives paper. Plate size 31.2 × 41.2 cm. Sheet size 45.1 × size 42 × 51 cm. Excellent condition. Presented in a handmade white gold 55.2 cm. Excellent condition. Presented in a handmade white gold leaf frame leaf frame with acrylic glazing. with acrylic glazing. signed limited edition, number 26 of 50, signed by Picasso in signed limited edition, number 15 of 50, signed by Picasso in pencil lower right, numbered lower left. pencil lower right, numbered lower left. Baer 1200 Bb1; Bloch 1218. Baer 1108 IIIBb; Bloch 1218. £13,500 [127727] £12,500 [126012]

All items are fully described and photographed at peterharrington.co.uk 45 46 Christmas 2017: Peter Harrington 63 64 Bridget Riley Denis Rouart, & Daniel Wildenstein Coloured Greys [2]. London: Karsten Schubert, 1972 Edouard Manet: Catalogue raisonné. Tome I: Peintures. Paris: Screenprint in colours on wove paper. Image size: 56.9 × 57.2 cm. Sheet size: La Biblothèque des Arts, 1975 72.6 × 73.4 cm. Excellent condition. Presented float mounted in a white Folio. Original red cloth, spine and front cover lettered in gilt. With the wooden frame with acrylic glazing. dust jacket. Portraiture frontispiece, 5 colour plates, black and white signed limited edition, number 80 of 125, signed and dated by reproductions of Manet’s work throughout. Bookseller’s ticket tipped in Riley in pencil lower right, titled and numbered lower left. Printed by front free endpaper, else a fine copy in the very slightly faded jacket. Kelpra Studio, London. first edition, the first of two works on Manet by Rouart and Schubert 17. Wildenstein. The second work was Pastels, Acquerelles et Dessins, which £10,000 [127741] was published in the same year. £750 [124932]

All items are fully described and photographed at peterharrington.co.uk 47 65 14 from an unknown, but small edition, first state before steel facing. Kallir’s catalogue raisonné of Schiele’s works records four different Egon Schiele impressions on various papers and in various sheet sizes, with the Bildnis Arthur Roessler. (Portrait of Arthur Roessler.) Vienna: highest recorded limitation being 32. Arthur Roessler, 1914 Roessler was a friend and advisor of Schiele and financed the artist’s Drypoint etching printed in black on thin yellowish Japan paper. Plate size: printmaking by supplying the tools and plates he needed for etching. 24.2 × 32 cm. Sheet size: 31.8 × 39.2 cm. Excellent condition. Presented in a Schiele created his entire oeuvre of six drypoints in late spring and dark grey stained frame with conservation acrylic glazing. early summer 1914. signed limited edition, signed and dated by the artist in pencil Kallir 8a. lower right below the image, numbered lower left, and additionally £35,000 [125608] signed in pencil lower right in the image by Roessler. This is number

48 Christmas 2017: Peter Harrington 66 Armenian heritage and initially worked in collaboration with Henri Béchard. He established a studio in Istanbul in 1857, which came to Pascal Sébah be known as “El Chark” (The Orient), and after receiving medals at Album of original photographs of Egypt; together with International Exhibitions in Paris, Vienna and Philadelphia opened a photographs of prominent Islamic sites in Spain by José second atelier in Cairo in 1873. These finely detailed images display Camino and Emilio Beauchy Cano. Egypt & Spain: c.1870s a rich tonal range and an adept handling of chiaroscuro; in addition, Square quarto (317 × 290 mm). Contemporary dark brown half skiver Sébah often used local people as scaling figures (staffage). rebacked, recent green morocco label, dark brown morocco-grain cloth The views of Spain concentrate on the superb Islamic sites at sides, inner cloth hinges, marbled endpapers. Total of 98 full plate Seville and Cordoba, captioned in French in the negative. These original albumen photographs (mainly 200 × 250 mm), all with identifying are unsigned but we have identified them as the work of Emilio manuscript captions in English, mounted on thick card stock, linen hinges, Beauchy Cano (1847–1928), a Sevillano who produced an important 63 of Egyptian subjects, 29 Spanish, 6 of paintings. Corners professionally and extensive body of work documenting the sites and people of refurbished, occasional dust marking otherwise in very good condition. Andalusia. These are followed by a fine series of 14 images taken Engrossing album of original albumen photographs, including in and around the Alhambra by José Camino, who had a well- a striking and extensive series of views taken at the most notable established photographic studio at the Plaza del Carmen. ancient Egyptian sites by the celebrated photographer Pascal Sébah £5,000 [127124] (1823–1886), one of the most important commercial photographers of the period. Born in Istanbul, Sébah was of Syrian Catholic and

All items are fully described and photographed at peterharrington.co.uk 49 67 69 David Shrigley David Shrigley I Am Currently On Fire. London: Jealous Gallery, 2018 Shut Up. London: Counter Editions, 2018 15 colour screenprint with 2 varnish overlays on Somerset Tub Sized 410gsm 4 colour screenprint on Somerset Tub Sized 410 gsm paper. Sheet size: 76 paper. Sheet size: 75 × 56 cm. Excellent condition. Presented in a black × 56 cm. Excellent condition. Presented float mounted in a black wooden wooden frame with conservation acrylic glazing. frame with conservation acrylic glazing. signed limited edition, one of 100, initialled, dated, and signed limited edition, number 48 of 125, initialled, numbered numbered by the artist on verso in pencil. and dated by the artist on the verso. £3,000 [124631] £3,500 [127222]

68 70 David Shrigley (Humphrey Spender; ; George Rodger) I’m Sorry For Being Awful. London: Counter Editions, 2018 The Portfolio. 1938–1957. London: The Hulton Picture 12 colour screenprint on Somerset Tub Sized 410 gsm paper. Sheet size: 76 Company, [1989] × 56 cm. Excellent condition. Presented float mounted in a black wooden Folio. Original white card portfolio, panels printed in black and red. Housing 18 frame with conservation acrylic glazing. lithographic prints (360 × 250 mm) after original negatives taken for Picture Post, signed limited edition, number 48 of 125, initialled, numbered, loose as issued. Portfolio a little marked and creased, occasional faint mark to and dated by the artist on the verso. top margins and verso of prints, not affecting images. A near-fine copy. £3,500 [127220] signed limited edition, number 23 of 500 copies, each plate signed by the photographer and accompanied by the certificate of

50 Christmas 2017: Peter Harrington authenticity. This portfolio, produced to celebrate the photography historical resource. This portfolio includes two photographs each of the magazine Picture Post (1938–1957), provides a stunning by: John Chillingworth, Bert Hardy, , Raymond snapshot of English life in this period. The Picture Post, described as S. Kleboe, Frank Pocklington, , George Rodger, “a magazine of brilliant individuality”, featured some of the most Humphrey Spender, and Carl Sutton. notable of the age, providing photographs from Paul Barker, “Review: The Real Story of Picture Post”, Michael Hallett (RSA Journal, vol. key conflicts of period and images documenting day-to-day life in 143, No. 5458, 1995). England (Barker, p. 68). Often compared to America’s Life Magazine, £1,750 [127002] the Picture Post photographic archive is now viewed as an important

All items are fully described and photographed at peterharrington.co.uk 51 Ford recalled in 2007: “Reggie was a dear. I mean, you wouldn’t have chosen a man who had epilepsy, was an alcoholic, had had a stroke and wore a toupee to read the news, but the combination was absolute magic”. £1,250 [125226]

72 71 Ralph Steadman Ralph Steadman Sigmund Freud. London: The artist, 1979 Original black cloth portfolio housing statement of limitation page, title Still Life with Raspberry or The Bumper Book of Steadman. page, and 7 screenprints on Somerset Waterleaf handmade paper. Sheet London: Rapp & Whiting Limited, 1969 sizes: 56 × 76 cm. Light rubbing to corners of portfolio and light marking to Quarto. Original brown cloth, spine lettered in gilt, brown illustrated extreme upper corner of each page with text, otherwise a bright copy. endpapers. With the dust jacket. Illustrated throughout by Ralph Steadman. signed limited edition, presentation copy, inscribed three A near-fine copy in the lightly toned jacket, a few short closed tears to edges times by Steadman to his close friend Tom Maschler, head of of panels, 40 mm and 30 mm closed tears to base of rear panel. Jonathan Cape from 1960 to the 1980s, and his wife Regina: “Tom first edition, inscribed by the author to News at Ten anchor and Regina” in silver marker pen on the front cover; “To Tom, Reginald Bosanquet (1932–1984), “Still life at 10, to Reggie Ralph Regina” on the title page; and “For Tom and Regina in case you Steadman”, with an original pen-and-ink cartoon by Steadman of thought we’d forgotten, Love Ralph & Anna” on the limitation page. Bosanquet reading the news on the title page. “Reggie” Bosanquet This is number 43 of 98 copies signed and numbered by Steadman. (1932–1984) was a raffish British journalist and broadcaster, who £3,750 [128791] anchored the News at Ten from 1967 to 1979. His colleague Anna

52 Christmas 2017: Peter Harrington 73 on glassine. Housed together in a black cloth portfolio, titles to front cover in silver. All in excellent condition. Ralph Steadman & Kurt Vonnegut portfolio number 10 of 50, both screenprints signed by [Modern Fiction and Art portfolio.] Lexington: University of the respective artist, together with the first edition of Modern Kentucky Art Museum and Petro III Graphics, 1999–2000 Fiction and Art catalogue, signed and numbered by the curator Rachel Two screenprints: Red Shark by Steadman; Messenger by Vonnegut, on Sadinsky, the publisher Joe Petro III, and Ralph Steadman and Kurt Coventry cotton paper, each 42.5 × 30.5 cm. Together with: Modern Fiction and Vennegut. Art: Prints by Contemporary Authors: slim quarto. Original wrappers, titles and £2,000 [129943] illustration to front cover in black, green and blue. Statement of limitation

All items are fully described and photographed at peterharrington.co.uk 53 74 75 Henri de Toulouse-Lautrec Mark Wallinger Débauche. (The Debaucher). Paris: Arnould, 1896 Mark. [London: Anthony Reynolds Gallery, 2011] Original lithograph in 3 colours on vellum handmade Japan paper. Image Quarto. Original black cloth, titles to front cover hand-painted in white paint by size: 24.5 × 32.3 cm. Sheet size: 38.3 × 55.9 cm. Tape residue to extreme Wallinger. Housed in the publisher’s 4mm thick acrylic slipcase. Fine in slipcase. upper edge from previous hinging otherwise an unfaded bright copy, much first edition, only printing, one of 150 copies. Each copy is brighter than normally encountered. Presented in a handmade gold leaf individually hand-painted on the front cover by Wallinger. frame with conservation acrylic glazing. £700 [128996] one of an edition of 50, with toulouse-lautrec’s red monogram stamp lower right. This is in the second state with the monogram on the stone lower right (there is only one known 76 impression of the first state with an elephant monogram upper Aby Warburg (Abraham Moritz) right). A third state of 100 was also issued with text. Italienische Kunst und Internationale Astrologie im Palazzo Adriani 191 I; Adhémar 212; Deltiel 178 I; Wittrock 167 II. Schifanoja zu Ferrara; [with:] Piero della Francesca’s £50,000 [125760] Constantinsschlacht in der Aquarellcopie von Johann Anton Rambouse. Rome: Maglione & Strini, 1921–22 Folio, in two parts, pp. 17, [1] blank; 4. Contemporary quarter parchment, brown paper boards, gilt letters to front panel of backstrip, probably bound for the author. 11 and 2 plates, the last in colour. Some pencilled marginalia by Binswanger, two text emendations likely authorial. Light browning to endleaves and margins, a very good copy.

54 Christmas 2017: Peter Harrington first edition, presentation copy inscribed by Warburg to Ludwig Binswanger (1881–1966): “Seinem lieben und verehrten Dr Ludwig Binswanger, der ihn auf der Heimreise nach Hamburg begleitete, in aufrichtiger Dankbarkeit (“His dear and revered Dr Ludwig Binswanger, who accompanied him home to Hamburg, as one of the world’s leading centres for studying the interaction of in sincere gratitude...”) [signed] Warburg, 16 Aug [1]924, 114 ideas, images and society. Heilwigstrasse”. Warburg’s best-known single work is this study of the series of This is a superb association copy: in 1921, suffering with frescoes in the “Hall of the Months” at the Palazzo Schifanoia in schizophrenia-like symptoms, Warburg was admitted to Ferrara, Italy, painted by Francesco del Cossa, a lecture originally Binswanger’s Bellevue Sanatorium in Kreuzlingen, on the Swiss delivered at the Tenth International Art Historical Congress in shore of Lake Constance. Binswanger had worked and studied with Rome in 1912. “It marked Warburg’s undisputed leadership in this some of the greatest psychiatrists of the era, including Carl Jung, area of research, with his interpretation of the frescoes in Palazzo Eugen Bleuler, and Sigmund Freud; his most illustrious patient was Schifanoja, in particular the Decans, the gods ruling 10-day periods the dancer Vaslav Nijinsky. Binswanger’s therapeutic contribution . . . Warburg called them the ‘missing links’ between image and to Warburg’s eventual recovery has been debated but, as this symbol and introduced his listeners to a new view of astrology, inscription confirms, Warburg was hugely grateful for his care. Their documenting the centuries-old peregrinations of images of the correspondence and friendship continued until Warburg’s death of a planets from the Mediterranean to the Middle East, Mesopotamia, heart attack in 1929. Egypt, and from there to Spain. By documenting the route an One of the most influential art historians and cultural theorists of astrological image took, he could present answers concerning the the 20th century, Aby Warburg (1866–1929) was the founder of the influence of classical antiquity on the artistic culture of Europe” Warburg Institute – originally the Kulturwissenschaftliche Bibliothek (McEwan, Dorothea, “Aby Warburg’s (1866–1929) Dots and Lines. Warburg, a professionally-run private library in his house at 114 Mapping the Diffusion of Astrological Motifs in Art History”, German Heilwigstraße, Hamburg, where an interdisciplinary community of Studies Review, vol. 29, no. 2, 2006, pp. 243–68). The artist and his scholars came together, among them Ernst Cassirer, Erwin Panofsky, frescoes provided much of the historical background to Ali Smith’s Edgar Wind, and Raymond Klibansky. In 1933 the collection was 2014 novel How to Be Both. transferred to London as the Warburg Institute, where it remains £4,500 [128836]

All items are fully described and photographed at peterharrington.co.uk 55 77 78 Andy Warhol Andy Warhol The Philosophy of Andy Warhol. (From A to B & Back Again). Andy Warhol’s Interview. December 1977. Vol. VII No. 12. New New York: Harcourt, Brace, Jovanovich, 1975 York: Interview Enterprises, 1977 Octavo. Original orange cloth-backed yellow boards, spine lettered in white Folio. Original wrappers, titles to front wrapper in pink, yellow, turquoise, and black, the artist’s initials to lower corner of front cover in black, black orange, purple, red and green. Paper lightly toned as printed on newspaper endpapers. With the dust jacket. A very good copy in the dust jacket, lightly stock. rubbed and creased. first edition, signed by warhol on the front cover across a Second edition, signed by Warhol on the half-title. The work, photo of Mick Jagger dressed as Father Christmas carrying Iman Warhol’s loosely written autobiography, was first published earlier and Paul von Ravenstein in a sack over his shoulder. The cover is the same year. designed by Richard Bernstein who painted, sliced, and stencilled £750 [128782] celebrity designs which graced the covers of over a decade’s worth of Interview magazine issues (from 1972 into the mid-1980s). £1,000 [125382]

56 Christmas 2017: Peter Harrington 79 80 Andy Warhol Kate Whiteford Marilyn Monroe. New York: Leo Castelli Graphics, 1981 Sitelines. London: Jane Hamlyn, 1989 Screenprint on smooth wove card. Image size: 17.8 × 17.8 cm. Sheet size: Folio. Title page, statement of limitation and four prints all housed in a grey 17.8 × 35.6 cm. Light rubbing to 2 patches of top edge otherwise in excellent cloth clamshell box, titles to cover blind-stamped. 4 screenprints in colour condition. Presented in a white wooden box frame with conservation acrylic on Velin Arches 250 gsm paper. Image sizes: 23.9 × 18 cm. Sheet sizes: 51 × 42 glazing. cm. Box a little rubbed, internally all in excellent condition. signed limited edition, one of approximately 250, signed by Warhol signed limited edition, number 18 of 35, each print signed by right of image. Published as an announcement for the exhibition Andy the artist lower right, numbered lower left. Published to coincide Warhol: A Print Retrospective, this hand-printed screen print is known with the artist’s exhibition at the Frith Street Gallery, London, 10 as the Marilyn Monroe Castelli Graphics invitation — a miniature version of November–9 December, 1989. In 1990 Whiteford represented Great Warhol’s famous Pink Marilyn Monroe screen print. Britain at the Venice Biennale as part of Three Scottish Sculptors, Feldman & Schellmann II.31. along with David Mach and Arthur Watson. £8,000 [125781] £1,000 [123797]

All items are fully described and photographed at peterharrington.co.uk 57 www.peterharringtongallery.co.uk 58 Christmas 2017: Peter Harrington