Rare Books & Manuscripts

Home , Heart of America (yacht), Now We Are Six, William Stansby

Peter Harrington london

All items are fully described and photographed at peterharrington.co.uk 1 We are exhibiting at these fairs:

4–5 February 2017 pasadena Pasadena Center Pasadena, CA www.bustamente-shows.com/book

10–12 February california Oakland Marriott City Center 1001 Broadway, Oakland, CA www.cabookfair.com

17–18 February cambridge The Guildhall Market Square, Cambridge www.cambridgebookfair.org

9–12 March new york Park Avenue Armory 643 Park Avenue, NYC www.nyantiquarianbookfair.com

24–25 March edinburgh Radisson Blu Hotel 80 High Street, Royal Mile Edinburgh www.edinburghbookfair.org

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Front page images from Count Larisch von Moennich’s Das Weltmeer. Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, Wellen der Hochsee und Brandung, item 39. 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Design:2 Nigel Bents; Photography Ruth Segarra. Peter HarringtonRegistered 130 in England and Wales No: 3609982 Peter Harrington london

catalogue 130

Rare Books & Manuscripts

All items from this catalogue are on display at Dover Street mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 usa 011 44 20 7591 0220

Dover St opening hours: 10am–7pm Monday–Friday; 10am–6pm Saturday

All items are fullywww.peterharrington.co.uk described and photographed at peterharrington.co.uk 3 Presentation to Roger Ascham, from his Greek teacher, In 1530, at fifteen, Ascham matriculated at the Uni- mentor, and lifelong friend versity of Cambridge and became a student at St John’s College. In autumn 1533 he became a questionist and 1 on 18 February 1534 he was admitted BA and nominated APOLLONIUS RHODIUS. Argonautica [in Greek, for a fellowship. On 3 July 1537 he became an MA. Hugh with the scholia of Lucillus, Sophocles, and Theon. Fitzherbert (d. 1537) was Ascham’s official tutor, as the Edited by Joannes Laskaris.] Florence: [Laurentius inscription suggests, but it was Robert Pember (d. 1560), closer to Ascham in age, who has been credited with first (Francisci) de Alopa, Venetus,] 1496 discovering Ascham’s flair for Greek. Pember encouraged Median quarto (232 × 164 mm). Bound in the third quarter of the Ascham to take pupils in Greek, and his abilities came to 19th century by Francis Bedford (his name in gilt at the foot of the notice of the master and fellows who gave his teach- the front turn-in) in reddish-brown crushed goatskin, spine divided in six compartments by raised bands, gilt-lettered in two ing official approval. compartments, the others with gilt devices, sides with frames Among the “many others” alluded to in Pember’s formed of gilt and thick-and-thin blind rules, gilt centrepieces, inscription was John Cheke, who in 1540 was appoint- turn-ins ruled in gilt and in blind, gilt edges (spine a little faded; ed first Regius Professor of Greek with a salary of £40 extremities rubbed). Housed in a burgundy flat-back cloth box. a year; according to Roger Ascham he had previously 172 leaves, including the final blank. Greek types 114 (two sets “read publicly without stipend”. Cheke also taught of capitals designed by Laskaris, one large for headings and in- Ascham, who on Cheke’s recommendation became in itials letters, one small for the text). Commentary (10–33 lines) succession tutor to Princess Elizabeth and William Cec- in miniscule surrounding text (3–31 lines) in majuscule. Greek il, who in 1541 married Cheke’s sister Mary. Ascham paid marginalia in an early hand in six places; the publication date added in Arabic numerals in ink at the foot of the final text leaf; tribute to Cheke’s teaching in his introduction to The an excellent copy, well-margined, clean and fresh. Scholemaster (composed by 1563, published 1570), a work partly based on Cheke’s methods. editio princeps. a remarkable presentation In 1542 Pember was elected fellow of the King’s Hall copy, inscribed from the greek scholar robert and on 19 December 1546 was appointed by the crown one pember to his friend and student roger ascham of the founding fellows of Trinity College, Cambridge. At on the verso of the final blank: “R. Pemberi hunc librum Trinity, founded by Henry VIII to be a centre of academic dono dedit Rogero Aschamo testi magistro Fitzerbert et excellence, Pember worked as a tutor and reader in Greek. multis aliis.” The presentation inscription brings together Pember’s friendship with Ascham endured. During his three of the outstanding figures in the early years of Greek stay in Germany, for instance, Ascham sent coins to add scholarship in Tudor England: Robert Pember, Hugh to his former tutor’s collection. In his will Pember left his Fitzherbert, and Roger Ascham (1514/15–1568), author of extensive Greek library to Ascham. Toxophilus and The Scholemaster (see item 4 below).

2 Peter Harrington 130 “Ascham’s place as an English prose stylist – in the the Magnificent, who appointed him his librarian, and words of Ryan ‘the indispensable link between the earlier sent him on two journeys in the East to buy manuscripts Tudor writers and the great Elizabethan and Jacobean . . . While he was absent on his second voyage Lorenzo writers of English prose’ (Ryan, 292) – has only relatively died, and on his return to Florence Laskaris undertook recently been recognized by scholars, although contem- the editing of the Anthology and other Greek classics for poraries had no doubts . . . In Toxophilus and his later work Lorenzo di Alopa . . . He died in 1535, at the age of ninety” Ascham showed how classical forms and rules of organi- (Robert Proctor, The Printing of Greek in the Fifteenth Century, zation could be applied intelligently and elegantly to the pp. 78–82). vernacular” (ODNB). provenance: 1) Robert Pember (d. 1560), presentation Argonautica, the definitive telling of the story of Jason copy to; 2) Roger Ascham (1514/15–1568); 3) the great and the Argonauts and their quest for the Golden Fleece, book collector Charles Spencer, third earl of Sunderland is the most important Greek epic of the 3rd century BC. It (1675–1722), with his ownership inscription “C. Spencer” is the only epic before Virgil’s Aeneid that can be compared at the upper outer corner of the first text leaf recto (how- with Homer in subject and extent and it is the first epic ever this copy not listed in Bibliotheca Sunderlandiana); 4) to give a prominent place to love. With the effect this had in the stock of the London bookseller Bernard Quaritch, on subsequent writing, it holds a significant place in the offered for sale in the catalogue “Monuments of Typog- history of European literature. Apollonius was sometime raphy and Xylography” (1897), at £24; sold to; 5) the bib- Alexandrian librarian before retiring to Rhodes. The lical scholar and textual critic Herman Charles Hoskier manuscript source of this first printing was a tenth-cen- (1864–1938), with his note of acquisition dated 14 June tury version discovered by Giovanni Aurispa during his 1902; 6) sold at auction, Sotheby’s, 29 June–2 July 1907, book-buying trip in the Orient in 1421–3 (now Codex Lau- repurchased by Quaritch for £19; 7) bookplate of Walter rentius XXXXII 9, also containing plays by Sophocles and Thomas Wallace (1866–1922), noted bibliophile and col- Aeschylus). lector, of South Orange, NJ; 8) Wallace’s books were sold The editor Laskaris “was not only the moving spirit at auction by the American Art Association; this copy sold in the second Florentine Greek press, that of Lorenzo di for $105 on 22 March 1920; 9) in commerce, last noted in Alopa, but himself designed the majuscule fount which the stock of the booksellers Herman and Aveve Cohen, distinguishes the books issued from that press from any Chiswick Bookshop (active 1935–2001). others. Born in 1445, he began his career in Italy as a pro- tégé of Bessarion, who sent him to study under Chalkon- HC 1292*; Pell 912; CIBN A-478; Arnoult 109; Polain (B) 283; IGI 753; Sal- lander 2042; Madsen 282; Voull (B) 2990; Walsh 2964, 2965; Oates 2439, dulas at Padova. Left without resources, like so many of 2440; Sheppard 5189, 5199; Rhodes (Oxford Colleges) 115; Pr 6407; BMC his countrymen, by the death of his patron in 1472, he VI 667; GW 2271; Goff A-924. followed Chalkondulas to Florence; gained there a great reputation by his lectures, and the favour of Lorenzo £47,500 [112899]

All items are fully described and photographed at peterharrington.co.uk 3 4 Peter Harrington 130 The birth of the revolutionary astronomy of the made Regiomontanus promise that he would complete it. new learning Regiomontanus had hoped to publish the book at his own press in Nuremberg in the 1470s, but his premature death 2 delayed its appearance for more than twenty years. REGIOMONTANUS (Johannes Müller) & Georgius “At the end of the fifteenth century, Ptolemy’s achieve- Purbachius. Epitoma in Almagestum Ptolemaei. ment remained at the pinnacle of astronomical thought; (Edited by Caspar Grosch and Stephan Römer.) and by providing easier access to Ptolemy’s complex masterpiece, the Peurbach–Regiomontanus epitome Venice: Johannes Hamman for the editors, 31 August 1496 contributed to current scientific research rather than to Super-chancery folio (307 × 206 mm), ff. 108, including final improved understanding of the past” (DSB). Moreover, leaf, blank and genuine; without the bifolium containing Jo- since the Peurbach–Regiomontanus version was based on hannes Baptista Abiosus’s letter dated 15 August 1496, inserted in a minority of copies between a1 and a2. Bound to style in full a Greek manuscript belonging to Cardinal Bessarion (the vellum over thin pasteboards, ties and catches. Custom dark red Cardinal claimed the manuscript was worth more than cloth folding case. 48 lines and headline. Types: 4:135G, 2:103G, a province), rather than the debased Latin translations 8:86G, 5:70(67)G, 80Gk. Xylographic title, full-page woodcut of from the Arabic, the Epitome was more reliable than the an armillary sphere with Ptolemy and Regiomontanus studying complete versions when they did appear. The editio princeps below, 279 woodcut marginal diagrams (including repeats), of the Greek text (1538) was based on the same Bessarion white-on-black floriated woodcut initials in several sizes, wood- manuscript, which is now lost. cut printer’s device on p7v (Kristeller 231). Early manuscript This edition was almost certainly the text that provided foliation, manuscript notation on title page. Title leaf and last Copernicus with his knowledge of the Ptolemaic system, text leaf with paper restorations in lower margins; a tall copy but trimmed just a little close in fore margin, shaving one diagram since he had largely completed writing De revolutionibus on f2v with loss of two letters; last text leaf with small hole at before publication of the next edition in 1515 (Gingerich, centre touching a couple of letters either side of the leaf; a few Eye of Heaven, p. 164). One of Peurbach–Regiomontanus’s trivial spots or marks internally: a very good copy. corrections sparked Copernicus to question the Ptolema- first edition in any form of Ptolemy’s Almagest, the ic system, which had formed the basis of astronomy for foundation of ancient astronomy. Regiomontanus’ Epit- more than one millennium, and to “lay the foundations ome of Ptolemy is an epochal text that both made available of modern astronomy with his revolutionary heliocentric the canonical astronomy of the ancient world and her- system” (DSB 11, p. 349). alded the birth of the revolutionary astronomy of the HC *13806; BMC V, 427; CIBN R-60; BSB-Ink R-67; Bod-inc R-040; IGI new learning. This is the only appearance in print of the 5326; Klebs 841.1; Essling 895; Sander 6399; Stillwell Science, 103; Dibner Heralds 1; Grolier/Horblit 89; Norman 1565; Schäfer/Arnim 192; Printing Almagest in the fifteenth century. The first complete edi- and the Mind of Man 40; Goff R-111. tion was not published until 1515. The epitome was begun by Peurbach, who, when he lay on his deathbed in 1462, £80,000 [114113]

All items are fully described and photographed at peterharrington.co.uk 5 6 Peter Harrington 130 The lives of the English saints, printed by geometer John of Tynemouth). The chronicler also wrote Wynkyn de Worde the Historia aurea, compiled c.1350, a world history extend- ing from the creation to 1347. The Sanctilogium contains 3 156 lives of British saints. [TYNEMOUTH, John.] Nova legenda Anglie. The book was printed by Wynkyn de Worde (d. 1534/5), London: Wynkyn de Worde, 27 February 1516 Caxton’s printer and successor, at the sign of the Sun in Fleet Street in St Bride’s parish. By this date Wynkyn had Folio (276 × 194 mm), ff. [6], 334, [2] (the last blank). Early 19th-century russia, rebacked with original spine laid down, “turned away from the courtly material favoured by Cax- with crest and arms of Sir Richard Colt Hoare (1758–1838). Full- ton, which had led him to settle at Westminster, to reli- page woodcut of Saints in Glory on A1r, repeated on verso and gious, popular, and educational books, which were better on recto of penultimate leaf; full-page woodcut royal arms on distributed from London” (ODNB). Wynkyn’s strength in A6v; printer’s device on verso of penultimate leaf. Printed in religious and spiritual books was perhaps due to his asso- black letter. Lower corners worn, occasional soiling, scattered ciation with Lady Margaret Beaufort, Henry VII’s mother. marginal stains, small marginal repairs without text loss on The present text is representative of much of Wynkyn’s A1, X5, h4, and n5, upper margin of A2 restored with top line output in being English in both origin and authorship. of text partly supplied in manuscript, blank outer margin of The work was misattributed by Leland, Bale, and their n5 and 2c1-2d5 restored with few letters in manuscript on 2d5, small hole in t1 repaired with few letters in manuscript, leaves followers to the theologian and historian John Capgrave 283–293 supplied from a shorter copy. Signature of the antiquary (1393–1464), prior of Bishop’s Lynn, a mistake repeated Sir Roger Twysden (1597–1672) dated 1631 on recto of first leaf, in this volume with a manuscript note at the head of the notes in his hand on blank leaves bound in front; bookplates of full-page woodcut and the insertion of 11 leaves at the John Arthur Brooke and Viscount Mersey; signature of G. Boyle front with a biography of Capgrave, some of the notes in dated 1978. Twysden’s hand. first edition of an alphabetically arranged version of STC 4601. the Sanctilogium, a compilation of English saints’ lives by the chronicler John Tynemouth (as distinct from the £18,750 [113452]

All items are fully described and photographed at peterharrington.co.uk 7 One of the most notable books of the Renaissance the Mirror of Magistrates and was the author of other works, although only three were printed during his lifetime, all by 4 Thomas Berthelet, the king’s printer who had published ERASMUS, Desiderius. The Praise of Folie. Moriae three translations of works by Erasmus in the 1520s. Chal- Encomium a booke made in latine by that great oner, whose poetry was praised at the University of Alcala clerke Erasmus Roterodame. Englisshed by Sir in Spain and who knew Vesalius, is also the earliest transla- Thomas Chaloner, Knight. (London: in the house of tor of Ovid and Ariosto into English. Thomas Berthelet, 1569 [recte 1549]) The first edition of Chaloner’s translation is genuinely rare: Miller is his 1965 census lists 14 copies in institutions Small quarto (181 × 130 mm). 19th-century brown crushed mo- worldwide (two are defective) but makes clear the difficulty rocco by Jenkins & Cecil (their stamp to foot of front free endpaper verso), boards ruled in gilt with crowned thistle and floral of distinguishing the first and second editions (the misdat- tools at corners, banded spine with title gilt and rules and tools ed colophon with 1569 is common to both editions, while in six compartments, turn-ins with elaborate tooling in gilt, the titles can be distinguished only by the y in Latyne, the marbled endpapers, gilt edges. Title printed within elaborate initials T.P. instead of T.B. etc.) and adds the additional allegorical woodcut frame, two elaborate 10-line woodcut ini- difficulty of the misprint in the original STC entry that has tials, publisher’s device on last leaf verso; black letter text with created variants that are really ghosts. It seems probable quotations in italic and proper nouns in Roman types. Outer that there are further institutional holdings of this edition, leaves slightly browned, small paper repairs to inner margin of but apparent absences at the Folger Library, the Getty, and last leaf, text not affected, an excellent copy. the New York Public Library and the dearth of copies at first edition in english of one of the most notable auction since the 1950s indicate the work’s rarity. works of the Renaissance. “The Praise of Folly was written Extensive analysis by Miller suggests that Chaloner when Erasmus was staying in the house of Thomas More used a Cologne edition of the Moriae Encomium from 1526 in the winter of 1509–10. Its title is a delicate and compli- as the source for his translation, while also consulting mentary play on the name of his host: its subject matter Antonio Pellegrini’s 1539 edition in Italian. Above all, it is a brilliant, biting satire on the folly to be found in all appears that Chaloner strove to remain faithful to Eras- walks of life. The book stemmed from the decision which mus’ tight, lean style (Miller) rather than the verbose par- Erasmus had taken when he left Rome to come to Eng- aphrases of Pellegrini. The result of Chaloner’s effort is a land, that no form of preferment could be obtained at the work of lasting importance that had a very considerable sacrifice of his freedom to read, think and write what he influence on English literature in general, but more par- liked . . . The work was first secretly printed in Paris, and, ticularly on the works of William Shakespeare. as in other cases, its immediate success safeguarded him It seems clear that Shakespeare was indebted to Eras- from the consequences of his audacity . . . Whenever tyr- mus’ text, and more specifically to Chaloner’s translation. anny or absolute power threatened, The Praise of Folly was Echoes of the work are found in a number of works: even re-read and reprinted. It is a sign of what was in the air setting aside the various iterations of the Fool in King that Milton found it in every hand at Cambridge in 1628. Lear, A Midsummer Night’s Dream, As You Like It, Twelfth Night, His inherent scepticism has led people to call Erasmus and so on, Chaloner’s text appears the direct source for the father of 18th century rationalism, but his rationalist Jaques’s “All the world’s a stage” monologue in As You Like attitude is that of perfect common sense, to which tyran- It and Gonzalo’s speech on the island in The Tempest. ny and fanaticism were alike abhorrent” (PMM). The strongest influence of Chaloner’s translation is First published in Paris in 1511, the Moriae Encomium felt in Hamlet. In Act II, Scene II, Hamlet enters reading was reprinted in a large number of editions in its original – more than one authority has posited that it is a copy of form before any vernacular translation was published. Chaloner’s The Praise of Folie he carries. Analysis of Shake- Pforzheimer suggests that, in light of the intended Lati- speare’s verbal usage has identified several instances nate audience, the free movement of Latin books and un- where a word from Chaloner is used in Hamlet and in few, bound sheets, and the contemporary preference (at least if any, other instances. It is known that grammar schools in England) for continental printing, a translation was in the 1570s and 1580s used Erasmus’s and Chaloner’s simply not required. text; by 1577 three editions of Chaloner’s version were Sir Thomas Chaloner (1520–1565), the English translator, available, so it is not implausible to suggest, as Frank Mc- was Cambridge-educated and a notable figure, knighted Combie does, “that the Moriae Encomium was drawn upon in 1547, whose fame to the Elizabethans rested “on his by one who knew it very intimately, had absorbed a great Latin poetry, his military and diplomatic service of four deal of its feeling into his own outlook and thinking, but Tudor monarchs, and his near escape from drowning after who now consulted it again, on the brink as it were, of his shipwreck off the coast of Algeria” (Miller: see pp. xxix–xlv new creation, to see what it might afford him . . . The use for The Life of Sir Thomas Chaloner). Chaloner contributed to he made of it was masterly, his absorption of it entire”.

8 Peter Harrington 130 “The general similarity in the turn of thought in the attuned us to its characteristic modes of thought. The Moriae Encomium . . . has always struck readers as being relationship is that close” (Frank McCombie). quite startlingly Shakespearian . . . Although a variety of Miller A; Pforzheimer 359; Printing and the Mind of Man 43 (first edition, sources for Shakespeare’s humanistic ideas makes better 1511); STC 10500. See the Early English Text Society edition edited by sense . . . it is nevertheless intriguing that so many of Clarence H. Miller, “The Praise of Folie”, Oxford University Press, 1965; those ideas should echo the Moriae Encomium so insist- see Shakespeare Survey: An Annual Survey of Shakespearian Study and Produc- tion, vol. 27, Cambridge University Press, 1974. ently. It would not, for instance, be absurd to speculate how far the Moriae Encomium . . . owes its sustained pop- £95,000 [108395] ularity in this country to the fact that Shakespeare has

All items are fully described and photographed at peterharrington.co.uk 9 The Bradley Martin copy Elizabeth in 1548, Latin Secretary to Queen Mary in 1553 and private tutor to Queen Elizabeth in 1558. The 5 Scholemaster was written at the suggestion of Sir Richard ASCHAM, Roger. The Scholemaster Or plaine and Sackville following a debate over dinner with Sir William perfite way of teachyng children, to understand, Cecil and others on the question of flogging children. write, and speake the Latin tong, but specially Ascham was vehemently opposed to the practice. purposed for the private brynging up of youth Ascham was particularly influenced by the education- in Jentlemen and Noble mens houses, and al ideas of his long-time friend and correspondent, the Strasburg humanist Johann Sturm. The Scholemaster is commodious also for all such, as have forgot the divided into two books: the first describes the ideal tutor Latin tonge, and would, by themselves, without a and scholar and draws heavily on Plato; the second treats Scholemaster, in short tyme, and with small paines, the method of instruction by double translation using recover a sufficient habilitie, to understand, write, proper imitation of classical models, and draws equally and speake Latin. London: printed by John Daye, 1570 heavily upon Cicero. The book remained unpublished at Small quarto (182 × 130 mm). 18th-century polished calf, gilt his death and was published by his widow Margaret, who panelled spine with raised bands, sides with double gilt fillet signed the dedication. borders. Dark red goatskin pull-off case by Riviere-Mounteney “This book, which popularized the educational views with raised bands and gilt lettering. Black letter, title within of Renaissance Englishmen, has made Ascham famous border of typographical ornaments, woodcut initials and typo- among educational theorists, and one of the most influ- graphical tailpieces, large woodcut printer’s device on colophon ential of their number. He was concerned to rear an élite leaf. Ruled in red throughout. Occasional spots and some finger-soiling, a few headlines shaved, an excellent copy. capable of assuming what he considered their proper place in serving the commonweal, and he wrote in Eng- first edition of the most important Tudor work on lish to guarantee as wide an audience as possible, thus education. Known for his beautiful handwriting, Roger opening up ideas previously hidden from those who knew Ascham (1514/15–1568) was appointed tutor to Princess no classical languages” (ODNB).

10 Peter Harrington 130 provenance: Wyllyam Hardyan[?], near contemporary first and only contemporary edition; “an am- inscription at foot of second leaf; old ink Latin inscription bitious work of literary history and criticism as well as on title; Henry Cunliffe, bookplate; extensive notes on a rhetorical handbook for the practising poet” (ODNB). front free endpaper in a 19th-century hand; Sotheby’s, Puttenham’s examples are drawn mostly from early to 1946 (£62); Scribner’s collation note dated March 1949 on mid-16th-century writers, poetry such as Richard Tot- rear pastedown; Harold Greenhill and H. Bradley Martin, tel’s Songs and Sonnets or the works of George Gascoigne bookplates; Sotheby’s New York, 30 April 1990, lot 2565. and George Turberville. Ben Jonson owned a copy and Pforzheimer 15; Printing and the Mind of Man 90; STC 832. carefully annotated it. The book was published anonymously with a dedication to Burghley subscribed “R.F.” £25,000 [114919] by the printer Richard Field, the Stratford contemporary of William Shakespeare. Field was associated with the The rhetorical handbook for the Elizabethan poet printing or publishing of many important sources for Shakespeare’s plays, suggesting the possibility that the 6 playwright may have had access to his townsman’s shop. [PUTTENHAM, George.] The Arte of English William Lowes Rushton itemizes an impressive number Poesie. Contrived into three Bookes: The first of of parallels between The Art of English Poesie and the lan- Poets and Poesie, the second of Proportion, the guage displayed in Shakespeare’s plays. third of Ornament. London: by Richard Field, 1589 Pforzheimer 12; STC 20519. For Puttenham and his influence on Shake- Quarto (184 × 127 mm). Dark green levant morocco by Rivière, speare, see George Puttenham, The Art of English Poesy, eds. Frank Whigham and Wayne A. Rebhorn (Ithaca, NY, 2007); and William Lowes Rushton, floral and ornamental gilt border on pointillé ground on sides, Shakespeare and “The Arte of English Poesie” (Liverpool, 1909). gilt dentelles, spine gilt, edges gilt. Bookplate. Woodcut device (McKerrow 222) on title page, woodcut portrait of Elizabeth I, £45,000 [114832] woodcut initials, head- and tailpieces, and diagrams; bound without first and last blanks.

All items are fully described and photographed at peterharrington.co.uk 11 The English Roman Catholic Old Testament in a edictine Convent of the Assumption of Our Blessed Lady, contemporary Douai binding Brussels, with his inscription at the head of the title page of vol. 2: “John Knatchbull to the honorable Lady and his 7 most respected mother the Lay [sic] Barkley Abbesse of (BIBLE; English; Douai version.) The Holie the English Monastery in Bruxells”. The translation from Bible faithfully translated into English, out of the Vulgate is largely the work of Gregory Martin; the the authentical Latin. Diligently conferred with annotations are ascribed to Thomas Worthington, who became president of the College at Douai in 1599. the Hebrew, Greeke, and other editions in divers languages. With arguments of the bookes, and Darlow–Moule–Herbert 300; STC 2207. chapters: annotations. tables: and other helpes . . . £35,000 [108480] By the English College of Doway. Douai: printed by Laurence Kellam, 1609–10 2 volumes, quarto (225 × 168 mm). Contemporary gilt-tooled calf, central gilt-stamped oval “IHS” with crucifix surrounded by flames, frames with elaborate scrollwork, spines gilt-stamped with repeated floral stamp; rebacked with original spines laid down, corners mended. Housed in a black flat back cloth solander box by the Chelsea Bindery. Titles within typographic ornament borders, woodcut headpieces and decorative initials. Bookplates of Robert S. Pirie. An occasional minor marginal spot or smudge, a very good copy. first edition of the roman catholic version of the old testament in english, in a contemporary douai binding; presentation copy from John Knatchbull, vice-president of the English College at Douai to Lady Joanna Berkeley (1555/6–1616), abbess of the Ben-

12 Peter Harrington 130 8 (“In imitation of old Rhrime”) tipped-in at G2-G3 (first part), a very good copy with ample margins. [MALORY, Sir Thomas.] The most ancient and famous history of the renowned Prince Arthur King sixth edition, the earliest practically obtain- able. Malory’s Morte Darthur (the familiar title was acci- of Britaine, Wherein is declared his Life and Death, dentally given by its first printer, William Caxton, who with all his glorious Battailes against the Saxons, mistook the name of its last section for the name of the Saracens and Pagans, which (for the honour of his whole), though in part a translation, is so woven togeth- Country) he most worthily atchieved. As also, all er from a wide variety of sources that it is effectively an the Noble Acts, and Heroicke Deeds of his Valiant original work. Malory called what he wrote The Whole Book Knights of the Round Table. Newly refined and of King Arthur and his Noble Knights of the Round Table. As his published for the delight, and profit of the Reader. title implies, he intended to retell in English the entire Ar- London: by William Stansby, for Jacob Bloome, 1634 thurian story from authoritative accounts, which for him Quarto (183 × 131 mm). Contemporary or near contemporary meant primarily the three major cycles of French Arthuri- calf, very expertly recased and rebacked preserving most of the an prose romance, although he knew many other Arthu- original spine. Custom full calf folding box. In three parts, each rian stories (including late medieval English alliterative with separate title-page and woodcut frontispiece. Without the poems) and drew on them for incidents, allusions, and final blanks in parts I and II, as usual. Printed in black letter, minor characters that give his story additional solidity. with roman and italic prelims, headlines, rubrics and proper Completed in prison by 1470, the Morte Darthur was names. A little restoration to corners of binding, new endpa- first published by Caxton in 1485, reprinted by Wynkyn de pers, final four leaves repaired and partially restored (probably Worde in 1498 and 1529, and by William Copland in 1557 supplied from another copy), final leaf 2P4 with a few letters in and Thomas East in 1578. This sixth edition is the last of pen facsimile, first frontispiece creased and reinforced at fore- edge, ink inscriptions on title page, some worming (mostly to this early sequence and has the language modernized to margins and not affecting text), sheets browned, slight loss to Jacobean standards: that is, to Early Modern English. fore-edge of A4 (second part), occasional inking over type, in- Grolier W–P 532; STC 806; not in Pforzheimer. cluding at D2v (first part) where text is partly obscured by a spot of pale soiling, and some blacking out of text in a few places £37,500 [114590] including at 2B1 and 2Fv (second part), leaf of manuscript notes

All items are fully described and photographed at peterharrington.co.uk 13 Portugal’s national epic, presentation copy from the translator 9 CAMOENS, Luis de. The Luciad, or Portugals Historicall Poem: written In the Portingall Language; and Now newly put into English by Richard Fanshaw Esq. London: for Humphrey Moseley 1655 Folio (313 × 200 mm). Early 18th-century mottled calf gilt with gilt thistle cornerpieces, Wodhull’s arms in gilt added at center of front cover, edges gilt. Engraved frontispiece portrait of Camoens with verses, 2 engraved portraits of Prince Henry (folded at outer margin as usual) and portrait of Vasco da Gama by Cross (slightly shaved at outer margins, both portrait plates supplied from another copy by Michael Wodhull, see provenance). Rebacked with the original red morocco lettering piece preserved. Some occasional pale spotting. first edition in english, a superb presentation copy from the translator, inscribed by richard fanshawe (1608–1666) to his brother-in-law sir george boteler on a separate slip tipped to the Dedicatory Epistle: “Aug. 22. 1655 ffor my honord friend Sr. George Boteler from his most affectionate servant & Counteyman Richard ffanshawe. La patria e solamente Buena, para nacer, y morir, en ella.” Fanshawe has made a number of corrections in the text and more extensive corrections in pencil have been made by B. Fanshawe which he transcribed from a presentation copy to Thomas Leventhorpe, Fanshawe’s nephew (sold at Sotheby’s in 1924). Presentation copies are extremely scarce: the only other known presentation copies are the Pforzheimer copy, inscribed to Edward Heath, and the Houghton copy, inscribed to Fanshawe’s nephew Francis Compton (sold Christie’s London, 13 June 1979, lot 102).

14 Peter Harrington 130 Boies Penrose calls The Luciad “one of the noblest epics” and “the national poem par excellence and the supreme epic of Portugal’s conquests in the East” (Travel and Dis- covery in the Renaissance 1420–1620, New York, 1962, pp. 92 and 359). Luis de Camoens had left his native country in disgrace in March 1553, condemned to five years’s service in the Indies. The idea of The Luciads was formed on the voyage out, and several cantos are thought to have been composed before he reached Goa. From Goa he went to the Malabar coast and then participated in the cam- paign along the shores of Arabia to suppress piracy. All the while, through further travels and battle in the East, Camoens lived by the motto, “in one hand the sword, in the other the pen,” while composing his great verse epic. Seymour de Ricci states that “Bibliographers should be extremely grateful to Wodhull for the care he took to in- scribe on the flyleaf of every book he bought the price, date and place of purchase, together with the cost of binding.” provenance: Sir George Boteler (presentation inscription from the translator on tipped-in sheet); Michael Wodull (1740–1816), noted book collector and bibliophile, classical scholar and first English translator of Euripedes, who “bought with great judgement,” according to de Ricci (signature and note of purchase of 11 February 1782 from the Faulder sale, purchased for 3s 6d, without the two portrait plates which he added from another copy; arms on binding, added for a cost of 6d); James Bindley (his notes and initials); Wodhull-Severne sale, 1886, lot 579; Evelyn Fanshawe or Parloes, Essex (bookplate); Charles Butler (sale in 1913, purchased by); Basil Thomas Fanshawe (note on flyleaf ); bought by Mr and Mrs Sev- erne from Quaritch in 1924; Frank S. Streeter (his sale Christie’s New York, 16 April 2007, lot 89). convince us that we are not at the mercy of pure chance, Grolier English 349; Pforzheimer 362; Wing C-397. and can to some extent control our own destiny” (PMM). The significance of his Essay was immediately recog- £35,000 [110925] nized: it quickly ran to several editions and was popularized on the Continent by French translations. “Few books 10 in the literature of philosophy have so widely represented [LOCKE, John.] An Essay concerning Humane the spirit of the age and country in which they appeared, Understanding. In Four Books. London: by Eliz. Holt, or have so influenced opinion afterwards” (Fraser). for Thomas Basset, 1690 This issue has the Elizabeth Holt imprint, and the “ss” of “Essay” correctly printed; the type ornament on the ti- Folio (320 × 190 mm). Bound to style sometime in the 20th century in full blind-panelled calf, brown morocco spine label, tle is composed of 30 aligned pieces. The second issue has retaining old free endpapers. Neat early ink annotations in the a cancel title under the imprint of Thomas Basset, with wide margins throughout, and a couple of corrections to the the “ss” of “Essay” reversed, and with the typographical text; early ownership inscription of R. Styleman at head of title; ornament unaligned. ownership inscription of Robert Dixon on both free endpapers. The marginal annotations are early and intelligent Binding rubbed, internally very good. commentary, summarising the content of each of Locke’s first edition, first issue. Locke worked for nearly paragraphs throughout the first three books. two decades on his investigation of “the certainty and the Attig 228; Garrison–Morton 4967; Grolier One Hundred 72; Grolier English adequacy of human knowledge,” concluding that “though 36; Pforzheimer 599; Printing and the Mind of Man 164; Norman 1380; Wing knowledge must necessarily fall short of complete com- L-2738; Yolton 61. prehension, it can at least be ‘sufficient’; enough to £55,000 [111580]

All items are fully described and photographed at peterharrington.co.uk 15 A classic of public finance engraved bookplate removed from front pastedown with loss of marbled paper; a very fine copy. 11 very rare first edition, first issue (with B4 in VAUBAN, Sébastien Le Prestre, Seigneur de, uncancelled state: on p. 16, a setier is given as weighing Maréchal de France. Projet d’une dixme royale: qui 170, rather than 240 pounds), of “an erudite economic supprimant la taille, les aydes, les doüanes d’une work much in advance of its time, and distinguished both province à l’autre, les décimes du clergé, les affaires by accuracy of method and breadth of view” (Palgrave), extraordinaires; & tous autres impôts onereux & “creditable alike to the heart and the head of its illustrious non volontaires: Et diminuant le prix du sel de author” (McCulloch). Carpenter lists six other printings dated 1707, all in moitié & plus, produiroit au Roy un revenu certain smaller format, and eight subsequent editions before et suffisant, sans frais; & sans être à charge à l’un 1710, including the English translation A Project for a Royal de ses sujets plus qu’à l’autre, qui s’augmenteroit Tythe (1708; reissued in 1710 as An Essay for a General Tax). considérablement par la meilleure culture des “Though the book was published anonymously, and terres. [Rouen: no printer,] 1707 only a few copies issued [for circulation among friends], Quarto (247 × 190 mm). Contemporary sprinkled calf, gilt roll Vauban had to submit to the mortification of seeing it tool border to covers, spine elaborately decorated gilt in com- ‘pilloried’ by the parliament, while he himself incurred partments, red morocco label, marbled endpapers, sprinkled the displeasure of the king [Louis XIV]. A few weeks later edges. Large folding table, “Formulaire qui peut servir pour he died” (Palgrave). tout un pays” at page 192. Extremities with very slight rubbing,

16 Peter Harrington 130 Although the renowned soldier-engineer Vauban According to Boislisle, the first edition was printed in (1633–1707) wrote on a very wide variety of subjects apart Rouen in 1706 at the initiative of the Abbé de Beaumont from economics – fortifications, war, naval matters, (who is actually credited with the authorship of the work religion, agriculture, population and colonization – the by Boisguilbert). Vauban had the sheets bound by the Projet d’une dixme royale is an outstanding work in the field widow of a certain Fétil, and took great pains that the of public finance. Its two most notable features are its un- book did not have any public circulation. It was prohib- derstanding of the central role of fiscal policy in econom- ited on 14 February 1707, but apparently the police were ic reform – the result of an exceptionally comprehensive only able to seize two copies. To the police, the binder grasp of the economic process – and its use of detailed declared she had had 264 copies in total, 12 bound in mo- numerical data to substantiate conclusions. Schumpeter rocco, the rest in calf. The two copies seized at the Abbé pronounced the work “unsurpassed, before or after, in de Beaumont’s were described as in “veau fauve” and mar- the neatness and cogency of the argument . . . Purposeful bled parchment. See Arthur Michel de Boislisle, La Pros- marshalling of all the available data was the essence of his cription du projet de Dime Royale et la mort de Vauban (Mémoire analysis. Nobody ever understood better the true relation lu à l’Académie des sciences morales et politiques), Paris, 1875. between facts and argument. It is this that makes him an Carpenter X (1); En français dans le texte 134; Goldsmiths’ 4431; Kress 2583; economic classic in the eulogistic sense of the word, and McCulloch, p. 342f; Masui, p. 396; this edition not in Einaudi, Holland- a forerunner of modern tendencies” (History of Economic er, INED, Massie or Sraffa. Analysis, p. 204). £47,500 [114934]

All items are fully described and photographed at peterharrington.co.uk 17 12 to del modo di misurare con la vista, Ventitrè lettere a diversi, delle GALILEI, Galileo. Opere, divise in quattro tomi, quali sedici al Micanzio e tre al Gualdo, Problemi vari e pensieri vari, and the Dialogo. in questa nuova edizione accresciute de molti cose inedite. Padua: Gio. Manfre, 1744 Cinti 176; Carli and Favaro 478; Houzeau and Lancaster 3386; Riccardi I/1 522 22 (“molto più completa ed ordinata delle due precedenti”). 4 volumes, quarto (268 × 195 mm). Uncut in contemporary drab boards (“carta rustica”), paper spine labels added at a later date, £16,000 [109916] preserved in two black morocco backed cloth boxes. Engraved portrait frontispiece by Zucchi to vol. I, engraved printer’s de- 13 vice on titles, head- and tail-pieces, with numerous woodcut initials, engravings and figures in the text, and two plates, one MONTESQUIEU, Charles de Secondat, Baron de. folding. Short tear to rear joint of volume I, occasional light The Spirit of Laws. Translated from the French . . . marginal damp marking and dust soiling, a few short marginal With Corrections and Additions communicated by tears, a tiny work track across one line of the final leaf of volume the Author. London: for J. Nourse, and P. Vaillant, 1750 III; a very good copy in original condition. 2 volumes, octavo (203 × 123 mm). Contemporary calf, spines first complete collected edition of Galileo’s with raised bands, morocco labels renewed, sprinkled edges. works, the third overall, and the first to include the Dialo- Contemporary ownership inscription Thomas Preston to front go, along with other material published here for the first free endpaper of each volume, engraved armorial bookplate of time. Galileo’s Opere, first published in two volumes in Mansfield Price LLD to each title verso. Spine ends and joints 1656 in Bologna by Carlo Manolessi, was reprinted with professionally repaired, some surface wear, spine labels re- some revision and the addition of a third volume in 1718 newed to style; occasional light spotting and the odd mark; a in Florence by Tommasso Bonaventure, assisted by Guido very fine set. Grandi and Benedetto Bresciani. This third edition, ed- first english edition. One of the central texts in the ited and annotated by Giuseppe Toaldo, includes for the history of 18th-century thought, L’Esprit des Loix was a first time, added as the fourth volume, Galileo’s Dialogo huge influence both on English law, especially as mediat- sopra i due massimi sistemi. New to this edition are the Tratta- ed by William Blackstone, and on those who framed the

18 Peter Harrington 130 American Constitution. Blackstone’s Commentaries, Hamil- first edition, published in April 1759 with a recorded ton’s Federalist Papers and Tocqueville’s Democracy in America “print run of 1,000 copies” (Sher, Early Editions of Adam’s are all thoroughly imbued with Montesquieu’s theories. Smith’s Books, 13). Smith’s first book and his later Wealth In particular, Montesquieu is credited with the idea that of Nations demonstrate “a great unifying principle . . . the powers of government should be separated and bal- Smith’s ethics and his economics are integrated by the anced in order to guarantee the freedom of the individual, same principle of self-command, or self-reliance, which a key concept in the creation of the US Constitution. No manifests itself in economics in laissez faire” (Spiegel). English language edition was published in America until Smith’s famous phrase is first used here that would be 1802. The translation is by the prolific Irish-born author repeated in the later work: that self-seeking men are often and skilful translator of works mostly from the French “led by an invisible hand . . . without knowing it, without Thomas Nugent (c.1700–1772). intending it, to advance the interest of the society” (Part Kress 5057; Goldsmiths’ 8571. IV, Chapter 1). “The fruit of his Glasgow years . . . The Theory of Moral £12,500 [111777] Sentiments would be enough to assure the author a respected place among Scottish moral philosophers, and 14 Smith himself ranked it above the Wealth of Nations . . . . Its SMITH, Adam. The Theory of Moral Sentiments. central idea is the concept, closely related to conscience, London: for A. Millar, and A. Kincaid and J. Bell, in of the impartial spectator who helps man to distinguish Edinburgh, 1759 right from wrong. For the same purpose, Immanuel Kant invented the categorical imperative and Sigmund Freud Octavo (201 × 122 mm). Contemporary sprinkled calf, neatly the superego” (Niehans, 62). rebacked, morocco label renewed. Complete with the half-title, with the errata on final leaf. Pp. 317-336 omitted from the pag- Goldsmiths’ 9537; Higgs 1890; Kress 5815; Tribe 1; Vanderblue, p. 38. ination, as issued. Pages 139-40 with tear to the gutter neatly repaired; paper lightly toned, some spotting and soiling, a few £55,000 [114348] leaves with offset; withal a very good copy.

All items are fully described and photographed at peterharrington.co.uk 19 15 George Back. During his distinguished career Back saw BACK, Kenn. The polar collection of the Antarctic out eight Antarctic winters (which he believed to be “a BAS record”), completing postings as base commander at meteorologist. Halley, Faraday and Rothera stations, undertook several 52 works in 61 volumes. All are octavo unless otherwise stated, research secondments to the Canadian Arctic explored by and in general found in at least very good condition, with occa- his ancestor. During what he describes as “a long period sional sympathetic restoration. Almost all titles contain Back’s bookplate, and his laid-in notes recording provenance and of vagrancy”, he worked and travelled widely in Australia, useful bibliographic information. A full description is available New Zealand, and the South Pacific. He is one of a select on request. group of people to have received both the Fuchs Medal, a remarkable collection of more than 50 books in 1979, and the Polar Medal, awarded the following year. on polar, south american, and australasian A copy of the full text of Kenn’s informative curriculum exploration, including rare high-spots of vitae, an agreeable evocation of a different era of polar 18th-century pacific and antarctic exploration, endeavour, accompanies the collection, as does a pair of a choice selection of Victorian attempts at the North-West his snow shoes. Passage, and several rare narratives from the Heroic Age AMUNDSEN, Roald. Sydpolen. Copenhagen: Gyldendalske boghan- of Antarctic exploration, many with superb associations, del, 1912. First edition in book form, rare Copenhagen variant, a and several of utmost scarcity in commerce. Standing at stunning copy in the original cloth. the head of the collection is Phillip Parker King’s annotat- ARMITAGE, Albert B. Two Years in the Antarctic. Being a ed copy of his extremely rare Sailing Directions for the Coasts Narrative of the British National Antarctic Expedition. London: of Eastern and Western Patagonia (1832), which he compiled Edward Arnold, 1905. First edition, original cloth. as captain of the Adventure on her first surveying voyage BACK, George. Narrative of an Expedition in H.M.S. Terror. Lon- with the Beagle (1826–30). It is accompanied by a presenta- don: John Murray, 1838.first edition, original cloth. tion copy of his Sailing Directions for South America (1850), inscribed to Captain John Lort Stokes, who shared a cabin BACK, George. Narrative of the Arctic Land Expedition. London: John Murray, 1836. First edition, 4to, one of 250 large paper cop- with Charles Darwin on the Beagle’s second voyage, and ies, “one of the fundamental books on Arctic exploration” (Hill), also containing King’s assiduous annotations. Of com- recent half calf. parable scarcity is Viana’s Diario, the only full account of Spain’s greatest 18th-century voyage of Pacific explora- BACK, George. Narrative of the Arctic Land Expedition. London: tion, led by Alessandro Malaspina: it was printed in 1849 John Murray, 1836. First edition, with the ownership inscription of British polar explorer Quintin Riley (1905–1980). Original cloth. on the itinerant press of the army besieging Montevideo in the Uruguayan War. Other landmarks include the first BACK, George. Narrative of the Arctic Land Expedition. London: edition of Pernety’s Journal (1769), an account of the first John Murray, 1836. First edition, original cloth, the Back family settlement on the Falkland Islands, established by French copy, including two autograph letters from the author to noted map librarian Richard Major. circumnavigator Louis de Bougainville, the Back family copy of George Back’s Narrative of the Arctic Land Expedition BARNARD, Charles H. Narrative of the Sufferings and Adven- (1836), and the Richard King’s elusive and highly critical tures of Capt. Charles H. Barnard. New York: for the author by J. account of the same expedition, published the same year. Lindon, 1829. First edition of this scarce castaway narrative, con- These books were gathered together over a period of temporary blind-stamped cloth. 40 years by Eric Kenneth Prentice “Kenn” Back (b. 1942), BEECHEY, Frederick William. A Voyage of Discovery towards meteorologist with the British Antarctic Survey (BAS) the North Pole. London: Richard Bentley, 1843. First edition, con- from 1963 to 2002, and a descendant of Arctic explorer temporary half russia.

20 Peter Harrington 130 All items are fully described and photographed at peterharrington.co.uk 21 BELLINGSHAUSEN, [Fabian Gottlieb von]. The Voyage of Cap- tain Bellingshausen to the Antarctic Seas, 1819–1821. London: for the Hakluyt Society, 1945. First edition in English. 2 vols, original cloth, scarce. BULL, Henrik Johan. The Cruise of the ‘Antarctic’ to the South Polar Regions. London: Edward Arnold, 1896. First edition. Pres- entation copy from the author’s cousin J. C. Bull. Original cloth. BYRON, John. The Narrative of the Honourable John Byron. London: for S. Baker and G. Leigh; and T. Davies, 1768. first edition, contemporary calf, rebacked. CARRICK, Robert. New Zealand’s Lone Lands. Wellington: George Didsbury, 1892. First and only edition, contemporary cloth. CHARCOT, Jean Baptiste. Journal de l’Expédition Antarctique Française 1903-1905. Paris: Ernest Flammarion, 1906. first edition, with the ink-stamp of Carl Skottsberg, botanist on Nor- denskjöld’s Swedish Antarctic Expedition of 1901–4. Large 8vo, original quarter morocco. CHARCOT, Jean Baptiste. Le Pourquoi-pas? dans l’Antarctique. Paris: Ernest Flammarion, 1910. first edition, large 8vo, original quarter morocco. CHERRY-GARRARD, Apsley. The Worst Journey in the World: FRANKLIN, John. Narrative of a Second Expedition to the Antarctic 1910–1913. London: Constable and Company Limited, 1922. Shores of the Polar Sea, in the years 1825, 26, and 27. London: John First edition. 2 vols, in Cherry-Garrard’s preferred “polar” bind- Murray, 1828. first edition. 4to, in the rare original cloth. ing of cloth-backed boards. HUNT, Frederick. Twenty-Five Years’ Experience in New Zea- COOK, James. A Voyage Towards the South Pole, and Round the land and the Chatham Islands. Wellington: William Lyon, 1866. World. London: W. Strahan and T. Cadell, 1777. First edition. 4to, Second edition, the year after the first, extremely uncommon. contemporary sprinkled calf, a very crisp copy. Recent quarter sheep, original wrappers bound in. CRAWSHAY, Richard. The Birds of Tierra del Fuego. London: KING, Phillip Parker. Sailing Directions for the Coasts of East- Bernard Quaritch, 1907. First and only edition, 300 copies, with the ern and Western Patagonia. London: for the Hydrographical Office, bookplate of American ornithologist Rodolphe Meyer de Schau- 1832. First edition, King’s personal, annotated copy of the pilot ensee, 4to, original quarter morocco. he compiled on the first voyage of the Beagle, 1826–30. Contem- porary half Russia, extremely rare. CUNNINGHAM, Robert Oliver. Notes on the Natural History of the Strait of Magellan and the West Coast of Patagonia. Edin- KING, Phillip Parker, & Robert Fitzroy. Sailing Directions for burgh: Edmonston and Douglas, 1871. First edition, original cloth. South America. Part II. London: for the Hydrographic Office, 1850. Presentation copy of the second and best edition, inscribed by DUMAS, Alexandre. Les baleiniers. Paris: Calmann-Lévy, [1877 King for John Lort Stokes, with King’s frequent annotations. or 1899]. First published in 1859. 2 vols, contemporary quarter Contemporary half russia to match the above, rare. sheep. KING, Phillip Parker, & Robert FitzRoy. Sailing Directions for ENDERBY, Charles. Proposal for Re-Establishing the British South America.Part II [ . . . ] London: for The Hydrographic Office, Southern Whale Fishery. London: Effingham Wilson, 1847. Second 1851. Third edition, rare. Recent half calf. edition, the same year as the first, rare. Recent half calf. KING, Richard. Narrative of a Journey to the Shores of the FALKNER, Thomas. A Description of Patagonia, and the Ad- Arctic Ocean, in 1833, 1834, and 1835; under the Command of joining Parts of South America: Hereford: C. Pugh, 1774. First edi- Capt. Back. London: Richard Bentley, 1836. First edition of this rare tion, a book used by Darwin on the Beagle. 4to, uncut in original account of the Arctic Land Expedition. 2 vols, original boards, boards, rebacked. skillfully rebacked. FILCHNER, Wilhelm. Zum Sechsten Erdteil. Berlin: Ullstein, 1922. MALASPINA, D. Alejandro. Viaje politico-cientifico alrededor First edition, preferred blue cloth issue. 4to, original cloth. del mundo por las corbetas Descubierta y Atrevida. Madrid: FRANKLIN, John. Narrative of a Journey to the Shores of the Po- Imprenta de la viuda e hijos de abienzo, 1885. Second edition of the of- lar Sea in the Years 1819, 20, 21, and 22. London: John Murray, 1823. ficial account of Spain’s great Pacific voyage of 1789-94, identical Presentation copy of the second and best edition, inscribed by to the first edition earlier the same year. Folio, recent half calf, George Back, Franklin’s lieutenant, to navy-agent William Ely. original printed wrappers mounted to sides. 4to, contemporary red half morocco, marbled sides renewed.

22 Peter Harrington 130 SCORESBY, W[illiam], jr. An Account of the Arctic Regions, with a History and Description of the Northern Whale-Fishery. Edinburgh: for Archibald Constable and Co., 1820. First edition. 2 vols, contemporary diced russia. SHACKLETON, Ernest H. Au cœur de l’Antarctique.Expédition du “Nimrod” au pôle Sud. Paris: Librairie Hachette et Cie, 1911. Se- cond edition in French. Original cloth. SHACKLETON, Ernest H. Mon Expédition au Sud Polaire. Tra- duction de M.-L. Landel. Tours: Alfred Mame et fils, [1930]. First edition in French of South. 4to, original pictorial cloth. SNOW, William Parker. A Two Years’ Cruise off Tierra del Fuego, the Falkland Islands, Patagonia, and in the River Plate. London: Longman, Brown, Green, Longmans, & Roberts, 1857. First edition. 2 vols, original cloth. SOBRAL, José M. Dos años entre los Hielos 1901-1903. Buenos Aires: J. Tragany y Cia., 1904. First edition, presentation copy, rare account of the Swedish Antarctic Expedition of 1901–4, by its only Argentine participant. Contemporary quarter sheep. [SUTCLIFFE, Thomas.] Crusoniana; Or, Truth versus Fiction, elucidated in a History of the Islands of Juan Fernandez. Man- MALASPINA, D. Alejandro. Viaje politico-cientifico alrededor chester: published by the author, 1843. First and only edition, pres- del mundo por las corbetas Descubierta y Atrevida. Madrid: entation copy. Original cloth. Imprenta de la viuda e hijos de Abienzo, 1885. Second edition. Folio, TAYLOR, Griffith. With Scott: The Silver Lining. London: Smith, contemporary quarter pigskin. Elder & Co., 1916. First edition, first state. Original cloth. NORDENSKJÖLD, Nils Otto Gustaf, & Johan Gunnar Anders- TOUNENS, Orélie-Antoine de. Orllie-Antoine Ier, roi d’Arauca- son. Antarctica.Or, Two Years Amongst the Ice of the South nie et de Patagonie. Paris: Librairie de Thevelin, 1863. First edition, Pole. London: Hurst and Blackett, Limited, 1905. First edition in Eng- extremely uncommon. Original printed wrappers. lish, original cloth. VALLENTIN, Elinor Francis. Illustrations of the Flowering NORMAN, W. H., & Thomas Musgrave. Journals of the Voyage Plants and Ferns of the Falkland Islands. London: L. Reeve & Co., and Proceedings of H.M.C.S. “Victoria”, in search of ship- Ltd., 1921. First edition, 64 hand-coloured plates. 4to, original wrecked people at the Auckland and other islands. Melbourne: cloth. John Ferres; F. F. Bailliere, [1866]. First edition, recent tan half calf, original wrappers bound in. [VARGAS Y PONCE, José de.] A Voyage of Discovery to the Strait of Magellan. London: for Sir Richard Phillips and Co., [1820]. PARRY, William Edward. Journal of a Voyage for the Discovery First edition in English, recent half calf. of a North-West Passage from the Atlantic to the Pacific. London: John Murray, 1821. First edition, 4to, recent half calf. [VIANA, Francisco Javier de.] Diario del viage explorador de las corbetas españolas “Descubierta” y “Atrevida” en los años de PERNETY, [Antoine-Joseph]. Histoire d’un voyage aux îles Ma- 1789 à 1794. [Montevideo:] Ejercito, 1849. First and only edition, of louines, fait en 1763 & 1764. Paris: Saillant & Nyon [and] Delalain; utmost scarcity. Contemporary marbled boards. 1770. Second edition, expanded. 2 vols, recent quarter sheep to style. WEDDELL, James. A Voyage Towards the South Pole, Performed in the Years 1822–24. London: for Longman, Hurst, Rees, Orme, PERNETY, [Antoine-Joseph]. The History of a Voyage to the Brown, and Green, 1825. First edition of “the true starting point for Malouine (or Falkland) Islands, made in 1763 and 1764. London: an Antarctic collection” (Taurus). Contemporary half calf. for William Goldsmith and David Steel, 1773. Second edition in Eng- lish. 4to, contemporary marbled calf. WEDDELL, James. A Voyage Towards the South Pole, Performed in the Years 1822–24. London: for Longman, Rees, Orme, Brown, and PERNETY, [Antoine-Joseph]. Journal historique d’un voyage Green, 1827. Second and best edition, with the ownership inscrip- fait aux îles Malouïnes en 1763 & 1764. Berlin: Etienne de Bourdeaux, tion of Lord Nelson’s stepson, Josiah Nisbet. 1769. First edition, rare, from the library of the Marquis of Hast- ings. 2 vols, contemporary calf. WILLIAMS, [William Leonard]. Lessons in the English Lan- guage for Maori Schools. [Part II.] Wellington: Geo. Didsbury, 1875. ROSS, James Clark. A Voyage of Discovery and Research in the First edition, recent quarter sheep. Southern and Antarctic Regions, during the Years 1839–43. Lon- don: John Murray, 1847. First edition, “one of the most important £175,000 [111035] works in the history of Antarctic exploration” (Hill). 2 vols, original cloth.

All items are fully described and photographed at peterharrington.co.uk 23 The bible of physiocracy with its companion piece label. Physiocratie in two parts, as issued, with divisional title (Discussions et développemens sur quelques-unes des notions de l’économie 16 politique) but continuous pagination and register. With all the usual cancels. Corners lightly rubbed; a beautiful copy. [QUESNAY, François.] Physiocratie, ou Constitution first edition (“Leyde” issue) of the book that gave naturelle du gouvernement le plus avantageux the Physiocrats their name, one of the most important au genre humain. Recueil publié par Du Pont, and original works on political economy to be published des Sociétés Royales d’Agriculture de Soissons before The Wealth of Nations, bound together with its im- & d’Orleans, & Correspondant de la Société portant companion piece, one of the scarcest of Dupont’s d’Emulation de Londres. Leiden: and sold in Paris by works, and probably one of the most successful publica- Merlin, 1768; [bound with:] DUPONT DE NEMOURS, tions promoting physiocracy, first published in the jour- Pierre Samuel. De l’origine et des progrès d’une nal, Ephémérides du Citoyen. science nouvelle. London: sold in Paris by Desaint, 1768 The work is partly based on Le Mercier de la Rivière’s 2 works bound in 1 volume, octavo (188 × 114 mm). Contem- L’Ordre naturel et essentiel des Sociétés politiques, which Adam porary marbled paper boards, mottled calf spine, red morocco Smith referred to as “the most distinct and best connect-

24 Peter Harrington 130 throughout the economy was influenced by the contemporary discovery of blood circulation through the human body. He believed that trade and industry were not sources of wealth, and instead argued that the real economic movers were agricultural surpluses flowing through the economy in the form of rent, wages and purchases. Quesnay argued that regulation impedes the flow of ined account of this doctrine”. Schumpeter, in his discus- come throughout all social classes and therefore econom- sion on the physiocrats, calls Dupont “by far the ablest of ic development; and that taxes on the productive classes, the lot” (p. 226) and Palgrave notes: “If Quesnay was the such as farmers, should be reduced in favour of rises for father of physiocracy, Dupont was its godfather, for he unproductive classes, such as landowners, since their lux- gave it its name by the publication of his Physiocratie . . . urious way of life distorts the income flow. a collection of Quesnay’s articles, which the editor intro- Einaudi 4431; Goldsmiths’ 10391; Kress 6548; Mattioli 2809. duced by a Discours”. Quesnay presented a copy of his book to Adam Smith, £55,000 [111401] who described him as “ingenious and profound, a man of the greatest simplicity and modesty”, while pronouncing Quesnay’s system to be “with all its imperfections, perhaps the nearest approximation to the truth that has yet been published upon the subject of political economy”. François Quesnay (1694–1774) was the court physician to Louis XV, and his notion of a circular flow of income

All items are fully described and photographed at peterharrington.co.uk 25 17 The National Maritime Museum catalogue points out that (COOK, James.) HAWKESWORTH, John. An the third voyage “was so eagerly awaited by the public that it was sold out on the third day after publication, and al- Account of the Voyages undertaken by the order of though the published price was £4 14s. 6d, as much as 10 His Present Majesty for making Discoveries in the guineas was offered by would-be purchasers”. Southern Hemisphere, and successively performed Beddie 650, 1216, 1543; Hill 783, 358, 361; Howgego I C173–6; National by Commodore Byron, Captain Wallis, Captain Maritime Museum Catalogue, Voyages & Travel, 577, 586; Printing and the Carteret and Captain Cook, in the Dolphin, the Mind of Man 223 (second voyage); Sabin 16245, 16250. Swallow, and the Endeavour; [together with:] A Voyage £25,000 [112210] towards the South Pole, and Round the World. Performed in His Majesty’s Ships the Resolution and Adventure, in the years 1772, 1773, 1774 and 1775; [together with:] A Voyage to the Pacific Ocean. Undertaken by the command of His Majesty, for making Discoveries in the Northern Hemisphere. London: W. Strahan and T. Cadell, 1773–84 9 volumes: 8 quarto text volumes (285 × 215 mm) and folio atlas of plates (567 × 395 mm). Uniformly bound in late 19th-century brown half morocco, spines gilt tooled with nautical motifs, brown pebble-grain cloth sides, speckled edges. With all plates, maps and plans as called for. Bindings slightly rubbed at extremities, a few maps torn at folds (but without loss), one or two of the larger plates trimmed by the binder, scattered foxing in some volumes. A very good set, complete and uniformly bound. second and best edition of the first voyage, first edition of the second and third voyages.

26 Peter Harrington 130 All items are fully described and photographed at peterharrington.co.uk 27 In the original boards serenity and concentration” (Colvin), and described by ODNB as “an astonishing achievement, with a confident 18 formal assurance and metaphoric complexity which make KEATS, John. Poems. London: C. & J. Ollier, 1817 it one of the finest English sonnets. As Hunt generously Octavo. Original light brown boards, printed paper label to acknowledged, it ‘completely announced the new poet spine. Housed in a green quarter morocco solander box by the taking possession’ (Hunt, Lord Byron, 249)” (ODNB). Chelsea Bindery. With the half-title. Wood engraving of Ed- Ashley Library III, p.9; Hayward 231; MacGillivray A1. mund Spenser on title page. Spine darkened, light wear to spine and board edges, rear inner hinge cracked but holding, front £47,500 [113377] joint and tail of spine professionally repaired. An excellent copy. first edition of Keats’s first book.Poems was published 19 on 3 March 1817 by Charles and James Ollier, who were KEATS, John. Endymion: A Poetic Romance. already publishing Shelley. The first of a mere three life- London: for Taylor and Hessey, 1818 time publications, it is a work of mainly youthful promise Octavo. Original boards, printed paper title label to spine. – Keats had appeared for the first time in print less than a Housed in a custom blue crushed morocco pull-off case and year earlier, with a poem in the radical weekly The Examiner blue linen chemise. With the half-title, five-line errata slip and on 5 May 1816. The 1817 Poems attracted a few good re- one-line errata page, 4 pages of publisher’s advertisements dat- views, but these were followed by the first of several harsh ed May 1818 at the rear. Spine repaired, some wear to spine label attacks by the influential Blackwood’s Magazine, mainly affecting “E” of Endymion, head and foot of joints partly cracked by critics who resented Keats’s avowed kinship with the but text block sound, tips slightly worn, some occasional light despised Leigh Hunt. The best-known poem in the book foxing and odd pencilled annotation to text. An excellent copy. is the sonnet “On first looking into Chapman’s Homer”, “by common consent one of its masterpieces in this form, having a close unsurpassed for the combined qualities of

28 Peter Harrington 130 first edition, first issue, of the second of only three leaf, as well as the tipped-in 5-line errata slip (Hayward lifetime publications by Keats, comprising his longest notes that the five line errata, though present in later is- single sustained poem, famous for its opening line: “A sue copies, was printed prior to publication, and copies in thing of beauty is a joy for ever”. This copy has the first original boards are known to contain both). issue imprint to the verso of the half-title “Printed by T. MacGillivray A2; Ashley III:13; Tinker 1419; Hayward 232. Miller, Noble Street, Cheapside” and the one-line erratum £15,000 [115340]

All items are fully described and photographed at peterharrington.co.uk 29 20 AUDUBON, John James. The Birds of America, from Drawings Made in the United States and Their Territories. New York & Philadelphia: J. J. Audubon and [vols. I–V] J. B. Chevalier, [1839–]40–44. 7 volumes, octavo (250 × 147 mm). Recently rebound to style in black half morocco, gilt panelled spines with owl and eagle motifs, contemporary marbled sides, speckled edges, endleaves renewed. With 500 hand-coloured lithographic plates after Audubon by W. E. Hitchcock, R. Trembley and others, printed by J. T. Bowen of Philadelphia (plates 1–135, 151–500) or George Endicott of New York (plates 136–150), numerous wood-engraved anatomical figures in text. A few plates trimmed by the binder with concomitant shaving of a few captions (encroaching on the plate itself in only one instance). An excellent set. first octavo edition of Audubon’s “Great National Work”, the first complete edition and the first American edition. The original double-elephant folio was published in Edinburgh and London between 1827 and 1838. A very handsome set, the plates clean and fresh, of one of the “most beautiful, popular, and important natural history books published in America in the nineteenth century . . . representing the best of pre-Civil War American li- thography and giving Audubon the opportunity finally to display his scholarship and genius to a large American audience for the first time” (Ron Tyler). The plates, here

30 Peter Harrington 130 accompanied by the text for the first time, were reduced Octavo (166 × 104 mm). Finely bound by Sangorski & Sutcliffe in and variously modified from the Havell engravings in the early 20th-century green straight-grain morocco, title and decora- double-elephant folio. Seven new species are figured and tions to spine gilt with gilt raised bands, gilt rules to covers, mar- 17 others, previously described in the Ornithological Biogra- bled endpapers, turn-ins and top edge gilt. With the original green cloth bound in at rear (Parrish binding II). Spine faded, a little rub- phy but not illustrated, are pictured for the first time. bing to spine ends and tips, internally fresh. An exceptional copy. Audubon may have been prompted to publish the smaller version by the appearance in 1839 of John Kirk first edition, first issue of the brontë sisters’ Townsend’s rival Ornithology of the United States, or, as he first publication. Extremely scarce, the first issue is ex- writes in the introduction to the present work, he may tant in tiny numbers: it was published in an edition of 1,000 have succumbed to public demand and his wish that a copies, but just 39 copies sold. Following the success of work similar to his large work should be published but Charlotte Brontë’s Jane Eyre, the unsold stock of 961 copies “at such a price, as would enable every student or lover of was purchased by Smith in September 1848. Hoping to cap- nature to place it in his Library”. italise on the novel’s success, they re-issued this collection The first edition of the octavo work now represents the of verse the following month with a cancel title-page under only realistic opportunity that exists for collectors to own their own imprint, though retaining the original date. an entire collection of Audubon images in a form that was Published pseudonymously to forestall possible preju- overseen and approved by the great artist himself. dice against female writers, the slim volume contains 19 poems by Charlotte (“Currer”), and 21 each by Emily (“El- Bennett p.5; Nissen IVB 51; Ripley 13; Ron Tyler, Audubon’s Great Na- lis”) and Anne (“Acton”). Though a commercial failure, its tional Work (1993) Appendix I; Sabin 2364; Zimmer p.22. literary merits did not go entirely unrecognized. A reviewer £52,500 [114339] in the Athenaeum wrote that Ellis had “a fine quaint spirit . . . which may have things to speak which men will be glad to 21 hear” (4 July, 1846). [BRONTË, Charlotte, Emily, & Anne.] Poems by Smith I. Currer, Ellis, and Acton Bell. London: Aylott and Jones, £35,000 [111535] 1846

All items are fully described and photographed at peterharrington.co.uk 31 Thoreau’s first book with corrections in his own hand but most are supplied in pencil in a neat hand that resem- bles that of Sophia Thoreau. Pencil, of course, was the ap- 22 propriate writing medium: the family’s pencil company, THOREAU, Henry D. A Week on the Concord and Thoreau and Company, produced “the best-known pen- Merrimack Rivers. Boston and Cambridge: James Munroe cils in the United States, praised by artists and artisans.” and Company, 1849 This particular review copy was unlikely to have been Duodecimo (197 × 112 mm) in sixes. Publisher’s presentation well received. The editor of The North American Review, the binding (BAL: “A:T cloth”) of brown cloth with gilt titles to country’s most important and prestigious journal of the spine and the sides blindstamped with a 5-rule frame enclosing time, was Francis Bowen, under whom Thoreau studied a rococo ornament, pale-yellow endpapers. Housed in a brown philosophy at Harvard. Bowen had already attacked the cloth chemise and brown cloth slipcase. Some minor wear to arrogance and obscurantism of the Transcendentalists in spine ends, short split to head of front joint, internally very a January 1837 review of Emerson’s Nature in the Christian fresh; an excellent, unusually bright copy. Examiner. The remarkably fresh condition of this copy in- first edition, publisher’s presentation copy dicates that he did not read far, if it all, into the book. sent for review before publication, with two Allen, p. 1; BAL 20104; Borst A1.1.a; Howes T220. marginal corrections made in pencil by thoreau himself, correcting “work” to “wash” on p. 120 and “ex- £23,500 [113965] perience” to “[expe]diency” on p. 139; inscribed “Editor of the N.A. Review, from the Publishers” on the front free Earliest account of the Malaspina expedition at Port endpaper in a secretarial hand. The book was published Jackson 1793 on 30 May 1849. Munroe printed 1,000 sets of sheets but bound only 550 copies, using eight different cloth bind- 23 ings. Review copies were sent out four days before the VIANA, Francisco Xavier de. Diario del viage official publication date, and these pre-publication copies explorador de las corbetas españolas “Descubierta” were corrected by Thoreau in pencil in two instances, y “Atrevida” en los años de 1789 a 1794. Cerrito de la when he realised that changes he had made in proof had Victoria [Montevideo]: Army Printing Office, 1849 been overlooked. The earliest copies have only these two Octavo (202 × 145 mm) signed in quarter-sheets. Contemporary corrections; at a later date, perhaps as late as 1855, Tho- red morocco-grained roan, title gilt to the spine, gilt panelling reau also realised that three lines had been omitted at the to the boards, edges stained yellow. Original printed front foot of p. 396; in a few copies he supplied these himself wrapper bound in, front wrapper and text within typographical

32 Peter Harrington 130 frame throughout. Boards a little rubbed and spotted, corners ed account of their visit. One expedition member wrote knocked, tan-burn from the turn-ins to the pastedowns, offset to Sir Joseph Banks of “the very extraordinary humanity browning from a small newspaper clipping verso of the front and kindness with which the English in their new Colony free onto the front wrapper, pale toning to the text, remains very welcomed us” and while there the scientists made good good. Contemporary ownership inscription of Eduardo Fox, use of their time. The artists also made a very fine series dated 1868, to the front wrapper. of drawings at Port Jackson, a valuable record of the state first and only edition of one of the rarest pa- of the colony and including the only known depictions cific voyages, the great Spanish scientific expedition of convicts at that period. Viana’s extended account of throughout the Pacific under the Italian-born Alessandro Sydney at this crucial time is one of very few published Malaspina, exploring and mapping much of the west (and unpublished) accounts of the infant colony by an coast of the Americas from Cape Horn to the Gulf of Alas- independent eyewitness. The Port Jackson section occu- ka, then across to the Philippines, with stops in Australia pies pp. 258–66 here. Viana’s sons prepared their father’s and New Zealand. account for the press. It was printed on the travelling The Malaspina expedition was planned as the Span- press of the army besieging Montevideo during the war ish answer to Cook and La Pérouse, but the ill-advised between Argentine and Uruguay, thus partially explaining involvement of the commander in a court intrigue once its great scarcity. It was not republished until 1967 when back in Madrid led to his imprisonment and the complete the Australian Documentary Facsimile Society issued a suppression of the planned official account, including the small edition of the section on Port Jackson with a preface scientific and other results. The earliest account of the and translation by A. Grove and Virginia M. Day. voyage was not published until 1849 by Viana, who had OCLC locating 18 copies institutionally, but there served as an ensign on the expedition and later settled in are just a handful of copies recorded at auction; this an Uruguay, where this rare account was printed. Lada-Mo- extremely attractive copy in unrestored contemporary carski considered that “[Viana’s] diary is of immense condition. value. It is the only full and detailed printed account of Malaspina’s voyage from California to Alaska by one of Ferguson 5228 and 5100; Howes V-85; Lada-Mocarski 134; Palau 36188; Wagner Northwest Coast I:225–9; Wickersham 6642. the participants”. It is also of considerable Australian importance. The £22,500 [113859] Spanish visit to Port Jackson came only five years after the foundation of the colony and caused considerable interest in Sydney: Collins, for example, gives an extend-

All items are fully described and photographed at peterharrington.co.uk 33 The first edition, first state binding, with fervor of his ‘barbaric yawp,’ are so powerful that the echo contemporary ownership of his crude yet rhythmic song rings forever in the Ameri- can air” (Grolier One Hundred). 24 The first edition of Leaves of Grass was self-published by WHITMAN, Walt. Leaves of Grass. Brooklyn, NY: [ for Whitman, the type partially hand-set by the poet himself the Author,] 1855 for printing in the Brooklyn Heights shop of Andrew Rome, assisted by his brother, Tom. Various stop-press Small folio. Original green cloth stamped in “rustic” blind and gilt, marbled endpapers, all edges gilt. Housed in a cus- revisions within the first printing have been identified, tom green quarter morocco case, cloth chemise. With portrait with this copy exhibiting a mix of first and second states. frontispiece engraved by Hollyer from a photograph printed on As production continued and Whitman’s money ran heavy paper. Some light foxing/spotting including to frontis- tight, the bindings became progressively less elaborate. piece, original tissue guard present, touch of rubbing to extrem- As the hand-set type jostled and occasionally fell off the ities, tiny tear at foot of spine; overall a fine copy. hand-inked, iron-bed press, each copy is arguably unique. first edition, first state binding, a fine, unre- Only 337 copies were bound in the deluxe first binding stored copy with early provenance of this book with gilt border, edges gilt and marbled endpapers, as which, more than any other perhaps, has defined America here. A total of 795 copies were eventually produced. to itself. “He was and is the poet and prophet of democ- The “Monteagle House” of the inscription is the Mon- racy, and the intoxication of his immense affirmative, the teagle House Hotel in Niagara Falls, opened in January

34 Peter Harrington 130 1856 and one of the grandest hotels in the country at the cans have learned to recognize and possibly understand time. Whitman visited Niagara Falls twice, first in 1848 their own” (Marki, “Leaves of Grass, 1855 edition,” in Walt and again in 1880. He mentions the Falls in part 33 of Whitman, 1998). “Song of Myself ”: “Under Niagara, the cataract falling provenance: “Monteagle House, May 1856” written like a veil over my countenance” (page 36, line 23 in the boldly in a calligraphic hand below the title and with the first edition). “Whitman’s self-conscious memorialization ownership inscription of Jonathan Skinner at head, ap- of Niagara is wholly consistent with a central aspect of his parently at the same time (offering rare evidence of con- overall poetic project, that of, as David Reynolds suggests temporary ownership of a book that was largely shunned [in Walt Whitman’s America (1995)], absorbing and being by the public upon its first release); subsequent gift -in absorbed by America and thus fashioning a significant lit- scription of G. Mercy to N. G. Benedict above the imprint; erary geography” (Rachman, Stephen, “Niagara Falls,” in collector’s bookplate of Mary Crake to frontispiece verso; The Routledge Encyclopedia of Walt Whitman, p. 464). latterly in the library of Ralph G. Newman of Chicago, Much has been written of the significance of this first sold at Sotheby’s New York, June 4, 2013, lot 169. edition – “America’s second Declaration of Independ- ence” to quote PMM. “The slender volume introduced the BAL 21395; Grolier American 67; Johnson High Spots 79; Printing and the Mind of Man 340. poet who, celebrating the nation by celebrating himself, has since remained at the heart of America’s cultural £150,000 [113931] memory because in the world of his imagination Ameri-

All items are fully described and photographed at peterharrington.co.uk 35 The voyage of the Beagle first edition, first issue of the darwin volume, “Journal and Remarks 1832–1836”, printed before the end 25 of January 1839, the month he was elected to the Royal DARWIN, Charles; Robert Fitzroy; Philip Parker Society, and so without the letters F.R.S. after his name King. Narrative of the Surveying Voyages of His on the second title. Vol. I contains King’s account of the Majesty’s Ships Adventure and Beagle, between the expedition in the Adventure made between 1826 and 1830, years 1826 and 1836, describing their examination surveying the coasts of Patagonia and Tierra del Fuego. of the southern shores of South America, and the In Vol. II (and its appendix) Captain Fitzroy describes the narrative of the Beagle’s second voyage, between 1831 and Beagle’s circumnavigation of the globe. London: 1836 to South America, the Galapagos Islands, Tahiti, Henry Colburn, 1839 New Zealand and Australia and other countries. Vol. III 3 volumes in 4 (vols. I–III and Appendix to vol. II), quarto. Orig- is Darwin’s own account of the Beagle’s voyage, and his inal blue fine-diaper cloth, spines lettered in gilt, sides blocked first published book. It is an outstanding account of nat- in blind, cream surface-paper endpapers, edges uncut, imprint ural history exploration, describing the fieldwork that “Colburn, London” in gilt at foot (Freeman variant a). With 8 folding engraved maps in cover pockets and 48 engraved plates ultimately led to the Origin of Species.”The five years of the (including two frontispieces and one folding map). Bookplates voyage were the most important event in Darwin’s intel- to front pastedowns with name neatly obscured; marks where lectual life and in the history of biological science” (DSB). bookseller’s small ticket removed from rear pastedowns. Vols. I Freeman 10; Hill I, pp. 104–5; Sabin 37826. and II neatly rebacked with original spines laid down, extremities rubbed with a few small nicks at spine ends and a few tips, £45,000 [116016] corners bumped, spines sunned, occasional spotting, foxing and browning, still a very good copy.

36 Peter Harrington 130 26 Huxley had already established himself as “Darwin’s DARWIN, Charles. Autograph letter signed to T. H. Bulldog” by this date, especially after the famous debate at Oxford University in June 1860, where Huxley took on Huxley (“My dear Huxley”). Down: Apr. 30th, [1862] Samuel Wilberforce, Bishop of Oxford, Huxley defending One page, creased where folded. Docketed XXXVII at head in evolutionary theory and attacking adherence to scripture red pencil and with faint red mark. Very good. as a scientific document. Darwin writes late at night to report that “I have this But the relationship was never entirely simple, as Hux- minute finished your Address to Geolog. Socy. & I must ley was a significant scientist in his own right and some- just thank you for sending it me. – I have read it with un- times seemed to question Darwin’s theory. Huxley re- common interest. It is a wonderful condensed & original sponded to this letter on 6 May, saying that he had indeed summary on Palæontology, & I should think & hope will been ill, but not through over-work, and demanding to do much good. – I hope you are not killing yourself with know if Darwin “agree[s] with what I say about contem- too much work – Good night – yours very sincerely, C. poraneity or not and whether you are prepared to admit as Darwin”. I think your views compel you to do – that the whole Ge- A remarkable and generous letter from Darwin to his ological Record is only the skimmings of the pot of life”. best known supporter. Huxley had delivered the anni- Darwin’s reply suggests that Huxley has pushed his ideas versary address to the Geological Society on 21 February too far and includes the curious phrase “I cannot help 1862, standing in for the absent president. Darwin did not hoping that you are not quite as right as you seem to be”. attend, but the address was printed in the Quarterly Journal Darwin Correspondence Project no. 3522. of the society. This is the report that Huxley had sent and Darwin just read. £25,000 [115068]

All items are fully described and photographed at peterharrington.co.uk 37 Twain’s first book “Mark Twain wrote his story of the jumping frog . . . at the invitation of Artemus Ward (Charles Farrar Browne), 27 his friend and the most popular American humorist of [CLEMENS, Samuel Langhorne.] TWAIN, Mark. the day, to help fill out a volume of humorous sketches The Celebrated Jumping Frog of Calaveras County, that Ward was editing. Fortuitously, and fortunately for And other Sketches. Edited by John Paul [Charles Twain, the frog story arrived too late for inclusion in Henry Webb]. New York: C. H. Webb, 1867 Ward’s book; it was published instead as ‘Jim Smiley and His Jumping Frog’ in the New York Saturday Press on 18 Small octavo. Original brown cloth over bevelled boards, gilt lettered spine, front cover lettered in gilt with gilt stamp of jump- November 1865. It was soon reprinted in newspapers and ing frog to centre and blind to rear cover, brown endpapers. comic periodicals throughout the nation, was pirated by Housed in a brown cloth chemise and slipcase. Ownership in- Beadle’s Dime Books, and was later collected with a new ti- scriptions of H. Bane, Salt Lake City on flyleaf dated 1880; pencil tle in The Celebrated Jumping Frog of Calaveras County and other signature of O. Hollister on free endpaper; bookplate of Carol G. Sketches (1867). This humorous short story brought Twain and William E. Simon (1927–2000), United States Secretary of his first popular acclaim and has proven to be his first the Treasury in the Nixon administration. Some wear to tips and literary masterpiece” (W. Craig Turner in The Mark Twain spine ends, front hinge starting but text block sound, occasional Encyclopaedia, 1993, pp. 133–5). mild foxing to contents. An excellent copy. BAL 3310. first edition, first issue of Mark Twain’s first book. “Copies were bound simultaneously in green, terra cotta, £22,500 [112604] dark brown, lavender, blue deep purple, maroon and red cloth” (MacDonnell, “The Primary First Editions of Mark Twain”, in Firsts, Vol. 8, no. 7/8). This copy features the gilt stamp of the leaping frog in the centre of the front cover, rather than positioned to the lower left, though no priority has been established between the two; it has all of the points of a first issue as delineated by BAL.

38 Peter Harrington 130 28 the most general character. Like Jevons and Menger, he WALRAS, Léon. Éléments d’économie politique pure bases exchange-value on utility and limitation of quanti- ty. Following his father, he uses the term rareté, which he ou théorie de la richesse sociale. Lausanne: L. Corbaz & defines as the “dérivée de l’utilité effective par rapport à Cie, Paris: Guillaumin & Cie, Basel: H. Georg, 1874–77 la quantité possédée”. In other words, rareté is the same as 2 parts in 1 octavo volume (210 × 135 mm). Contemporary black marginal utility. The desire to equalize marginal utilities quarter calf, ruled in blind and lettered in gilt, pebble-grain (according to Gossen’s second law) will lead to exchange, cloth sides, marbled endpapers, speckled edges. With 3 fold- and this desire, together with the stocks of goods pos- ing plates comprising 15 figures. Ownership initials “W.K.” stamped in blind at the foot of the spine. Corners lightly worn; sessed by each individual, will give a determinate demand a very fine copy. or supply for each individual. This can be represented by a functional equation or by a curve. first edition of both parts, written by one of the Walras was influenced by Cournot and it was probably leading mathematical economists. In 1874, three years this influence which enabled him to combine a utility the- after Jevons and Menger but independently of them, ory of value with a mathematically precise theory of market Walras enunciated the theory of marginal utility in his equilibrium. In spite, or because, of the difficulties which Eléments d’économie politique pure. In this book he continued he experienced in this task, Walras was increasingly led to and refined the work inherited from his father and was enunciate a general, non-utilitarian theory of economic successful in developing the law of general equilibrium equilibrium, expressed in terms of functional equations. that made him famous. The work falls into two parts: one He is, therefore, essentially the economist’s economist, dealing with the theory of exchange (pp. 1–208), the other rather than of the general reader or the politician. (pp. 209–377) with the theory of production. “The book We have been unable to identify the former owner regards exchange as the central economic phenomenon whose initials are stamped at the foot of the spine. and treats all other branches of economic study in relation to this central fact” (Batson). Batson, p. 34; Cossa 279 (171); Einaudi 5965; Mattioli 3796; Walker 95, 113. Walras operates with essentially the same concepts £37,500 [114822] as Jevons, but he searches continuously for solutions of

All items are fully described and photographed at peterharrington.co.uk 39 Royal presentation copy “in recollection of two sweet 1875 and signed his name in Dodgson’s album. For a brief children” period during his studies the prince was romantically linked with Alice Liddell, and, though nothing came of 29 the romance, the two remained cordial. In 1883 Alice (by [DODGSON, Charles Lutwidge.] CARROLL, Lewis. then Mrs Hargreaves) wrote to congratulate the prince on Alice’s Adventures Under Ground. Being a facsimile the birth of his first child, Alice, at the same time inviting of the Original Manuscript Book afterwards him to be godfather to her second son, Leopold Reginald, also born that year. The following year the prince died of developed into “Alice’s Adventures in Wonderland.” a brain haemorrhage, but it was not until June 1889 that London: Macmillan and Co., 1886 Dodgson became acquainted with his widow, while stay- Octavo. Publisher’s presentation binding in blue morocco, titles ing at Hatfield House as a guest of Lord Salisbury. The and decorations to spine and boards gilt, inner dentelles gilt, Duchess was accompanied by her two children, Alice, and marbled endpapers, all edges gilt. Housed in custom quarter Charles, Duke of Albany aged 6 and 5 respectively. Dodg- blue morocco and cloth solander box. With 37 illustrations by the author. With the Duchess of Albany’s bookplate on the front son – perhaps influenced by the coincidence of the little pastedown. Extremities a little rubbed, some very minor wear to girl’s name – made gifts of several of his works, including tips, small split to head of front hinge; an excellent copy. the present example. Dodgson struck up a friendship first edition. presentation copy, inscribed by with the children, and regularly sent them gifts of puzzles the author in his customary purple ink on the half-ti- or presentation copies of his books. tle, “Presented to H.R.H. The Duchess of Albany, by Princess Alice recalled their early friendship in her the author, in grateful recollection of three happy days, autobiography: “Doctor Dodgson or ‘Lewis Carroll’ was and of two sweet children, Aug. 6, 1889.” The duchess especially kind to Charlie and me, though when I was five replied on 17 August, acknowledging the gift: “It gives I offended him once, when, at a children’s party at Hat- me much pleasure as I am a great friend of Alice and her field, he was telling story. He was a stammerer and being adventures. I must now also thank you for your letter to unable to follow what he was saying I suddenly asked in me and the two charming books with which you made my a loud voice, ‘Why does he waggle his mouth like that?’ I children very happy. I think they will well remember the was hastily removed by the lady-in-waiting. Afterwards he kind gentleman who spent so much time with them in wrote that he ‘liked Charlie but thought Alice would turn amusing them and telling them stories.” out badly.’ He soon forgot all this and gave us books for Dodgson knew the princess’s late husband, Prince Leo- Christmas with anagrams of our names on the fly-leaf.” pold, Queen Victoria’s fourth son, who matriculated at This is one of a very few known copies in this pres- Oxford on 27 November 1872. The prince had his portrait entation binding. By a letter to Macmillan of 17 December taken at Dodgson’s Tom Quad studio at Christ Church in 1886, Dodgson is known to have requested three special

40 Peter Harrington 130 copies, one in white vellum (the ultimate copy, for Alice 34 comments on the production faults (“very much Liddell) and two in morocco (one for Alice’s mother, the over-printed, very bad indeed . . . very bad folding”). other untraceable), which were ready in time to be in- Dodgson made it a “point of supreme importance, that scribed on Christmas Day. all books, sold for me, shall be the best attainable for the Williams–Madan–Green–Crutch 194; Wakeling, Lewis Carroll: The Man price”, and such was his dismay with the printing quality and his Circle, pp. 317–31. that it almost provoked the termination of his contract with his long-time publishers. Dodgson wrote to Fred- £37,500 [108897] erick Macmillan the same day he annotated this copy, complaining that “the book is worthless . . . much as I The rare suppressed impression, one of only four copies should regret the having to sever a connection that has known in cloth now lasted nearly 30 years, I shall feel myself absolutely compelled to do so, unless I can have some assurance that 30 better care shall be taken, in future, to ensure that my [DODGSON, Charles Lutwidge.] CARROLL, Lewis. books shall be of the best artistic quality attainable for the Through the Looking-Glass, and What Alice Found money” (Letters, p. 995). There. Sixtieth Thousand. London: Richard Clay for Only 60 copies of this impression had gone out when Macmillan and Co., 1893 Dodgson asked Macmillan to destroy the remainder, but Octavo. Original red cloth, titles to spine gilt, triple rules to Dodgson escalated the dispute, halting the working-off of covers gilt, black coated endpapers, all edges gilt. Housed in Sylvie and Bruno Concluded, and demanding that “no more a custom red quarter morocco and black cloth solander box. Wonderlands are to be printed, from the present electro- Frontispiece with tissue-guard, 49 illustrations by John Tenniel. types, till I give permission” (24 November 1893). Through Front hinge starting, some faint foxing to outer leaves, other- the Looking-Glass remained out of print until 1897, although wise internally fresh. An exceptional copy. the whole of the impression was not in fact destroyed: charles dodgson’s annotated copy of the third Dodgson changed his mind and had it rebound for distri- edition, and one of only four copies known in the orig- bution to charitable institutions, as had been done with inal cloth. In a situation reminiscent of the recalled 1865 the suppressed first edition of Alice’s Adventures in Wonder- Alice, this is the suppressed impression of Through the Look- land. In an unpublished census, Selwyn Goodacre traced ing-Glass. Dodgson summarises the printing problems four copies in the original cloth, though one of these is that led to its suppression on the half-title here: “Re- since lost. ceived Nov. 21/93. Paper too white, 26 pictures over-print- Williams–Madan–Green–Crutch 84b. ed, 8 of them very bad”, and has annotated the text with £55,000 [108876]

All items are fully described and photographed at peterharrington.co.uk 41 31 Beatrix was in the habit of producing illustrated Christ- (POTTER, Beatrix.) WEATHERLY, Frederic E. A mas and menu cards for family occasions, and her uncle had mentioned that “any publisher would snap at them” Happy Pair. London: Hildesheimer & Faulkner, [1890] (Taylor, p. 50). She prepared six designs at the start of Duodecimo, pp. 14. Original stiff pictorial wrappers, original February, with “that charming rascal Benjamin Bouncer cloth ties with tassels, all edges gilt. Housed in a custom red our tame Jack Hare” as her model and had them ready by morocco solander box. With 6 full-page chromolithographed illustrations by Beatrix Potter. Lightly rubbed to spine, covers Easter; she and Bertram then came up with a list of five slightly creased to tips. An exceptional copy. greetings-card publishers to try. The first, Marcus Ward, rejected the designs by return of post, and Bertram took first edition of the first book illustrated by the drawings to the next firm, Hildesheimer & Faulkner, beatrix potter. Extremely scarce, with just five copies on his way to Oxford for his examination. The company traced institutionally, it features six of her illustrations immediately sent her a cheque for £6, with a request for accompanying a set of six poems by Frederic E. Weatherly more. The drawings were used as illustrations for Weath- (best known as the author of the lyrics for “Danny Boy”). erly’s verses in this booklet, a piece of holiday ephemera, Early in 1890, Beatrix, then 24, and her brother, six as well as for Christmas and New Year cards, launching years younger and about to go up to Oxford, came up Beatrix on her professional career as an artist-illustrator. with a scheme to have some of Beatrix’s designs pub- Taylor, p. 49-50; Quinby Appendix IV.c; not in Linder. lished. They wanted to purchase a printing machine for £16, and found no help forthcoming from the family. £30,000 [109202]

42 Peter Harrington 130 32 It is thought that these and other similar copies were POTTER, Beatrix. Original manuscript with made by Potter to improve her figure drawing, always her weakest point, as she later acknowledged: “I am not good drawings: “La Chanson de la mariée”. [c.1896] – or trained – in drawing human figures (they are a terri- Folded booklet of 5 pages. Original ink holograph and watercol- ble bother to me when I have perforce to bring them into our manuscript with 9 ink and watercolour drawings and text by the pictures for my own little stories)”. Potter, the first with title and “H. Gerbault. Copy” written below, the remainder with accompanying verse, unbound. Housed Schiller, Realms of Childhood, Catalogue 41, 1983; Taylor, Beatrix Potter: The in a custom brown folding case. In superb condition. Artist and Her World (1987). The illustrated French poem is identified as the work of £30,000 [109219] Beatrix Potter by the accompanying note written by an executor of the artist, stating that “the enclosed poem is an example of fine copying done on notepaper by Beatrix Potter (from her portfolios at Sawrey, Oct. 49).” Henri Gerbault (1863–1930) was a French illustrator and water- colourist, and this manuscript is based on a contribution by Gerbault to a children’s periodical of the early 1890s, later anthologised in Chansons du vieux temps with music by J. Tiersot (1904), also with designs by Gerbault.

All items are fully described and photographed at peterharrington.co.uk 43 33 book should not be altered. Determined to see it in print, POTTER, Beatrix. The Tale of Peter Rabbit. [London: she decided to publish it herself, with the colour frontispiece printed by Herschel of Fleet Street using the recent- privately printed by Strangeway & Sons, December 1901] ly introduced three colour press. The privately-printed Sextodecimo, pages unnumbered. Original pictorial grey paper edition was ready on 16 December 1901 in an edition of boards, decoration and titles to front board in black. Housed in 250 copies; Potter presented them to friends and relatives, a custom black quarter morocco and cloth solander box. Colour- ed frontispiece and 41 text illustrations after pen and ink draw- and also sold them for 1/2d. Within two weeks it proved ings. With the bookplates of Mildred Greenhill and H. Bradley so popular that she commissioned a second impression. Martin to the front pastedown. A faint spray of foxing to a few The book was then taken up by Frederick Warne and pub- leaves, slight marking to front free endpapers, still an exception- lished in a regular trade edition in October 1902. al copy of this fragile publication. Linder, p. 420; Quinby 1; V&A 1622–23. first edition. The first of her small format books to be published, The Tale of Peter Rabbit was developed from £75,000 [109488] a picture letter sent to Noel Moore on 4 September 1893. In 1900, Potter thought it might make a small book, and Complete set of deluxe editions contacted Moore to see if he had kept the letter and if she 34 might borrow it back; the letter was then expanded into the book with 41 black and white drawings and a colour POTTER, Beatrix. The Tale of Peter Rabbit; The frontispiece. However, as a larger format and colour were Tailor of Gloucester; The Tale of Squirrel Nutkin; in vogue at the time for children’s books, it was rejected The Tale of Two Bad Mice; The Tale of Benjamin by a number of publishers, including Warne, after they Bunny; The Pie and the Patty-Pan; The Tale of Mrs. found Potter was adamant that the size and form of the Tiggy-Winkle; The Tale of Jeremy Fisher; The Tale

44 Peter Harrington 130 of Tom Kitten; The Tale of Jemima Puddle-Duck; – that if the cloth binding had been more distinctly differ- The Tale of the Flopsy Bunnies; The Tale of Mrs. ent, and pretty, there might have been more inducement Tittlemouse. London: Frederick Warne & Co., 1902–10 to buy it.” She obtained some samples of patterned cloth 12 works: 11 sextodecimo, 1 small quarto. Original gilt decorat- from her grandfather’s textile printing works: Edmund ed cloth, pictorial labels to front boards, pictorial endpapers, Potter & Co. of Manchester, one of the largest calico except: Peter Rabbit bound in yellow cloth lettered red, grey printers in Europe. An art fabric binding, which Potter patterned endpapers; Squirrel Nutkin and Tailor of Gloucester in referred to as “a flowered lavender chintz, very pretty” floral cloth with gilt-lettered vellum labels, pictorial endpapers; was selected for the deluxe issues of the Tailor of Gloucester Pie and the Patty-Pan in pale blue cloth lettered blue, white and Squirrel Nutkin in 1903, and vellum labels used for the moiré endpapers. Each book housed in a custom folding case. title and author’s name, as it was impracticable to print An excellent set. Some hinges split but holding, a few with light directly onto the fabric. The following October, a brightly finger-marks to contents, some with contemporary gift inscrip- coloured moiré cloth decorated in gilt was chosen for the tions, a little rubbing to extremities. The Pie and the Patty-Pan with bookplates of H. Bradley Martin and Mildred Greenhill, deluxe issue, coinciding with the publication of Benjamin and misbound at p. 14. Bunny and The Two Bad Mice. Potter contributed to the gilt design, noting in a letter to the Warnes that “I will complete set of the first deluxe editions of do some sketches of designs for the cover while I am at the peter rabbit series. Priced at 1/6- rather than Melford.” This design, with some minor alterations to the 1/- for the paper-covered books, the deluxe editions went gilt decoration, was adopted for the deluxe editions of the through three iterations before a consistent style was rest of the series. settled upon. The first deluxe binding of Peter Rabbit was issued in two colours, yellow and green. Potter felt this Linder pp. 421-9. unimpressive, writing, “I thought last year there was not £67,500 [111069] sufficient difference between the two styles of binding

All items are fully described and photographed at peterharrington.co.uk 45 The Edition De Grande Luxe of the “pre-eminent portrait frontispiece of Burton in three states, decorative title pages printed in red, black & gold. A few very small white paint English translation of the Middle Eastern classic” splashes to top of cabinet, scattered foxing throughout. An ex- 35 cellent set. (ARABIAN NIGHTS.) BURTON, Richard F. A edition de grand luxe of the grolier society plain and literal translation of the Arabian Nights’ edition, number 9 of 20 sets: the most luxurious of all editions of Burton’s masterpiece, this set complete with entertainments, now entituled the book of the its original polished mahogany presentation “casket” (as Thousand Nights and a Night with introduction it was described in the prospectus). The “Grolier Society” explanatory notes on the manners and customs of imprint was in fact a nom de publication for the notorious Moslem men and a terminal essay upon the history 1890s publisher Leonard Smithers and his partner, the of The Nights. Benares [probably London]: Kamashastra printer-bookseller H. S. Nichols. “Smithers and Nichols Society for the Grolier Society, London, [1897] issued the so-called Grolier Society editions in various 12 volumes, large octavo. Original full vellum by Zaehnsdorf, gilt forms beginning in 1897. The most expensive of all – and lettered spines with gilt Arabic motifs and red morocco onlays, the most sumptuous, as one gathers from its name – was sides elaborately gilt stamped on a red morocco background, the Edition Grande de Luxe [sic]” (James G. Nelson, Pub- top edges gilt, others untrimmed, richly gilt turn-ins, pale blue lisher to the Decadents: Leonard Smithers in the Career of Beards- & gilt patterned endpapers. Housed in the original polished ley, Wilde, Dowson, 2000, p. 41). mahogany cabinet, embellished with fretted darker wood, the “The Arabian Nights had been an important part of doors glazed and overlaid with brass lattice work, with two locks Burton’s life for decades. In 1882 he began translating and key of “Oriental” design. With 71 heliogravure plates by Albert Letchford, 21 etchings by Lalauze, in three states (sepia, it in earnest. Although there were other translations of purple and black inks respectively) making a total of 276 plates; the Nights in English, Burton’s was distinguished by his retention of the sexual content of the original Arabic

46 Peter Harrington 130 versions, while his extensive footnotes drew on a lifetime slightly faded, faint water mark and a little bubbling of cloth of travel and research. Unable to get an acceptable offer to front cover, some slight wear to tips, internally fresh. An from a publisher, he decided to print it himself, a venture excellent copy. that must have seemed more speculative than any of his first edition, signed limited issue, number 87 of 100 searches for gold. He and Isabel announced a limited large paper copies signed by the author. This copy is subscription of 1000 copies, hoping for 500 responses; to from the library of Wilde’s Swedish translator, Michael their surprise, they received 2000, but kept their word and Gripenberg, with his bookplate to the front pastedown. accepted only 1000. At last Burton’s literary efforts were The Importance of Being Earnest, Wilde’s last play, opened to rewarded with financial success, as he got 16,000 guineas great acclaim on Valentine’s Day 1895 but was withdrawn from an outlay of 6000 . . . Despite its deliberately archaic after Wilde’s failed libel suit against Lord Queensbury led style, The book of the thousand nights and a night: A plain and to his arrest. The subsequent “utter social destruction of literal translation of the Arabian nights entertainments (16 vols, Wilde” (ODNB) meant that the play was not published in 1885–8) has become the pre-eminent English translation book form until February 1899, after Wilde’s release from of the Middle Eastern classic. It is the keystone of Bur- prison. Richard Ellmann comments that Smithers’s hand- ton’s literary reputation” (ODNB). some editions of Earnest and An Ideal Husband “brought Penzer p. 119. Wilde a little money”. Mason 382. £19,500 [114345] £39,500 [115498] Signed limited issue, from the library of his translator 36 WILDE, Oscar. The Importance of Being Earnest. A Trivial Comedy for Serious People by the Author of Lady Windermere’s Fan. London: Leonard Smithers and Co, 1899 Square octavo. Original pale purple cloth, gilt lettered spine, gilt floral motifs from designs by Charles Shannon on spine and covers, edges untrimmed, pages uncut. Housed in a custom black quarter morocco and cloth solander box. Spine

All items are fully described and photographed at peterharrington.co.uk 47 37 line 4 from bottom has “peices” uncorrected; p. [227], BAUM, L. Frank. The Wonderful Wizard of Oz. With line 1 begins: “While Tin Woodman . . . ”; the colophon is in 11 lines within a two-line box; with unbroken type in pictures by W. W. Denslow. Chicago: Geo. M. Hill Co., the last lines of p. 100 and p. 186. The plate opposite page 1900 34 is in the earliest state with two blue spots on the moon; Quarto. Original state A binding of light green cloth pictori- the stork plate opposite page 92 is the earliest state with ally stamped and lettered in red and a darker green, pictorial red shading on the horizon; the copyright notice is not pastedown endpapers, issued without free endpapers. With 24 stamped or printed on the verso of the title. The binding colour plates (including title). Some light wear to spine ends and tips, some soiling to covers, short tear head of front hinge is in first state with the publisher’s imprint at the foot of and ends of rear hinge, text block sound, internally fresh. An the spine printed in capitals and in green; the rays sur- excellent copy. rounding the emerald on the lower cover are not outlined. first edition, in the rare and desirable first state of Blanck, Peter Parley to Penrod, pp. 111–13; Greene & Hanff, pp. 25–7. both text and binding. The text has the following points: £45,000 [115135] on p. [2], the publisher’s advertisement has a box; on p. 14, line 1 has the misprint “low wail on the wind”; p. 81,

48 Peter Harrington 130 38 out in the same format in 1909. “Of the two books, it is COBURN, Alvin Langdon. New York. With a the New York volume that might be considered the more proto-modernist in spirit, not only because New York itself foreword by H. G. Wells. London & New York: was the most palpably modern city, epitomized by that Duckworth & Co; Brentano’s, [1910] great leitmotif of early modernist photography, the sky- Folio. Original calf-backed grey boards, titles to front board gilt. scraper, but also because the form of the city, as created With the dust jacket. With 20 photogravure plates hand-pulled by these large, monolithic buildings, pushed Coburn by Coburn mounted on grey marbled paper. Some loss to head towards a more radical way of seeing” (Parr & Badger). of spine and wear to foot, crack to head and foot of front joint and head of rear joint, some stripping to calf at head of front New York is one of the cornerstone photobooks of the 20th panel, a little wear to tips, a little light foxing to contents. A very century. Complete copies are scarce and examples in the good copy in the jacket, with skilful repairs to tips, front joint of dust jacket are rare, with just two copies traced at auction spine and panels, some grease marks to front panel and offset- since 1975. ting to spine panel and edges of panels. Parr & Badger I p. 74. first edition of the considerably scarcer sister book to Coburn’s ground-breaking publication, London, put £22,500 [114434]

All items are fully described and photographed at peterharrington.co.uk 49 “The sea’s ultimate magic” – remarkable photographs in these portfolios were reproduced in a greatly reduced from the golden age of German oceanography size for Sturmsee und Brandung. In the preface Larisch wrote that: “part of physical oceanography which is concerned 39 with the aspects of the sea’s motion has been the focus of LARISCH VON MOENNICH, Franz Joseph, Graf . my researches these past 20 years, in particular the wave Das Weltmeer. Wellen der Hochsee und Brandung. movements occasioned by wind. The pictorial documenta- c. 1910-20 tion of this phenomenon was gathered on numerous trips by steam and sail on the Seven Seas, and during lengthy 2 volumes, elephant folio (900 × 700 mm). Original natural sojourns on their coasts; the photographic archive pre- canvas over bevelled boards, with cloth ties, covers titled “I [& II] Das Weltmeer. Wellen der Hochsee und Brandung. Franz pared at that time is intended to systematically illustrate Graf von Larisch Moennich”. 21 photographic prints (ranging the manifold appearances of ocean waves . . . The motion in height from 410–490 mm & in width from 605–715 mm) all of the ocean waves deserves special attention. It repre- mounted on heavy stock board (overall uniform size 850 × 700 sents the sea’s ultimate magic, its very life. And within this mm), plus eight unmounted photographic prints (several dupli- manifestation, we discover a process of infinite diversity cating the mounted plates). From the Wittelsbach library of the whose genesis and progress presents a series of highly en- dukes and kings of Bavaria. In excellent condition. tertaining problems”. A contemporary reviewer referred to A unique collection of large-scale prints of imposing imag- the way in which Larisch’s photography had captured “the es of ocean waves and breakers, photographed from ship spirit of the restless waters in their varied moods . . . pic- and shoreline by Count Franz Joseph Larisch von Moennich turing the sea in play and in anger throughout the world” (1878–1937). The title, Wellen der Hochsee und Brandung, literal- (Geographical Review, vol. 17, no. 1, January 1927). ly means “waves in the high seas and surf ”. Another work, published probably in the 1920s was Larisch was at the forefront of scientific investigation Das Weltmeer: 26 Naturaufnahmen (Berlin: Werckmeisters into the interaction of winds and ocean waves and his Kunstverlag) which contained 26 photographs; this repro- Sturmsee und Brandung (Bielefeld & Leipzig: 1925; second duced only a few photographs from the present portfolios edition 1926) was an important contribution to this branch and in a much-reduced format; the only known copy is at of oceanography. He made early observations on wave the California State Library in Sacramento. These images variation and the phenomena of surf caused by waves were again reproduced in 1940, in a publication entitled breaking on different coasts. A number of the photographs Wind, Wetter und Wellen auf dem Weltmeere (Wind, Weather, and

50 Peter Harrington 130 Waves on the High Seas); and their aesthetic and scientific went to sea, travelled to England and America, and began significance have been noted by the German historian to study oceanography. In 1901, he married Marie Saun- of photography Almut Klingbeil: “In his empathetic derson, the daughter of an oilman from Titusville, Penn- observation of the various manifestations of nature – in sylvania but they divorced in 1909. From 1908 onwards, this case the ocean waves presented in a photographic Larisch undertook a total of 16 sea voyages on a freelance wave atlas – he was guided by the aesthetic demands of basis with the Berlin Oceanographic Institute to further art photography. Larisch continued to prepare elaborate his study of wave formations. The important work of the prints of his photographs, measuring 60 × 85 cm, after Berlin scientists is the subject of Chapter 5 of Eric L. Mill’s the end of World War I. This however did not preclude his recent book The Fluid Envelope of our Planet: How the Study collection of wave photographs being used for the study of Ocean Currents Became a Science (2009). Larisch died at Te- of ocean-wave formations in the early 1920s” (Die Bilder gernheim near Regensburg in Bavaria. wechseln: Meereslandschaften in deutschen Fotobüchern der 20er bis 40er Jahre, 2000, p. 29). £37,500 [113923] Two of the loose prints carry manuscript notes in Larisch’s hand (one is signed by him) and reflect the scientific aspect of his work: time, date, wind speed and co-ordinates are given and a brief statement on the nature of waves and breakers; one (dated 11 February 1909) is of a great sea swell south of “Staaten Island” – presumably Staten Island, New York. The other (dated 2 February 1914) is of breakers north of “Kettle Rock”, off Tresco, the second largest of the Isles of Scilly. Larisch von Moennich was born at Dolni Zivotice (Schönstein), a castle near Opava (Troppau) in Moravia, close to the Silesian border. He was the son of Count Georg von Larisch-Moennich and Baroness Marie Lou- ise Elisabeth von Wallersee, the illegitimate daughter of Duke Ludwig of Bavaria. After studying medicine, Larisch

All items are fully described and photographed at peterharrington.co.uk 51 “The greatest single contribution to logic that has In this work, Whitehead and Russell attempted to appeared in the two thousand years since Aristotle” construct “the whole body of mathematical doctrine by logical deduction from the basis of a small number of 40 primitive ideas and a small number of primitive princi- WHITEHEAD, Alfred North, & Bertrand Russell. ples of logical inference” (DSB, XII, p. 14). The belief that Principia Mathematica. Cambridge: at the University mathematics can be derived from logic is not only one Press, 1910–12–13 of the principal philosophical theories of the foundation of mathematics, it has also provided some of the most 3 volumes, large octavo. Original dark blue cloth, spines let- important results in the formal analysis of mathematical tered in gilt, cream endpapers. With the authors’ compliments slip laid in. Some trivial wear to spine ends and tips of vol. I, a concepts (cf. Frege, Peano). This belief found its fullest little mottling and rubbing to gilt at foot of spines, remains of expression in Principia Mathematica. A fourth volume, deal- bookplate removal to endpapers, front hinge of vol. I cracked ing with the applications to geometry, was planned but but holding and small tear to rear hinge, internally fresh. A never finished, as both men turned their attention away superb set. from mathematics and towards philosophy. first editions. This is the complete set of the Princip- Blackwell & Ruja A9.1a; Church, Bibliography of Symbolic Logic, 194.1–3 (one ia Mathematica, decidedly rare. Vol. I was printed in 750 of a handful of works marked by Church as being “of especial interest copies and, due to disappointing sales, the publishers re- or importance”); Martin 101.01–03; see Kneebone, Mathematical Logic (1963), p. 161ff. duced the printings of Vols. II and III to 500 copies each, so that only 500 complete sets in first edition are possible. £100,000 [114672]

52 Peter Harrington 130 All items are fully described and photographed at peterharrington.co.uk 53 41 enthusiastically of Rackham’s originals, which he had RACKHAM, Arthur. The Peter Pan Portfolio, from seen exhibited at the Leicester Galleries, “I like best of all the Serpentine with the fairies, and the Peter in his “Peter Pan in Kensington Gardens”, by J. M. Barrie. night-gown sitting in the tree. Next I would [sic] the flying London: Hodder & Stoughton, [1912] Peters, the fairies going to the ball (as in the ‘tiff ’ and the Elephant folio. Original full vellum portfolio, titles to front cov- fairy on cobweb) – the fairies sewing the leaves with their er gilt, with the original ivory silk ties laced to a large bow at the sense of fun (the gayest thing this) and your treatment of spine and with two pairs of ivory silk fore-edge ties skilfully sup- snow” (Ray 329). Barrie’s comments seemingly influenced plied to match. In the original green cloth-sided card box with full-page printed paper label to front. Housed in a custom green Rackham’s selection, as the portfolio includes all the im- quarter morocco solander box. 12 large proof-size colour plates ages the author mentioned. mounted in mats, with captioned tissue guards, by Rackham. Latimore & Haskell pp. 39–40; Riall p. 113. The box a little worn in places, but a fine copy, a remarkable sur- vival of this luxurious presentation. £30,000 [113284] deluxe extra-limited edition, number 13 of 100 copies signed by the publisher and engraver on the limitation page and each plate signed on the mount by the artist, bound in full vellum. According to Latimore & Haskell, although Rackham was supposed to sign all 100 copies, the artist confessed that he had signed only about 20 of them. Copies numbered 101 to 600 were issued in a half vellum portfolio with green cloth sides; none of these was signed by Rackham. The Peter Pan Portfolio reproduces 12 of Rackham’s fa- vourite illustrations at their original size. Barrie wrote

54 Peter Harrington 130 All items are fully described and photographed at peterharrington.co.uk 55 42 books. From The Vicar of Wakefield on, Harrap held back (RACKHAM, Arthur.) WALTON, Izaak. The the first dozen or so copies to be specially bound, as here, and asked Rackham to add a unique original watercolour Compleat Angler, or The Contemplative Man’s sketch to the limited page. The first few copies were usu- Recreation. Being a Discourse of Rivers, Fishponds, ally reserved for the publisher and his family; only a hand- Fish and Fishing Not Unworthy the Perusal of most ful were available to the public. Anglers. London: George G. Harrap & Co Ltd, 1931 Describing his artistic method for these “specials”, Small quarto. Specially bound for the publisher by Sangorski & Rackham pointed out that “my little sketches must inev- Sutcliffe in red crushed morocco, spine gilt tooled with a fish itably be of a light hearted or joking nature . . . They have motif (closely resembling that used on copies in the vellum binding), concentric gilt panels on sides with fish motif at corners, top edge gilt, others untrimmed, three-line gilt turn-ins, marbled endpapers. Housed in a red quarter morocco slipcase. Colour frontispiece and 11 coloured plates with captioned tissue guards, black and white illustrations in the text, by Rackham. Attractive bookplate of Cyril Sturla (a captain in the Cheshire Regiment during the Great War). An excellent copy. deluxe edition, number 1 of 757 copies signed by the artist; this is one of a putative ten “special copies” in a luxury binding commissioned by the publisher and containing an original signed pen-and-ink and watercolour sketch by Rackham (this one captioned “Handle him as if you loved him” – Walton’s dictum for handling a live frog before impaling it on a hook) and showing an amusing riparian scene with a frog pleading with a gentleman, while a typically Rackhamesque anthropomorphic tree looks on. It was George Harrap who hit on the idea of a “Rack- ham special”, the most exclusive format of Rackham’s

56 Peter Harrington 130 to be spontaneous and free handed. The nature of the pa- with tools designed by the artist, and including a full- per is such that there can be no preparatory drawing and page original pen-and-ink and watercolour drawing by no alterations”. Rackham (signed “Arthur Rackham 1935”), showing a Latimore & Haskell pp. 66–67; Riall p. 175. seated elderly man reading a hair-raising story, while his black cat spits at the Devil, who emerges from behind his £27,500 [112911] armchair. Latimore & Haskell pp. 72–3; Riall p. 189. 43 (RACKHAM, Arthur.) POE, Edgar Allan. Tales of £32,500 [112910] Mystery and Imagination. London: George G. Harrap & Co Ltd, 1935 Quarto (262 × 186 mm). Specially bound for the publisher by Sangorski & Sutcliffe in green full morocco, gilt lettered and panelled spine, single-line gilt lozenge on sides with gilt corner ornaments from designs by Rackham, top edges gilt, others untrimmed, three-line gilt turn-ins, marbled endpapers (the original pictorial endpapers bound in after binder’s blanks). With the publisher’s card slipcase (with hand-numbered label). Colour frontispiece and 11 colour plates mounted on heavy white paper with captioned tissue guards, black and white illustrations in the text, by Rackham. An excellent copy. Colour frontispiece and 11 colour plates mounted on heavy white paper with captioned tissue guards, black and white illustrations in the text, by Rackham. Slight signs of wear at extremities of joints. An excellent copy. deluxe edition, number 3 of 460 copies signed by the artist. This is one of ten “special copies” reserved by the publisher from the total edition, presented in a specially commissioned luxury binding decorated in gilt

All items are fully described and photographed at peterharrington.co.uk 57 44 in a somewhat casual way to make a number of illustra- LEWIS, Wyndham. Timon of Athens. London: The tions for an edition of Shakespeare’s least cheerful play, Lewis managed so to horrify the prospective publishers Cube Press, [1913] with this radical and challenging piece of work that they Folio. 16 sheets, printed rectos only, unbound as issued in orig- abandoned the project entirely. Lewis pressed on regard- inal laid cream paper portfolio, decorations to both wrappers less and issued this text-free version. The Cube Press is by Lewis in black, brown linen ties. Lacking the blank leaf mentioned by Morrow & Lafourcarde and almost never present but thought to have been his own invention solely to expedite with the original printed Lewis-designed envelope. Housed in a this, its only publication. The images are among his finest black quarter morocco solander box. 6 colour and 10 black and and seem – perhaps inevitably – to prefigure the war that white plates. Envelope a little toned and with a couple of minor was soon to come. tears, some marginal foxing to one of two plates, ties frayed. But Morrow & Lafourcarde A1. a truly exceptional copy. first and only edition. The story of Lewis’s first £12,500 [109528] publication could stand as his epitaph. Commissioned

58 Peter Harrington 130 All items are fully described and photographed at peterharrington.co.uk 59 60 Peter Harrington 130 Signed by Joyce you please let me have my typescript back and the first proofs?”; Ford, editing the transatlantic review, was to pub- 45 lish the first fragment in the April 1924 issue (see Richard JOYCE, James. Ulysses. Paris: Shakespeare and Ellmann, Letters of James Joyce, vol. III, 1966, p. 89). Company, 1922 Ulysses was published on 2 February 1922 in imitation Small quarto (233 × 178 mm). Contemporary blue half morocco of the traditional three-tiered French format aimed at with the original wrappers bound-in, decorative gilt spine, blue both connoisseurs and readers: 100 copies were printed linen sides, top edges gilt, marbled endpapers. Housed in a cus- on Dutch handmade paper and signed by Joyce; 150 cop- tom made blue cloth solander box, red calf label. Joints rubbed ies were printed on heavier vergé d’Arches to create a large but professionally refurbished; bound without the final blank. paper format; and the remaining 750 copies formed a An excellent copy. small format trade issue, printed on less expensive vergé first edition, number 795 from a total edition of 1,000 à barbes stock. copies, one of 750 copies on vergé à barbes. Signed by Joyce Slocum & Cahoon A17. on the blank before the half-title: “James Joyce, Paris, 26 February 1924”. At this time Joyce was already at work £55,000 [113181] on Finnegans Wake and on the previous day (25 February) had penned a postcard to Ford Madox Ford asking “can

All items are fully described and photographed at peterharrington.co.uk 61 46 signed limited editions, large paper issues, MILNE, A. A. When We Were Very Young; Winnie- signed by both the author and artist. As the limi- tations vary, this is one of just 100 possible complete sets: the-Pooh; Now We Are Six; The House at Pooh When We Were Very Young is no. 3 of 100 copies; Winnie-the- Corner. London: Methuen & Co., 1924–8 Pooh, no. 124 of 350 copies; Now We Are Six, no. 69 of 200 4 volumes, quarto. Original red, blue, orange, and light blue copies; and The House at Pooh Corner, no. 142 of 350 copies. buckram-backed paper boards, printed labels to front covers. With the dust jackets. Housed in a custom solander box with £45,000 [114644] four separate leather spines with gilt titles and raised bands. Illustrated by E. H. Shepard. Armorial bookplate of E. Hubert Litchfield to front pastedowns of When We Were Young and Winnie- the-Pooh. Some toning to jackets of Winnie-the-Pooh and Now We Are Six, each jacket except When We Were Very Young with one short closed tear front or rear panel. A fine set, very scarce with the dust jackets in such exceptionally good condition.

62 Peter Harrington 130 47 sive issue of the various formats done for the first editions MILNE, A. A. Winnie-the-Pooh; Now We are Six; of Milne’s Pooh books. Winnie-the-Pooh is no. 12 of 20; Now We Are Six is no. 15; and The House of Pooh Corner no. 19. The House at Pooh Corner. London: Methuen & Co., There was no equivalent issue of the first book in the se- 1926–7–8 ries, When We Were Very Young (1924), as the magnitude of 3 works, small quarto. Original full stiff vellum with yapp edges, its success had not been anticipated, so this constitutes a titles to front covers gilt. Winnie-the-Pooh in a yellow cloth che- complete set of the Pooh books in this format. mise and yellow morocco slipcase; Now We are Six in a dark red cloth chemise and matching slipcase; The House at Pooh Corner £75,000 [115761] in a pale red cloth chemise and matching slipcase. Illustrated throughout by E. H. Shepard. Faint blemishes to front cover of Now We Are Six. An exceptional set. signed extra-limited editions, each work one of 20 large paper copies printed on japanese vellum and bound in vellum, signed by both the author and the illustrator – the most luxurious and exclu-

All items are fully described and photographed at peterharrington.co.uk 63 64 Peter Harrington 130 The most luxurious presentation of one of the most side grain of wood and at the same time producing the remarkable printed books of the 20th century specially blackened details in certain blocks” (Edward Craig, Gordon Craig: The Story of His Life, p. 326). 48 According to the colophon, the type fount, designed (CRANACH PRESS.) SHAKESPEARE, William. The by Edward Johnston, was based on that “used by Fust and Tragedie of Hamlet Prince of Denmarke. Edited by Schoeffer in their Mainz Psalter of 1457”. In fact, the mod- J. Dover Wilson Litt.D. from the text of the second el was the 1462 Bible fount of Fust and Schoeffer, modified with Roman capitals. quarto printed in 1604–5 ‘according to the true The levant morocco binding was entrusted to the W. H. and perfect coppie’. With which are also printed Smith bindery, executed to a design which harks back to the Hamlet stories from Saxo Grammaticus and the work of the Doves Bindery in Hammersmith, where Belleforest and English translations therefrom. Douglas Cockerell, who supervised W. H. Smith’s bindery Illustrated by Edward Gordon Craig. Weimar: Printed from 1904 to 1914, had learned his trade. by Count Harry Kessler at the Cranach Press, 1930 The three suites are on vellum, on an unbleached hand- Folio. Bound for the publisher by W. H. Smith & Son Ltd in red made paper stock produced by Gustave Maillol, and on a levant morocco, spine with seven raised bands, gilt-lettered in yellow-stained variant of that stock. Each suite contains first and last compartments, compartments, sides, board-edges the same 51 illustrations selected from the total number and turn-ins with single gilt rules, four gilt dots to headcaps, of 80, and each is signed by Craig (all except the first of morocco inner hinges, edges rough-gilt. With an accompanying the white paper proofs, accidentally overlooked). The vel- portfolio of red levant morocco, flat spine gilt-lettered direct, lum suite contains a larger unused version of the masked sides with single gilt rule around, plush-lined, cream ties (torn figure that appears on page 64 of the book, while the and re-tied), housing three extra sets of 51 loose proofs on vellum, cream Japanese tissue and yellow Japanese tissue, all but published engraving is included in the two paper suites. A the first cream Japanese tissue proof signed in pencil by the number of the scenes and figures have contrasting black artist. Title cut by Eric Gill, printed in red and black, wood-en- and grey tones produced from the same block. This effect graved illustrations designed and cut by Edward Gordon Craig, is particularly successful on the fine paper used for the two with additional colour, type designed by Edward Johnston, suites. headlines, colophon, and occasional headings printed in red. The original printed prospectus promised eight copies Fine condition. With the original printed prospectus, the lower on vellum, and an eighth was in fact printed, marked out third torn away, laid in. of series and retained by Count Harry Kessler. That copy first edition in english, copy b of seven copies later belonged to the collector Professor Arnold Rood, printed on vellum, with three extra sets of loose who donated his Edward Gordon Craig collection to the proofs signed by the artist, marked A to G. This is the V&A. It was not bound in the original red levant by the W. most luxurious presentation of one of the most remark- H. Smith bindery, but in crushed olive-brown morocco by able printed books of the 20th century. There were also Sangorski & Sutcliffe and signed by Edward Gordon Craig printed for sale 15 copies on imperial Japanese paper in 1961. It was sold at auction at Sotheby’s New York, 2 with one set of loose proofs signed by the artist, num- June 1995, for $74,000. That is the only comparable sale bered I to XV, and 300 copies on handmade paper. record, as no other numbered copy of the deluxe issue on In 1912 Count Harry Kessler commissioned Edward vellum has appeared at auction since first publication. Gordon Craig to illustrate an edition of Hamlet, to be Artist & the Book 66. printed at his private Cranach Press using the woodblocks of Craig’s “black figures” and with specially-designed £250,000 [115397] type. Work on it was suspended during the First World War and Craig became distracted by other projects so the book was not issued for nearly 20 years, the German edition in 1929 and the English in 1930, the latter with some additional engravings. When it finally appeared it was a masterpiece of printing and design, and one which vis- ually captured many of Craig’s ideas for the theatre with its “screens” or “scenery” formed by blocks of engraved lines and simple draped figures in different sizes creating theatrical space. Craig’s son, Teddy, went to Weimar to assist the master-printer, Gage Cole, in the printing of the woodblocks: “I was the only person who knew how to get the kind of impression required, showing the delicate

All items are fully described and photographed at peterharrington.co.uk 65 66 Peter Harrington 130 All items are fully described and photographed at peterharrington.co.uk 67 68 Peter Harrington 130 All items are fully described and photographed at peterharrington.co.uk 69 With letters from all the major contributors, including authors their start, including F. Scott Fitzgerald, whose first two from Scott Fitzgerald published short story, “Babes in the Woods”, appeared in the magazine in 1919. In 1929, Groff Conklin (1904–1968), as- 49 sistant manager at New York’s Doubleday Bookstore, began (THE SMART SET.) Groff Conklin’s personal archive circulating proposals for The Smart Set Anthology (1934, reis- of material gathered for The Smart Set Anthology sued as The Bachelor’s Companion in 1944), the first collection (1934). Various places: 1934 of stories from the magazine. Some authors responded via their agents, but others, including F. Scott Fitzgerald, replied Quarto, bound in dark red cloth for the editor, spine gilt-let- personally. In his autograph letter, dated 22 February 1929, tered “Smart Set Anthology” and “Groff Conklin”, “1936” at foot. Typed letters, interleaved with handwritten notes, letters, Scott Fitzgerald writes apologetically that nearly all of his sto- lists, envelopes, and printed documents. Inset sleeves at front ries for the Smart Set had been published in book form in the and rear contain lists of contributors to previous editions. Very intervening years, save one, “and that, being the weak sister, good condition. I wouldn’t want republished”. He suggests that if Conklin This superb archive of correspondence and other mate- wishes to use any of the others, “for example “‘Benediction’, rial, assembled by Groff Conklin during his creation of ‘May Day’, or ‘Diamond as Big as the Ritz’, which 3 are the The Smart Set Anthology, includes two letters from Scott best”, he would obtain the publisher’s authorisation. Conk- Fitzgerald – one autograph letter and one typed letter lin selected “Benediction”, which was first published in Feb- signed – regarding the inclusion of Scott Fitzgerald’s ruary 1920 in The Smart Set, and subsequently in book form short story “Benediction” in the Anthology. in Flappers and Philosophers that same year. Scott Fitzgerald’s The Smart Set, the self-styled “magazine of cleverness”, second letter, typed and signed, is dated five years later on began publication in 1900, ceasing in June 1930. During its 17 July 1934, and grants Conklin permission to include “Ben- heyday, under the editorship of H. L. Mencken and George ediction”, on condition that it is restricted to use in an an- Jean Nathan, the magazine offered many up-and-coming thology, “the sale of which is not more than 50,000 copies.”

70 Peter Harrington 130 He goes on to note that “such a figure is pure imagination The full list: Eleanor (for Sherwood) Anderson (ALs), P. Y. in these times, nevertheless I’ve got to cover myself.” “Bene- Anderson (TLs), Lilith Benda (ANs), Barry Benefield (TLs), diction” was published in the anthology (pp. 68–82) with the William Rose Benet (ALs and ANs), Herman Bernstein accompanying footnote: “Most of Fitzgerald’s fledgling work (TLs), Myron Brinig (TLs), Catharine Brody (TLs), Louise appeared in The Smart Set, including some stories he believes Bryant (ALs), Struthers Burt (TLs), Henry S. Canby (TLs), are too immature to bear republishing. This delicately beau- Mazo De la Roche (TLs), Beatrice (for Lord) Dunsany, (2 tiful story was written when he first became master of his ALs), John Erskine (TLs), Harvey Fergusson (TLs), Arthur brilliant gifts.” Davison Ficke (signature), F. Scott Fitzgerald (MLs and TLs), Conklin’s album contains original material inter- Grace Flandrau (TLs), Wilson Follett (TLs), Waldo Frank spersed with printed proof sheets from the Anthology, a (ANs), Oliver Gogarty (TLs), Theresa Halburn (signature), copy of which is also offered here. The first few letters are Dashiell Hammett (TLs), C. Y. Harrison (TLs), Ben Hecht rejection letters from publishers who thought such an an- (signature), John Held, Jr. (TLs), Edgar Jepson (2 TNs), F. thology would not sell. Other well-known signatories in Tennyson Jesse (TLs), Orick Johns (3 TLs), Alfred Knopf the archive include Dashiell Hammett, Thornton Wilder, (TNs), Andreas Latzko (TNs), Charmian London (TLs), Ben Hecht, Arthur Machen, Christopher Morley, and Ezra Arthur Machen (ALs), John Macy (ALs), Edwin Markham Pound. A few had fallen on difficult times and they (or (ALs), Marriet Monroe (ANs), John McClure (ANs), Elsie Mc- their spouses) were grateful for any small remuneration. Cormick (ALs), Christopher Morley (TLs), Gorham Munson Others were embarrassed by their juvenilia but granted (ANs), George Jean Nathan (TLs), Isabel Paterson (ANs), permission to republish none the less. Some requested Ezra Pound (ANs), Burton Rascoe (ALs), Ben Ray Redman copies of their work, not having retained a copy of their (TLs), Felix Reisenberg (TLs), Emanie Sachs (TLs), W. B. own. The Anthology was Conklin’s first foray as an editor, Seabrook (signature), Louis Sherman (TLs), Arthur Symons and he selected Burton Rascoe to co-edit the book in (signature), Charles Hanson Towne (TLs), Louis Untermeyer the final months leading up to its publication. Rascoe (TLs and ANs), Mark Van Doren (ALs), Hendrik Willem Van writes in the introduction that Conklin had “assembled Loon (TLs), Harold Ward (TLs), John Weaver (TLs), Steward enough material not for one anthology but for ten – all of Edward White (TLs), Margaret Widdemer (TLs), Thornton it readable, much of it excellent, nearly all of it hitherto Wilder (signature), Thyra Samter Winslow (ALs), and Wil- unpublished except in the pages of The Smart Set.” Conklin liam Huntington Wright (TLs). went on to a notable career as an anthologist, chiefly of Bruccoli C79; Webster, 41 Above the Rest: An Index and Checklist for the An- American science fiction in the post-war period. thologies of Groff Conklin, pp. 10–11. £12,500 [114086]

All items are fully described and photographed at peterharrington.co.uk 71 50 captain clear: “I was that captain, and when I rode up to FITZGERALD, F. Scott. “I Didn’t Get Over”, two join my company he acted as if he’d never seen me before. It kind of threw me off—because I used to love this place. draft manuscripts and typescripts, with holograph Well—good night.” corrections, for the short story. [Asheville, NC: Grove The summer of 1936 was a difficult one for Fitzgerald. Park Inn, summer 1936] From February to April 1936, he had published the essays First draft: 20 leaves, various sizes (largest 330 × 214 mm), partly in Esquire magazine that are now well known as The Crack- triple-spaced typescript with pencil holograph amendments, Up, the articles that helped invent confessional journal- completed in pencil manuscript. Second draft: 9 pages (US Let- ism, in which he revealed the collapse of his life and his ter: 11 × 8.5 ins), double-spaced typescript with pencil holograph hopes, and his determination to save himself with his art. amendments. A year or so later, he would begin work on his last, unfin- two original drafts, the first draft and the ished novel, The Last Tycoon. second and final draft, for Fitzgerald’s short story “I From the collection of James B. Hurley. In 1936, having Didn’t Get Over”, written in summer 1936 and published just graduated from Brown University with a BA in English, in Esquire magazine that October. The most noticeable Hurley left his hometown of Providence, RI and went to differences between the two drafts are at the beginning North Carolina looking for work. He answered a classified and end of the piece. The title is slightly changed: in the ad to do some typing and found himself employed by F. first draft, it is “I Never Got Over”; in the second, that Scott Fitzgerald. Hurley typed Fitzgerald’s manuscripts, is amended in manuscript to “I Didn’t Get Over”. In the which were written in longhand, on a Remington porta- story, a former army captain who failed to make it to the ble designed for double-spaced work. Fitzgerald wanted front in the First World War confesses his responsibility his first drafts triple-spaced in order to edit between his for a training-camp accident that claimed the lives of sev- lines, so Hurley turned the roller and carriage by hand to eral soldiers. At the end, the second draft, Fitzgerald adds provide three spaces. Hurley worked for Fitzgerald for nine in pencil the coda that makes the identity of the army months, at the end of which Fitzgerald inscribed three of

72 Peter Harrington 130 his novels to Hurley and presented him with the manu- first illustrated edition. an excellent asso- scripts of two short stories, this and the Civil War story, ciation copy, signed by eliot as old possum and “The End of Hate”. Both were sold at auction, Sotheby’s inscribed on the front free endpaper to the New York, 4 Dec. 1996, the present two drafts as lot 88. tandy family (Geoffrey, Doris “Polly”, and their three The story was first published in book form in the post- children), whose second child Alison was one of the ded- humous collection Afternoon of an Author (1957). icatees: “To the Tandy family from O.P.” Eliot initially met Bruccoli C266. Geoffrey Tandy, a writer, broadcaster and scientist who worked at the Natural History Museum, in a pub. As their £95,000 [100917] friendship deepened, Eliot would frequently visited the Tandys and they also kept up a regular correspondence. From Old Possum to the first audience of Throughout the 1930s, the family would be the first au- his Practical Cats dience on which Eliot tested out the cat poems, both in letters and on visits to the family’s Hampshire cottage. 51 In addition, Geoffrey would be the first to present the cat ELIOT, T. S. Old Possum’s Book of Practical Cats. poems to a wider public, as he read parts of Practical Cats London: Faber and Faber Limited, 1940 on BBC radio on Christmas Day 1937, two years before the Octavo. Original cream boards, spine lettered in red, pictorial book was published. block of two dancing cats to front board. With the dust jacket. £10,000 [112277] Housed in a red quarter morocco solander box made by the Chelsea Bindery. With numerous colour and monochrome illustrations by Nicolas Bentley. Spine slightly toned, cloth a touch soiled, mild foxing throughout, text block strained in a couple of places but firm. A very good copy in a lightly toned and soiled jacket with slightly nicked and creased extremities and a couple of minor chips.

All items are fully described and photographed at peterharrington.co.uk 73 52 Gysin, Philip Lamantia, Paul Goodman, Marshall McLu- FORD, Charles Henri (ed.) View. A complete set. han, Andre Breton, Raymond Roussel, Albert Camus, Jean-Paul Sartre, Jean Genet, Jorge Louis Borges, as well New York: View, 1940–7 as artists such as Pablo Picasso, Paul Klee, Fernand Leger, 37 numbers in 32 issues, with several supplements, various Georgia O’Keefe, Man Ray, Joan Miro, Alexander Calder, formats, original wrappers, many pictorial. Housed in a black Isamu Noguchi, Marc Chagall, Rene Magritte, and Jean cloth flat-back box, title stamped in blind down the spine. Copi- ously illustrated. Some minor fraying and one or two accession Dubuffet (Surrealism in Belgium, Dec. 1946). stamps to the odd volume but an exceptional set in original con- The Surrealism Special (7-8, 1941) features Artaud, Vic- dition. The four issues which comprise volume 2 bound together tor Brauner, Leonora Carrington, Marcel Duchamp and for the publisher in mauve flock and inscribed by the editor Andre Masson. The set includes the special numbers of “Darling, a bound volume with unbounded love, Charlie”. the magazine featuring Max Ernst (April 1942), the Yves a complete set, one volume inscribed by ford, of Tanguy-Pavel Tchelitchew number with Nicolas Calas, first printings of the remarkable American literary and Benjamin Peter, Kurt Seligmann, James Johnson Sweeney, art magazine published by artist and writer Charles Henri Harold Rosenberg and Charles Henri Ford on Tanguy, Ford and writer and film critic Parker Tyler. View covered Parker Tyler, Lincoln Kirstein and others on Tchelitchew the contemporary avant-garde and Surrealist scene, and (May 1942) and Marcel Duchamp, with an essay by Andre was published quarterly as finances permitted. The roster Breton (March 1945). of prestigious contributors, many emigres among them, £12,500 [109741] signalled the shift of the centre of the art world from Paris to New York. The issues often contained supplementary material, sometimes merely a single leaf insert, which is often found lacking in commerce. All parts in this collection have these parts present and correct. Contributors include authors like Wallace Stevens, William Carlos Williams, Joseph Cornell, Edouard Rodi- ti, Henry Miller, Lawrence Durrell, Paul Bowles, Brion

74 Peter Harrington 130 “A date which will live in infamy” of international immorality”) and his address to Con- gress of 15 December 1941, following Hitler’s declaration 53 of war on the United States on 11 December – in which ROOSEVELT, Franklin D. The War Message. Being he framed Japanese aggression as “following the Nazi the addresses of the President to the Nation and pattern”. Congress concerning the involvement of the United Of the 8 December speech, Nigel Hamilton writes: States in a war with the Empire of Japan, and Axis “The President was driven to Capitol Hill late in the Powers. Philadelphia: Ritten House, 1942 morning of December 8, 1941, and insisted he walk rather than be wheeled to the podium for the joint session. Octavo. Special presentation binding of dark blue morocco, Congressmen and senators rose to their feet, giving him gilt lettered on spine and front cover, single-line gilt border on sides, all edges gilt. With the original morocco-trimmed blue- a standing ovation. Holding the lectern, facing a battery grey slipcase. An excellent copy. of microphones broadcasting his words to the world, the President delivered his address, beginning with the first and limited edition, one of 20 copies let- words: ‘Yesterday, December 7, 1941 – a date which will tered a to t reserved for members of the cabi- live in infamy – the United States of America was sudden- net or for presentation; this is copy B and is signed ly and deliberately attacked by naval and air forces of the by Roosevelt on the front free endpaper. The entire edi- Empire of Japan.’ The speech – which included mention tion was 100 copies only, with the remaining 80 copies of the further Japanese attacks that had taken place in Ma- available to the public. laya, Hong Kong, Guam, and the Philippine Islands – was The War Message comprises three speeches by Roosevelt, a tour de force . . . [It] lasted only six minutes: six minutes opening with his measured but electrifying “infamy that, in a way no one could ever have quite predicted, speech”, delivered before Congress on the day following changed the world” (FDR at War, 1941–1942: The Mantle of the Japanese attack on Pearl Harbor on 7 December 1941. Command, 2014, pp. 76-7). The other two addresses are FDR’s Fireside Chat of 9 December (“The sudden criminal attacks perpetrated by £11,000 [114309] the Japanese in the Pacific provide the climax of a decade

All items are fully described and photographed at peterharrington.co.uk 75 Churchill, Truman, Eisenhower, Marshall, first edition, deluxe issue, number 555 of 1,426 Montgomery and the top Anglo-American generals copies; bound with a leaf that prints Eisenhower’s D-Day and diplomats of the Second World War signing in one message to the troops, signed by Eisenhower. The leaf was inserted into each of the deluxe issues, though in volume many it is lacking, having been cannibalized for sale by 54 autograph dealers. This copy is additionally signed on the front flyleaf by EISENHOWER, Dwight D. Crusade in Europe. Harry S. Truman, Winston S. Churchill, Anthony Eden, Garden City, NY: Doubleday & Company, Inc., 1948 George C. Marshall, Henry H. Arnold, Walter Bedell Octavo. Original tan linen cloth, bevelled edge boards, top edge Smith, James F. Byrnes and, on the facing flyleaf, Douglas gilt, untrimmed fore and bottom edges. Publisher’s slipcase (re- MacArthur. The verso of Eisenhower’s D-Day message paired), signed by original owner, J. Wesley Pape (who also signed bears the signatures of Omar Bradley and Bernard Law on the half-title). Bookseller’s signature and sticker at bottom of Montgomery (Viscount Alamein). Ten additional sig- front pastedown (John G. Kidd, Cincinnati). Front hinge weak, with cartographic endpapers split at the front pastedown gutter. natures appear in the book (usually on pages where the Slight stain at bottom of spine. Overall, a good clean copy. To- figures are first introduced in the narrative): Bernard M. gether with Pape’s correspondence with the book’s signatories: 28 Baruch, Mark W. Clark, Lucius D. Clay, James H. Doolit- typed letters signed from the signatories or their assistants, along tle, Mamie D. Eisenhower, Leonard T. Gerow, Cordell with carbons of Pape’s letters of solicitation.

76 Peter Harrington 130 Hull, Joseph T. McNarney, Carl A. Spaatz, and Hoyt MacArthur, signed the book 18 months after Truman fired Vandenberg. him for insubordination during the Korean War. Pape has annotated the index in pencil, noting the Key diplomats are included, such as Cordell Hull, page numbers where signatures appear. The accompany- James F. Byrnes, and Bernard Baruch, along with the ar- ing correspondence also includes original typed letters chitect of America’s military strategy and Truman’s then signed by Dwight D. Eisenhower, Douglas MacArthur, Secretary of Defense George C. Marshall. The heroes of Bernard Baruch, Carl Spaatz, Walter Bedell Smith, Henry the air war are represented by James Doolittle, who car- “Hap” Arnold (twice), William H. Simpson (whose letter ried out the daring raid against Tokyo in 1942; as well as agrees to sign the volume, though he never managed to by Carl Spaatz and Hoyt Vandenberg. do so), Lucius D. Clay, Mark W. Clark, and Truman’s press We know of no other example of such an impressive secretary, Matthew J. Connelly (tipped-in to front flyleaf ). gathering of historic signatures from World War II. An astounding gathering of the top statesmen and war- Almost as remarkable is the story of the man who spent riors of the Second World War, the signers include two nearly a decade collecting them. John Wesley Pape (1900– American presidents (Truman and Eisenhower), two Brit- 1986), of Cincinnati, Ohio, had – by his own account, in ish prime ministers (Churchill and Eden) and the leaders a 12 May 1949 letter to Carl Spaatz – “a very small part of the great land campaigns of North Africa and Western in this War,” as a major on the headquarters staff of the Europe: Montgomery of Alamein, Omar Bradley, and Mark Army Air Corps, overseeing procurement and supply. Clark. The dominant general in the Pacific theatre, Douglas

All items are fully described and photographed at peterharrington.co.uk 77 When Eisenhower published this memoir, Pape had of Staff, U.S. Army” and “General of the Army” – were the idea of giving a copy to his son, signed by as many of the first two to sign. Having those names in the volume the leading figures of the war as he could reach. Like a served as a good opening for fresh pitch letters. well-organized staff officer, he preserved his correspond- But how to get to someone as remote and prominent as ence with his signatories, and those letters make for com- Churchill? Pape turned to Eisenhower on 1 May 1950, ask- pelling reading in their own right. ing his “advice and assistance . . . I realize this is an un- Today, with top military and political figures barricad- usual request from a stranger.” The next day Eisenhower ed behind multiple layers of security, it is astonishing replied in the succinct manner for which he was famous: how easily Pape was able to contact these VIPs, and how “My suggestion is that you write him directly. He gets the willingly and graciously they complied with his requests same request many times a day and, I am sure, is quite to sign and mail back his book (Pape helpfully provided used to it.” postage-paid packing). For many he provided specific Pape ultimately forged his own path to Churchill: he instructions of where and how they should sign the book. had an uncle, Thomas E. Hanlon, who knew Edward “It is requested that General [Walter Bedell] Smith auto- Viscount Knollys, who in turn was a friend of wartime graph Page 14, with rank during war and date signing.” cabinet member, Sir John Anderson; Anderson agreed to (But Smith chose instead to sign on the flyleaf below the deliver the book to Churchill for signature. signatures of Truman, Churchill and other top figures.) Montgomery, on the other hand, proved easy to obtain Several did follow instructions, such as Bernard Baruch, thanks to the initiative of his former comrade, General Gen. Joseph T. McNarney and Hoyt Vandenberg. Truman Omar Bradley. “It was no trouble at all to get Field Mar- and George Marshall – who signed as “One time Chief shal Montgomery to do this,” wrote Bradley’s aide to

78 Peter Harrington 130 Pape. “In fact, General Bradley was the one who asked the Field Marshal to autograph the book for you.” Both commanders complied with Pape’s instruction to sign on the verso of the D-Day message: “Omar N. Bradley, Gen- eral U.S. Army, Former Commanding General 12th Army Group, 11/15/49” and “Montgomery of Alamein, Field Marshal, 23 Nov. 1949.” The roster includes some who were bitterly antago- nistic to each other. There must be very few instances of Douglas MacArthur and Harry Truman signing the same book or document. Yet when Pape wrote to MacArthur on 12 November 1952 – 18 months after Truman fired him – the “old general” happily complied. “Glad to do so,” he wrote on Pape’s letter, signing with his initials: “DMacA.” Considering its travels – passing some 40 times through the post and crossing the Atlantic – the book is in remarkably good condition. £150,000 [114615]

All items are fully described and photographed at peterharrington.co.uk 79 Presentation copy, inscribed within a fortnight of The inscription is dated ten days after first publication, publication which was 16 October 1950. We know that Lewis was in Magdalen College, Oxford, on the day of presentation, 55 Thursday, 26 October 1950, as it happened to be the same LEWIS, C. S. The Lion, the Witch and the Wardrobe. day that he wrote the first of his Letters to An American Lady A Story for Children. London: Geoffrey Bles, 1950 (published in 1967). Octavo. Original green cloth, titles to spine in silver. With £75,000 [114257] the pictorial dust jacket. Housed in a green quarter morocco solander box by the Chelsea Bindery. Colour frontispiece and black and white illustrations in the text by Pauline Baynes. Slight The dedication copy ghosting through the jacket to spine, joints and top edges of 56 boards a little faded, faint spot to rear endpaper and pastedown. An excellent copy in a lightly edge-chipped jacket with some LEWIS, C. S. The Voyage of the Dawn Treader. toning to spine panel. London: Geoffrey Bles, 1952 first edition. presentation copy, inscribed by the Octavo. Original pale blue boards, title to spine in silver, pic- author on the first blank, “Elisabet Neumann, with torial front endpapers. With the dust jacket. Housed in a red kind regards from C. S. Lewis, 26/10/50”. Extremely rare: morocco slipcase and red cloth chemise. Black and white frontispiece and illustrations in the text by Pauline Baynes. Spine a Lewis was an infrequent presenter of books, and, although trifle faded through the dust jacket with faint ghosting, spotting signed copies have occasionally appeared on the market, to fore edge and endleaves. An excellent copy in minutely nicked we are aware of no other presentation copy of this first pub- dust jacket. lished title in the Narnia series ever appearing in commerce.

80 Peter Harrington 130 first edition, dedication copy, inscribed by the printed dedications, of which one is to a family; this is author around the printed dedication, “With therefore one of only five personal dedication copies. love [to Geoffrey Corbett] from Jack Lewis”; Lewis has also altered the first letters of the dedicatee’s name, to £75,000 [114258] read “Jeffrey”. Laid in is an autograph postcard signed from Lewis to Jeffrey, dated 22 September 1952, shortly after publication (presumably in response to a thank- you letter for the book), congratulating him on having constructed a working wireless, noting “I should think the mice have a grand time in that wardrobe; there will be 100’s and 1000’s of them soon”, describing a sighting of hares from his childhood bedroom in Ireland, and ending: “Someone has given us some Buffalo meat but I haven’t tried it yet”, signed with initials, “J.L.” Jeffrey Barfield (born Geoffrey Corbett) was a foster child adopted by Lewis’s close friends, Owen and Maud Barfield, and adoptive sister of Lucy Barfield, dedicatee of The Lion, the Witch and the Wardrobe. The Voyage of the Dawn Treader, the third published of seven novels in the Narnia series, was first published on 1 September 1952. Only six of the Narnia books have formal

All items are fully described and photographed at peterharrington.co.uk 81 Presentation to his mother’s nurse and the name Miriam on her marriage. Her husband Sol, Salinger’s father, had died earlier the same year, in Brook- 57 lyn Heights, New York. Apparently Salinger showed little SALINGER, J. D. The Catcher in the Rye. London: emotional response to their deaths, even within his own Hamish Hamilton, 1951 family. He reported having dealt with his father’s death Octavo. Original blue boards, spine lettered in silver. With the with a “minimum of crap and ceremony” and, when his supplied dust jacket, designed by Fritz Wegner. Boards browned mother died, he neglected to tell his own daughter Peg- at edges and a little marked, tips worn, a good copy in the jacket gy; she read about it in the newspaper (Raychel Haugrud with chips at head of spine and folds. Reiff, J. D. Salinger, 2008, p. 35). This presentation inscrip- first uk edition, presentation copy inscribed by tion, made in a copy of the UK edition presumably from the author in red ink on the front free endpaper, “To his own library, shows a little more emotional response to Joyce Williams, who nursed my mother so selflessly and her passing. beautifully. With gratitude, J. D. Salinger. New York, N.Y. On the rear endpaper, Joyce Williams has re-presented June 21, 1974.” the book: “To my brother Eric McBean. From his sister Salinger’s mother was born Marie Jillich, in 1891 in Joyce Williams. May 17, 2003. Brooklyn NY. 11233”. Atlantic, Cass County, Iowa, and died in June 1974, the £55,000 [113798] same month as the inscription. She had adopted Judaism

82 Peter Harrington 130 Inscribed by Salinger Zooey, both in their twenties, are the two youngest members of the Glass family – a frequent focus of Salinger’s 58 writings. The book was a success and spent 25 weeks at SALINGER, J. D. Franny and Zooey. Boston: Little, the top of The New York Times Fiction Best Sellers list in Brown and Company, 1961 1961 and 1962 and was positively reviewed by John Updike. Octavo. Original blue-grey cloth, gilt lettered spine. With the Books signed by Salinger are most uncommon. dust jacket. Jacket spine creased at head and tail, spine of bind- £17,500 [109009] ing and head of front cover sunned, spine slightly rolled, damp- stain at foot of front cover with subsequent cockling of leaves (but no staining). Nevertheless a very good copy in an excellent example of the jacket. first edition, presentation copy from the author, inscribed on the half-title: “New York, N.Y. March 18, 1962 with best wishes, J. D. Salinger”. Salinger’s short story “Franny” and his novella “Zooey” were originally published separately in the New Yorker, in 1955 and 1957 respectively. The characters Franny and

All items are fully described and photographed at peterharrington.co.uk 83 Cartier-Bresson “at his most universal” – inscribed half-title of each work: “pour Henri Bourrillon, ami presentation copies to the “écrivain humaniste” Henri de mes amis photographes, Henri Cartier-Bresson” (Im- Bourrillon ages à la sauvette) and “pour Henri Bourrillon ces quelques [crossing out ‘Les’ in the title] Européens, en hommage 59 très ‘respectueuse’. Henri Cartier-Bresson” (Les Européens). CARTIER-BRESSON, Henri. Images à la sauvette; The recipient was the prolific French writer and journalist Henri Bourrillon (1876–1962), better known under [together with] Les Européens. Paris: Éditions Verve, his pseudonym of Pierre Hamp, and described by his con- 1952 & 1955 temporaries as both “l’écrivain prolétarien” and “écrivain 2 works, folio. Original lithographic boards by Matisse (Images à humaniste”. The self-taught Bourrillon “left school at la sauvette) and Miró (Les Européens), titles to spines and front co- fourteen to become a pastry chef working in England and vers black. Housed in custom-made black cloth slipcases, front Spain before finding employment with French railways covers lettered in silver. Images à la sauvette: 126 half-tone plates; Les Européens: 114 half-tone plates; all printed by Pierre Gassman. in the north of the country. He gradually rose through Images à la sauvette: spine and board edges slightly toned, spine the ranks, becoming deputy stationmaster and inspector a little bumped at ends, small traces of tape to free endpapers; of works. He was also the head of a textile factory . . . He Les Européens: foot of spine and adjoining corner of front board pursued studies with Charles Péguy, André Gide, and bumped (with small split), a touch of rubbing to extremities, Charles-Louis Philippe. Hamp’s vast experience inspired shallow indentations to centre of front board. An excellent set. him to write more than 40 novels, a large number of first editions, a superb pair of presentation cop- which are grouped under the title of La Peine des hommes ies – rare in being both made out to the same re- (The Lot of Men) and are close, often quasi-technical, and cipient – inscribed by the photographer on the frequently critical studies of working-class conditions and

84 Peter Harrington 130 activities. For example, Marée frâiche (1908: Fresh Tide), de- Perhaps Hamp would have noted in particular the pho- scribes the fish industry, Le Rail (1912) the problems and tographer’s image of a Russian textile worker alone at her factions within the world of the railways, Viv de Champagne loom in the cavernous interior of a textile works (plate 67 (1913) all aspects of wine production, and Le Lin (1924) in Les Européens). the treatment of flax and the cloth trade. His books were Of Images à la sauvette Roth writes: “Cartier-Bresson’s not always well received by those they described. Le Rail ‘precise organisation of forms’ has come to be the stand- was banned from bookstands in railway stations, and Mes ard against which that of all other photographers is métiers (1930: Kitchen Prelude, 1932), on his experience as a measured, and this book is its ‘proper expression’. Carti- pastry chef, prompted an outrage and a threatened law- er-Bresson met the writer and publisher Tériade (pseudo- suit . . . He also produced a number of surveys – on the nym of Efstratios Eleftheriades) in about 1932 . . . Finally, working conditions of miners, railway men, and children in 1952, he was able to publish Images à la sauvette under employed in industry . . . A member of the Socialist Party, his imprint Éditions Verve. The simultaneous publication an active trade unionist all his life, and a supporter of the of The Decisive Moment in New York in July 1952, with a cov- Salvation Army” (John Flower, Historical Dictionary of French er by Matisse (who had just had his retrospective at the Literature, 2013, pp. 245–6) Museum of Modern Art) was a tremendous success”. “The All of this enables us to draw together the threads that Decisive Moment is one of the greatest of all photobooks, unite both writer and photographer in their humanitar- and Cartier-Bresson repeated its artistic success three ian approach to life: a shared sincerity in their work and years later with The Europeans . . . [he] is at his best when at a genuine empathy with the working class and the poor. his most universal” (Parr & Badger). While Cartier-Bresson’s inscription in Les Européens is play- The photographer would surely have approved of ful (“Tres [underlined] ‘respectueuse’”), that in Images Hamp’s reproachful remark, noted by Walter Benjamin in à la sauvette (“ami de mes amis photographes”) seems to his essay on Paris and Baudelaire: “The artist . . . admires be closer to the spirit of “friend of the friends that I have the column of a Babylonian temple and despises the photographed” – that is, humanity itself. On another level factory chimney”. Cartier-Bresson looked squarely at the Hamp and Cartier-Bresson both had a connection with factory chimney. the textile industry: Hamp had been the manager of a Parr & Badger I, 208–9; Roth p. 134 (Images à la sauvette). textile factory and Cartier-Bresson’s family had been in the thread-making business since the mid-19th century. £22,500 [114840]

All items are fully described and photographed at peterharrington.co.uk 85 60 first edition, first state dust jacket (without the FLEMING, Ian. Casino Royale. London: Jonathan Cape, Sunday Times review on the inner front flap). “According to the Cape archives, 4,760 sets of sheets of the first print- 1953 ing were delivered, but only 4,728 copies were bound up. Octavo. Original black boards, titles to spine red, heart device Many of these went to public libraries and we believe that to front cover in red, bottom edge untrimmed. With the illus- less than half of the first printing was sold to the public. trated dust jacket Boards very slightly bowed, a little foxing to top edge, a couple of faint spots of foxing to rear endpaper, oth- The jacket is genuinely rare in fresh condition” (Biondi & erwise internally fresh, in the exceptionally bright jacket with Pickard, 40). trivial nicks to head of spine panel and tiny puncture to head of Gilbert A1a (1.1). front panel. An excellent copy. £50,000 [111955]

86 Peter Harrington 130 61 first edition, presentation copy inscribed by KENNEDY, John F. Profiles in Courage. New York: the author on the front free endpaper, “To Patty Cavin, with very best regards, John Kennedy”. Patty Cavin was Harper & Brothers, 1956 a pioneering woman journalist, a reporter on the Wash- Octavo. Original black cloth backed blue boards, titles to spine ington Post in the 1950s, covering Congress, and later with gilt. With the dust jacket. Housed in a black half calf solander NBC. In 1962 she was president of the Washington Press case. 4 leaves of illustrations on plate paper, printed either side. Text block strained between front free endpaper and half-title, Club (previously the Women’s National Press Club), at the the jacket a little rubbed at folds and slightly marked, spine gen- same time as Kennedy was president of the United States. tly faded, a very good copy. £19,500 [114138]

All items are fully described and photographed at peterharrington.co.uk 87 62 (DALI, Salvador.) [DODGSON, Charles Lutwidge.] CARROLL, Lewis. Alice’s Adventures in Wonderland. New York: Maecenas Press – Random House, 1969 Folio. Publisher’s solander box of brown straight-grain morocco by Cartonnages Adine (Paris), leather-and-horn ties, gilt lettered spine, black silk portfolios for letterpress and illustrations, lettered in gilt on front covers. With all the original packaging material, including the shipping box. With 12 colour heliogra- vures and a four-colour etched frontispiece on Rives paper; together with a second suite of 12 plates on Japon Nacre paper. Title page, divisional titles and initial letters printed in bisque. An excellent copy. first and limited dalí edition, number xii of 200 copies, signed by dali at the foot of the frontispiece and on the title page. “The artist Salvador Dalí, famous for his surreal images of melting clocks and barren land- scapes, at first glance might not seem to have much in common with a retiring Victorian English don who wrote children’s books. But actually, Dalí and Carroll had much in common: both men were ardent explorers of dreams and the imagination, attempting in their art to show the fertile pathways to the unconscious. This artistic tem- perament might explain why, in his sixties, Dalí created twelve surreal illustrations – one for each chapter – for Alice in Wonderland. Because he required a rich, lush palette for his painted drawings, Dalí turned to the oldest process for reproducing photographic images for printing: heliogravure. Similar to engraving, the method is time consuming and costly. Each heliogravure is printed by hand and considered an original” (Catherine Nichols, Alice’s Wonderland: a Visual Journey through Lewis Carroll’s Mad, Mad World, 2014, p. 28). £22,500 [111778]

88 Peter Harrington 130

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