Peter Harrington London

Home , Augustus Charles Pugin, Jack Whittingham, Thun und Hohenstein

Summer Miscellany

Peter Harrington london

136 We are exhibiting at these fairs:

8–10 September 2017 brooklyn Brooklyn Antiquarian Book Fair Brooklyn Expo Center 79 Franklin St, Greenpoint, Brooklyn, NY www.brooklynbookfair.com

7–8 October pasadena Antiquarian Book, Print, Photo & Paper Fair Pasadena Center, Pasadena, CA www.bustamante-shows.com/book/index-book.asp

14–15 October seattle Seattle Antiquarian Book Fair Seattle Center Exhibition Hall www.seattlebookfair.com

3–5 November chelsea Chelsea Old Town Hall Kings Road, London SW3 www.chelseabookfair.com

10–12 November boston Boston International Antiquarian Book Fair Hynes Convention Center bostonbookfair.com

17–19 November hong kong China in Print Hong Kong Maritime Museum www.chinainprint.com VAT no. gb 701 5578 50

Front cover illustration by John Minton from Elizabeth David’s A Book of Mediterranean Food, item 68 Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, Illustration above of Bullock’s Museum from John B. Papworth’s Select Views of London, item 162 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Design: Nigel Bents; Photography Ruth Segarra Registered in England and Wales No: 3609982

Peter Harrington london

catalogue 136 Summer Miscellany

All items from this catalogue are on exhibition at Dover Street

mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs

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

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1 ACKERMANN, Rudolph (publ.) The Mi- crocosm of London; or, London in Min- iature. London: R. Ackermann’s Repository of Arts, [1808–10] 1 3 volumes, quarto (334 × 271 mm). Twentieth-century scarlet full morocco by Bayntun-Riviere, decorative gilt spines, gilt ornamental panels on sides, broad richly of major importance. The architectural drawings ram and Hogarth, the Guildhall bombed by the gilt turn-ins, marbled endpapers. Wood-engraved titles, were by Augustus Charles Pugin, a French refugee Luftwaffe, the Newgate of Harrison Ainsworth, engraved dedication page (with stipple-engraved head- who came to London in about 1798, ‘driven from the Carlton House of the Prince Regent and so pieces), 104 fine hand-coloured aquatint plates by Bluck, his country either by the horrors of the French forth” (Alan G. Thomas, Great Books and Book Collec- Hill, Stadler, Sutherland, or Harraden after Rowlandson Revolution or by private reasons connected with tors, 1975, p. 155). and Pugin. Armorial bookplates of Richard Taylor. A handful of plates with professional repairs to margins a duel’ . . . His lasting fame rests on his consum- This is a splendidly bound copy, the plates – with (virtually imperceptible), occasional very light offsetting mate ability as an architectural draughtsman. By the preferred pre-publication watermarks – exhib- from letterpress to plate. An excellent set with all pre- a stroke of genius Ackermann engaged Thomas iting a depth and richness of colouring. The Micro- liminary leaves as called-for by Tooley. Rowlandson to add human figures to the draw- cosm offers an incomparable panorama of Regency first edition, with the text in the rare ings that Pugin made for The Microcosm, so that the London both high and low, from sedate drawing first state, with the errata entirely un- stately, accurate and dignified qualities of that art- rooms to the brawling and boozing street life of corrected, and the watermarks all pre- ist are enlivened by the vitality and charm of Re- the metropolis, captured in matchless hand-col- publication, as noted by Abbey – the text 1806 gency life as depicted by one of the most vigorous oured aquatint by the inspired pairing of Pugin and 1807; plates 1806, 1807 and 1808 (largely the draughtsmen of all time. To turn the leaves of The and Rowlandson. latter). With the Contents leaves in first state and Microcosm is to take a walk though London at a sin- Abbey, Scenery, 212 “a colour-plate book of great impor- 11 of the 15 “key plates” in first state, as outlined gularly fortunate moment, observing, as we never tance”); Adams, London Illustrated, 99; Prideaux p. 121; by Tooley. Tooley remarks of the first state: “of the can in real life, the scenes of many celebrated in- Tooley 7 (“one of the great colour-plate books, and a sixty or seventy copies I have examined . . . I have cidents in English literature and history: the India carefully selected copy should form the corner stone of seen four copies.” House of Charles Lamb, the King’s Bench Prison any collection of books on this subject”). of Dickens, the Foundling Hospital of Captain Co- “Ackermann’s The Microcosm of London . . . is a book £6,500 [119667]

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2 (ALDIN, Cecil.) SEWELL, Anna. Black Beauty. The autobiography of a horse. 3 Illustrated by eighteen plates in colour, specially drawn for this edition by Cecil 4 volumes in one, quarto in half-sheets (265 × 204 mm). graphical steel-engravings that his more promi- Contemporary dark green calf, red morocco label, titled nent and lasting reputation rests. This work, Aldin. London: Jarrolds Publishers Limited, “Allom’s China” in gilt on front board, narrow low bands [1912] initially undertaken to support himself as a stu- with dotted roll, compartments with stylised floral loz- dent, became his principal occupation between enges, scrolled foliate corner-pieces, wide panelling in Octavo. Finely bound by the Chelsea Bindery in dark gilt and blind to both boards, floral edge-roll, scrolled 1828 and 1845, and during these years he made green morocco, gilt titles and decoration to spine, raised foliate roll to turn-ins, yellow surface-paper endpapers, extensive sketching tours in England, Scotland, bands, single rule to boards, pictorial onlay of Black gilt edges. 4 steel-engraved vignette title-pages and 124 France, Belgium, and Turkey, mainly for the pub- Beauty to front, twin rule to turn-ins gilt, floral endpa- similar plates after Thomas Allom, 4 of them bound as lisher H. Fisher & Son” (ibid.) He in fact never pers, gilt edges. With colour illustrations. A fine copy. section frontispieces and tissue-guarded. A little rubbed visited China and based his illustrations on the first aldin edition. and with some soft score marks to the boards, neatly re- work of other artists, though in 1846 he presented £2,750 [118532] backed with the original spine laid down, label slightly a copy of China and of his work on France to King chipped, plates lightly foxed, as usual, text block lightly Louis-Philippe, who expressed himself “highly browned and occasionally spotted, but overall a very . 3 good, clean and highly presentable copy. gratified with both” (ibid ) According to Hunni- sett, “Allom’s drawings are full of little touches (ALLOM, Thomas, illus.) WRIGHT, first edition of “the best-known 19th-century which redeem his landscapes from formality” George Newenham. China, in a series work” on China (ODNB). Published the year af- (Steel-Engraved Book Illustration in England, p. 109). ter the First Opium War ended, Allom’s China is The author of the text, G. N. Wright (1794/5–1877) of views, displaying the scenery, archi- concerned mainly with areas of British interest in tecture, and social habits, of that an- was a Church of England clergyman who wrote southern China, including Hong Kong, Macao, the text for a number of topographical works, cient empire. Drawn, from original and Canton, and Hunan, though there are also many most of them vehicles for artists’ engravings. authentic sketches. With historical and attractive views of Peking. Allom (1804–1872) £3,000 [117803] descriptive notices. London: Fisher, Son, & originally trained as an architectural draughtsman at the Royal Academy Schools, but “it is Co., [1843] upon about 1500 designs for albums of topo-

All items are fully described and photographed at peterharrington.co.uk 3 5 (ANGLING.) TAVERNER, Eric. Salmon Fishing. The Lonsdale Library Volume X. With contributions by G. M. L. La Branche, Eric Parker, W. J. M. Menzies, J. A. Rennie, A. H. E. Wood, Wyndham Forbes, Thomas Rook & Alban Bacon. With three hundred and seven illustrations. London: Seeley, Service & Co. Ltd, 1931 Tall octavo. Original dark blue morocco, titles to decorative gilt spine, gilt arms of the Lonsdale Library on front cover, gilt crowned monogram at corners, blue marbled endpapers, top edge gilt, others untrimmed. With 7 hand-tied fishing flies housed in a window mount to rear pastedown, as issued, with captioned tissue-guard. Col- our frontispiece and 66 black and white plates tipped-in, 2 folding maps printed in blue tipped-in at rear, with black and white illustrations to text. Spine lightly faded, rear board a little bowed, very slight rubbing to extremities, small mark to fore edge, an excellent copy. first and signed limited edition, number 62 of 375 copies signed by the author, with a collection of fishing ties at the rear, as issued. A superbly produced volume from the authoritative Lonsdale Library series. £2,000 [118735]

6 ARENDT, Hannah. Rahel Varnhagen.

4 The Life of a Jewess. London: published for the Leo Baeck Institute of Jews from Germany by 4 others untrimmed, blue marbled endpapers. With 30 the East and West Library, 1957 hand-tied fishing flies housed in a window mount to rear Octavo. Original blue cloth, spine lettered and ruled in (ANGLING.) TAVERNER, Eric. Trout pastedown, as issued, with captioned tissue-guard. Se- gilt. With the dust jacket. Portrait frontispiece. Spine pia frontispiece and 49 sepia plates tipped-in, with black Fishing From All Angles. The Lonsdale and extremities bleached, spine ends a little bumped, and white illustrations to text. Spine lightly faded, foxing dust jacket extremities lightly rubbed and with a few Library. A Complete guide to modern to edges, partly unopened, an excellent, bright copy. methods; a chapter on Trout scales by nicks, jacket spine faded, lower front panel marked, tape first and signed limited edition, number repair to inner spine, a very good copy. G. Herbert Nall, and the Legal Aspect of 168 of 375 copies signed by the author, with a collec- first edition, presentation copy inscribed Fishing by Alban Bacon. With two hun- tion of fishing ties at the rear, as issued. A superbly by the author, “For Harry Zohn, cordially, Cam- dred and fifty illustrations. London: Seeley, produced volume from the authoritative Lonsdale bridge, April 6, 1967”. This is the German-born Service & Co. Ltd, 1929 Library series. Taverner’s works are seen in the fish- Jewish political theorist’s first commercially pub- ing community as authoritative guides and a num- lished book which she began writing in the late Tall octavo. Original dark blue morocco, titles to decora- ber of revised editions have been published. tive gilt spine, gilt arms of the Lonsdale Library on front 1920s, translated from the German by Richard cover, gilt crowned monogram at corners, top edge gilt, £2,000 [118732] and Clara Winston. It was nearly complete when

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Arendt was forced to leave Germany; she did not return to her project until nearly two decades later, at which point much of the archival material she had planned to consult had been destroyed. It is both a biography of the German-Jewish writer Ra- hel Levin (1771–1833) and a more general “contribution to the history of the German Jews” (dust jacket blurb). Levin was well-known to many of the key figures of the German Romantic movement, who often met each other at her Berlin 7 salon: regulars included Friedrich Gentz, Motte Fouqué, Schlegel, Schelling, and Steffens. She was 7 (almost imperceptible), skilfully repaired tear to vol. 1, introduced to Goethe in 1795. pp. 305/6, chips to margins of pp. 225/6 and pp. 127/8, [AUSTEN, Jane.] Mansfield Park: A nov- spines a little uniformly faded, slight rubbing to boards, Harry Zohn (1923–2001) was an educator, writer el. In three volumes. By the author of top edges lightly dust toned, faint inking to vol. 1, p. 21, and translator of important works of German lit- occasional light foxing; an excellent set. erature. He and Arendt collaborated on an edition “Sense and Sensibility,” and “Pride and first edition of Austen’s third novel. Mansfield of Walter Benjamin’s Illuminations (1968), which Prejudice.” London: for T. Egerton, 1814 Park was begun about the same time as Sense and she edited and he translated. They began cor- 3 volumes, duodecimo (168 × 100 mm). Near-contem- Sensibility was accepted for publication and was responding with each other about this project in porary green half calf, marbled paper sides, gilt titles published in May 1814 in an edition of 1,250 cop- February 1967 and Zohn had the translation ready to spine, decorated in compartments in blind and gilt, ies. John Murray later “expressed astonishment for Arendt’s arrival in Cambridge, where they met brown coated endpapers, edges speckled red. Lacking that so small an edition of such a work should have on 6 April. half-titles and adverts to rear of vol. 3. With the book- been sent into the world”. See The Hannah Arendt Papers at the Library of Con- plates to front pastedowns and contemporary ownership gress, Correspondence File, 1938–1976. inscription to title pages of Frederica Louisa Osborn, neé Gilson A6; Keynes 6; Sadleir A62c. Davers (d. 1870), the illegitimate daughter of Sir Charles £4,250 [118211] Davers MP. Heads of spines professionally refurbished £17,500 [119539]

All items are fully described and photographed at peterharrington.co.uk 5 8 9

8 half morocco, gilt titles and floral decoration to spines 11 separated by raised bands, marbled boards and endpa- AUSTEN, Jane. Pride and Prejudice. A pers, top edges gilt, others untrimmed. Coloured fron- BANKSY. Grannies. London: Pictures on Novel. London: Richard Bentley, 1833 tispieces and numerous coloured plates with captioned Walls, 2006 tissues printed in red. Some minor wear to corners, an Octavo (168 × 100 mm). Period style blue half calf, crim- excellent set. Screenprint in 2 colours on Arches 88 wove paper. Sheet son morocco label, decoration to bands gilt, marbled size: 56 × 75.5 cm. Excellent condition. Presented float boards, plain endpapers. Engraved frontispiece and vi- the hampshire edition, this set out-of-series mounted in a white wooden box frame. from the stated edition of 1,250 numbered sets. gnette title page. Some spotting and browning to pre- Edition of 500. Numbered lower right in the centre lims otherwise in excellent condition. A particularly handsome set, from the renowned New York fine bindery established in the 1920s by of the Pictures on Walls blindstamp. Accompa- first bentley edition, the fourth edition over- nied with a Pest Control certificate. all, also the first one-volume edition, bound with the bookman and binder Whitman Bennett (1883– the series title page. Bentley bought the copyrights 1968). £8,500 [117705] of all Jane Austen’s works to include them in his £4,500 [117982] Standard Novels series, apparently aiming at the private buyer, as circulating libraries still had cop- 10 ies of the originals. Bentley later reissued the volumes as a set, but this copy is from the original (BACON, Francis.) RUSSELL, John. individual issue. Francis Bacon. London: Thames and Hud- £2,750 [118382] son, 1979 Octavo. Original pictorial wrappers, titles to spine and 9 front cover white and grey. With 175 illustration including 37 in colour. Very light rubbing to bottom tip of front AUSTEN, Jane. The Novels and Letters. cover, an excellent copy. With colored illustrations by C. E. and presentation copy, inscribed by the artist in H. M. Brock. Edited by R. Brimley John- purple felt-tip pen on the half-title, “To David son with an introduction by Prof. William Barnett, with all best wishes, Francis Bacon”. First Lyon Phelps. New York: Frank S. Holby, 1914 revised edition, published as part of the World of Art series. 12 volumes, octavo (213 × 137 mm). Finely bound by Whitman Bennett in near-contemporary burgundy £1,000 [117686] 10

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edition; indeed his original New York shop became a tourist attraction due to its elaborate décor. £550 [117847]

12 (BARBIER, George.) LE GALLIENNE, Richard. The Romance of Perfume. New York: Richard Hudnut, 1928 Octavo. Original illustrated paper boards, titles to front cover red and black, top edge trimmed, others untrimmed. With 12 page ribbon-and-wire-stitched booklet in pocket to rear pastedown. In the glassine wrapper. Housed in the publisher’s plain cream slipcase. Illustrat- ed title page, 8 colour plates by Barbier, 4 full page colour illustrations in booklet. Light foxing to bottom edge, an excellent bright copy in the browned jacket with nicks to edges, short closed tears to inner edge of front panel and upper outer corner of rear flap. first edition, together with the uncommon booklet, At 20 Rue de la Paix, written by the Ameri- can perfumer Richard Hudnut describing the selection available in his Paris Perfumery. Hudnut focussed on the aesthetics of the shopping experi- ence, as demonstrated in this lavishly illustrated 12 12

All items are fully described and photographed at peterharrington.co.uk 7 13

(BEARDSLEY, Aubrey.) MALORY, Sir 13 Thomas. The Birth, Life and Acts of King Arthur of his noble knights of the and light abrasions to bindings, customary general pale his lifetime’s artistic output, survive as the first ex- round table . . . The text as written by Sir toning internally, slight offsetting from plates to letter- ample of modern Arthurian book illustration; and Thomas Malory and imprinted by Wil- press. A very good set. they remain arguably the best experimental visual liam Caxton . . . now spelled in modern first beardsley edition, one of 1,500 copies reinterpretation of the Arthurian world. With their style. With an introduction by Professor on ordinary paper (another 300 were printed on bold lines, strong visual themes, and numerous Dutch handmade paper). This copy in a bright and memorable but unconventional details, the Morte Rhys and embellished with many origi- spectacular example of a “vellucent” binding, by ‘pictures’ (which is how Beardsley himself referred nal designs by Aubrey Beardsley. London: Cedric Chivers of Bath, unsigned but a character- to them) created an important – although admit- Dent, 1893 istic example of this style. Chivers invented a way tedly idiosyncratic – symbology [sic] and iconog- to treat vellum so that it became translucent: a de- raphy. Often shockingly overt in their sexuality 2 volumes, large square octavo (240 × 190 mm). Contem- sign was first painted onto paper and a thin sheet and eroticism, the illustrations rejected the aes- porary full vellum over bevelled boards by Cedric Chivers of Bath for Bumpus of London, gilt panelled spines with of translucent vellum laid over it; gilt tooling could thetic of the Pre-Raphaelites who were Beardsley’s hand-painted art nouveau-style lettering and scrolling then be applied over the top of this. In his cata- original mentors and offered a revisionist and pa- floriate motifs, below which, on a field of gilt dots, an logue of Books in Beautiful Bindings (c.1905), Chivers rodic treatment of their medievalism. Ultimately, overall pattern of stylised roses and rose leaves (volume describes the Beardsley Morte D’Arthur as “bound in Beardsley went far beyond his original intention I) and tulips and tulip leaves (volume II), sides with two- whole vellucent from a design by the illustrator of to ‘flabbergast the bourgeois’ of his day; he also line gilt border enclosing a frame of hand-painted inter- the book. A figure panel enclosed in a floral bor- challenged generations of readers and artists to twining roses and rose leaves (volume I) and intertwin- der”. The hand-painted cover illustrations for this view Arthurian society through his own modern- ing tulips and tulip leaves (volume II), both on a field of set reproduce two of Beardsley’s designs: volume ist lens” (Barbara Tepa Lupack, Illustrating Camelot, gilt dots, panel on each front cover with a hand-painted scene taken from Beardsley’s designs, back covers with I, “How Four Queens Found Launcelot Sleeping” 2008, chap. 4). three-line gilt panels, top edges gilt, untrimmed, three- (p. 184); volume II, “The Achieving of the Sang- Ray, The Illustrator and the Book in England from 1790–1914, 314. real” (frontispiece). line gilt turn-ins, floriate endpapers. Gravure frontis- £12,500 [119495] pieces, 18 full-page wood engravings (of which 5 are “The impact of Beardsley’s Arthurian illustrations double-page), numerous text illustrations, and approxi- was tremendous . . . Today, Beardsley’s illustra- mately 350 repeated designs for chapter headings and tions for the Morte, which constituted almost half borders, all by Aubrey Beardsley. Some shallow scratches

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as well as being published in Vogue. It appears “by Courtesy of Vogue” and is captioned “River Scene, Kweilin” in the book. Original finished paintings 14 by Beaton that were featured in his books are un- 14 derstandably rare. BEATON, Cecil. Far East. London: B. T. £6,750 [118424] Batsford Ltd. 1945 15 Octavo. Original orange cloth lettered in yellow, top edge Colour frontispiece after a painting by the author, 44 BEATON, Cecil. India. Bombay: Thacker & black and white photographs on plate paper, 14 illustra- Co. Ltd, 1945 16 tions in the text. Ends and corners a little rubbed, some very faint spotting to edges, but an excellent copy with Quarto. Original brown cloth, title to front cover gilt. the jacket faintly spine-tanned and a little rubbed at the With the dust jacket. Black and white illustrations by 16 ends and corners.stained red. With the dust jacket. To- Cecil Beaton throughout. Rear board a little bowed, gether with framed original watercolour (375 × 275 mm). some rubbing and minor wear to extremities, one corner BEATON, Cecil. Iseult. 1952 a little bumped, spine gently rolled. A very good copy in first edition, beaton’s retained copy, in- the browned, rubbed and stained jacket, with loss at cor- Original pen and ink drawing on wove paper. Presented in a scribed by him “Cecil Beaton His copy – not to ners and head of spine, paper and tape repair to verso, handmade white gold leaf frame with conservation mount be taken away” on the front free endpaper, and small wormhole to front panel and a water stain to spine and glass. Excellent condition. Sheet size: 40 × 24 cm. accompanied by Beaton’s original signed water- and front panel. Signed lower left in ink by Beaton, titled lower colour for the frontispiece. Far East was the pho- first edition, scarce in a near complete jacket. right. An original drawing for a costume design tographically illustrated travelogue of the author’s The book features Beaton’s photographic record for Picnic at Tintagel, a version of the story of Tris- journey through India and China during the Sec- of daily life in India following his first visit the pre- tran and Iseult performed by the New York City ond World War, on assignment from the Ministry ceding year. He writes in the preface of his hope to Ballet in 1952. This drawing appears as an illustra- of Information. This venture followed his previ- convey “a little of the beauty and strength of India”. tion in Charles Spencer’s book Cecil Beaton; Stage ous Ministry-approved travels in the Middle East, and Film Design (p. 73), a copy of which accompa- £650 [118920] which were published as Near East in 1943. The fine nies the drawing. finished watercolour was executed by Beaton him- £2,000 [118916] self, who was as accomplished a painter as he was a photographer, and was used for the frontispiece,

All items are fully described and photographed at peterharrington.co.uk 9 17 18

17 at the University of Aberdeen from 1760. In his philosophical works (such as An Essay on the Nature BEATTIE, James. Essays. On the nature and Immutability of Truth, 1770, and Elements of Moral and immutability of Truth, in opposition Science, 1790) he argued influentially for the idea to Sophistry and Scepticism. On Poetry of a “Common Sense” to counter the epistemo- and Music, as they affect the Mind. On logical scepticism inculcated by Hume, and also Laughter, and Ludicrous Composition. against the institution of slavery. He was in addition well known for his poetry, in particular for The On the Usefulness of Classical Learning. Minstrel (1771–4), which inspired Wordsworth and 18 Edinburgh: printed for William Creech, 1776 the other Romantics. Each essay in this collection BEATTIE, James. Dissertations Moral Quarto (261 × 210 mm). Contemporary calf, red morocco appears here for the first time, excepting the first and Critical. On Memory and Imagina- on truth which was first published in 1770. label to spine, compartments ruled in gilt with raised tion. On Dreaming. The Theory of Lan- bands, edges speckled red. Armorial bookplate of Sir Sir William Forbes, 6th Baronet Pitsligo (1739– William Forbes of Pitsligo to front pastedown, pencil 1806) was a prominent Scottish banker, philan- guage. On Fable and Romance. On the annotations to rear pastedown. Spine ends and corners Attachments of Kindred. Illustrations on bumped with a few closed tears to head of spine, light thropist, and writer, and long-time friend of James wear to extremities, some scuffing and spill-burns to Beattie. He was the dedicatee of a number of Beat- Sublimity. London: printed for W. Strahan; boards, hinges cracked but holding, endpapers browned tie’s works and the author of Beattie’s biography, and T. Cadell, 1783 from turn-ins and minor offsetting from bookplate, a An Account of the Life and Writings of James Beattie small nick and light marking to title page, overall a very (1806). He was also a friend of James Boswell (de- Quarto (265 × 207 mm). Contemporary tree calf, red mo- good copy. rocco label to spine, compartments ruled in gilt, edges scribed by the latter in the Tour of the Hebrides as “a speckled red. Armorial bookplate of Sir William Forbes first edition, his biographer sir william man of whom too much good cannot be said”) and of Pitsligo to front pastedown, pencil annotations to rear forbes’s copy, with his ownership inscription at through him became a member of Samuel John- pastedown. Spine ends and corners bumped, some light the head of the title. James Beattie (1735–1803) was son’s literary dining club. wear to extremities, hinges cracked but holding, endpa- a significant figure of the Scottish Enlightenment, £1,500 [118425] pers browned from turn-ins and slight offsetting from holding the chair of Professor of Moral Philosophy bookplate, a very good copy.

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first edition, presentation copy to Italian film actor and director Marcello Pagliero (1907– 1980), inscribed by the author in Irish on the half- title, “Breandán ó Beacáin, do Marcello Pagliero”, dated 8 June 1957. Behan may have hoped to interest Pagliero, perhaps best known for starring 19 in Roberto Rossellini’s Rome, Open City (1945), in a film adaptation of his play. Pagliero, however, first edition of the poet–philosopher’s best first and signed limited edition, number subsequently passed the copy on to his fellow prose work. For Sir William Forbes, 6th Baronet 110 of 137 copies signed by the author, illustrated Parisian, the screenwriter Jacqueline Sundstrom, Pitsligo (1739–1806), see the previous item. by three original etchings each signed in pencil whose ownership inscription appears on the front £2,500 [118423] by the artist. The text comprises the penultimate free endpaper. It was Sundstrom who adapted the paragraph of The Lost Ones (1970–1) with minor play, with Arthur Dreifuss, for the 1962 film star- variants from the full edition in English. 19 ring Patrick McGoohan. (Sundstrom also attended £1,750 [118778] Behan’s funeral.) Throughout the text are several BECKETT, Samuel. The North. London: pencil annotations marking Behan’s more obscure printed by Will and Sebastian Carter at the Ram- 20 colloquialisms. pant Lions Press for The Enitharmon Press, 1972 BEHAN, Brendan. The Quare Fellow. A The Quare Fellow is the author’s first book and his key play, and is uncommon inscribed, especially Folio. Loose sheets in a paper portfolio, title in blind to Comedy-Drama. London: Methuen & Co. front wrapper, the whole contained within the publisher’s with such interesting associations. Set in Mount- oatmeal cloth chemise and slipcase, titles on the front Ltd, 1956 joy Prison, Dublin, it is also the origin of the song board and backstrip of the chemise in brown. With three Octavo. Original black boards, gilt titles to spine. With the “The Auld Triangle”, now a staple of Irish music, original etchings by Avrigdor Arikha printed by Studio dust jacket. Portrait frontispiece. Spine a little rolled but oth- though many are unaware that it was composed by Prints of London. Faint mark to corner of chemise front erwise an excellent copy of the book, with the good jacket Behan for the play. cover, a very few faint marks within, but an excellent copy. rubbed at the extremities and chipped to ends and corners. £1,650 [118025]

All items are fully described and photographed at peterharrington.co.uk 11 21 21

21 engraved plates of biblical scenes by Claes Jansz Visscher 22 or Pieter Schut (8 to a sheet, captions in Dutch), 6 large (BIBLE; English.) The Holy Bible con- folding maps by Joseph Moxon after Nicolaes Visscher: BOETHIUS. Boetius de consolatione. En taining the Old Testament and the New, world map (showing California as an island), “Paradise” lector candidissime Severini Boetii de (Cyprus to the Persian Gulf ), “Israel’s Peregrination” newly translated out of the original (Egypt, Israel, Lebanon), plan of Jerusalem, “Travels of consolatu philosophico deque disciplina tongues and with the former translations Saint Paul” (Italy and the Balkans in the North, north Af- scholastica divina opuscula . . . Venice: Ot- diligently compared and revised by his rica across to Turkey and Persian Gulf ), “Canaan” (Isra- taviano I Scoto & C., 1524 el, Jordan, Lebanon, Syria); printed in double columns. Majestie’s special command. [?Amster- Brief family history of one Maynard King (dated 1740s) Folio (322 × 215 mm). Contemporary polished calf, later dam:] Printed in the Year, 1708; [together on rear blank. Occasional browning, neat repair to fore- red morocco label and two hand written paper labels to with:] The Whole Book of Psalms: col- margin of one leaf. An excellent copy. spine, spine and front boards elaborately decorated in blind. Bookseller’s ticket to front pastedown, neat ink lected into English meeter, by Thomas A fine folio King James Bible in a strikingly well annotations to title page. Minor wear to extremities and Sternhold, John Hopkins, and others. preserved and stylish Queen Anne binding. The a few marks to boards, hinges cracked but holding, a lit- vigorous illustrations – in good, strong impres- tle foxing and dampstains to contents, an excellent copy. London: Printed for the Company of Stationers, sions – date from the 1650s; the maps are by the second edition thus, with pseudo-Thomas 1702 printer, globe-maker and hydrographer royal Jo- Aquinas’s and Jodocus Badius Ascensius’s com- seph Moxon (1627–1691), who had strong connec- Folio in sixes (398 × 235 mm). Contemporary black goat- mentaries, first printed in Milan, c.1500. Boethius tions with the Netherlands, as his father, an “ex- skin, spine richly gilt tooled in 7 compartments (decora- is considered “the fundamental philosophical tion of massed scrolls, floriate tools, backward-looking treme puritan” (ODNB), had printed English Bibles and theological author in the Latin tradition” and birds and sunbursts), sides with gilt double rule border at Rotterdam during the 1630s and 40s. enclosing concentric ruled and roll tool panels, corner “one of the rare philosophers whose thought, like Herbert 897 (“No doubt printed abroad, probably at Am- Plato’s, cannot be neatly separated from the com- ornaments, triangular side ornaments (made up of re- sterdam”). peated floriate tools), central lozenge of scrolling floriate plex literary form in which it is expressed” (John tools, gilt roll-tooled turn-ins, marbled endpapers, gilt £5,000 [119587] Marenbon, The Stanford Encyclopedia of Philosophy). edges. Engraved “architectural” title page (incorporat- The linguistically and philosophically intricate De ing the figures of Moses and Aaron and a view of London consolatione philosophiae was vastly influential in the from the South Bank, showing the playhouses), 328 small Middle Ages and remains of foundational impor-

12 Summer miscellany: Peter Harrington 22 tance to the modern philosophy of religion today. Badius Ascensius’s predominately philological commentary for schoolboys was first published in 1498 and was extremely popular in the following decades; the commentary of pseudo-Thomas of- 23 ten accompanied it in print. Adams B2293; Kaylor & Phillips II.D.2; Renaissance edges pattered red. Engraved folding frontispiece of Ham- The Thun und Hohenstein family were Austro- Rhetoric Short-Title Catalogue 1460–1700 4.1482. burg’s stock market. Armorial bookplate of Prince Franz Hungarian nobility, one branch of which lived in £4,000 [117678] Anton von Thun und Hohenstein, Tetschen, to front past- Tetschen, Bohemia for more than 200 years. The edown, printed ownership name to title page. Spine ends bookplate is that of Franz Anton von Thun und and extremities lightly worn, boards gently scuffed, front Hohenstein (1847–1916), who served as the Hab- 23 hinge cracked but holding, endpapers browned from turn-ins, contents evenly tanned, a very good copy. sburg monarchy’s governor of Bohemia from 1889 BOHN, Gottfried Christian. Der wo- to 1896 and then briefly as minister-president of scarce first edition of one of the most com- Austria, 1898–9. He was made prince in 1911. lerfahrne Kaufman[n]. Oder umständ- prehensive works on trade in German literature liche Nachricht, Was die vornehmsten of the 18th century. Beginning with Hamburg, £5,250 [118286] Handels-Plätze in Teutschland, Spanien, the cameralist writer Gottfried Christian Bohn Portugal, Franckreich, England, Hol- examines the strengths of each of the major trad- land und Braband, Dennemarck, Pohlen, ing cities in Europe; he also provides advice and explanations on coinage, measurements, rules Schweden, Italien, der Schweitz, Lieff- of exchange, proper bookkeeping, and commer- land und Russland . . . Hamburg: Christian cial correspondence. The engraved frontispiece Liebezeit and T. C. Felginer, 1719 shows a busy square in Hamburg and includes a detailed depiction of Hamburg’s old crane, weigh- Duodecimo (162 × 96 mm). Contemporary sheep, brown calf label to spine, compartments and boards ruled in ing scales, and marketplace. black, paper label to last compartment lettered in black, 23

All items are fully described and photographed at peterharrington.co.uk 13 24

24 (BOOKS OF HOURS, printed, Use of Rome.) Hore beate Marie virginis se- cundum usum Romanu[m] totaliter ad longum sine require impresse Parisius per G[ermanum]. Hardouyn alme uni- versitatis Parisiensis bibliopole iurati. Commorantis inter duas portas Palatij, ad intersignium dive Margarete. Paris: Germain Hardouyn [1536] Narrow octavo (141 × 67 mm), 90 unnumbered leaves (col- lates: a–k8 l4 m6). Contemporary red morocco, double gilt rules either side of raised bands and to sides in a panelled frame, marbled paper pastedowns, plain paper endleaves, gilt edges. Housed in a burgundy quarter morocco solander box by the Chelsea Bindery. Printed on vellum. Without borders; Black letter with illuminated initials. 15 hand-coloured and illuminated miniatures in the Italian style with painted gold borders, 1-, 2-, and 3-line initials in gold on alternating blue and red grounds throughout. Binding a little rubbed at extremities, 3 small wormholes in head compartment, a very good copy. an attractive example of a parisian 24 book of hours printed on vellum, with

14 Summer miscellany: Peter Harrington produced a translation of the signal portion of the book in 1781), a full translation into English was not made until 1788. provenance: ownership inscription on the verso of the first blank and the elegant engraved book label to the front pastedown of Devis Decrès, future minister of the navy under Napoleon. Decrès had a brilliant career, a midshipman in 1779, he took part in operations in the Caribbean from 1780 to 1783, and was promoted ship’s ensign in 1782 at the time that he took part in the Battle of the Saintes. His ownership inscription gives his rank as lieutenant, placing purchase of this volume between 1786 and 1793, when he became a captain. Arrested as a noble at the outbreak of the French Revolution, he was reinstated in 1795 and placed in command of the Formidable, and in her took part in the attempted invasion of Ireland in 1796. He was promoted contre-amiral in 1798 and commanded a light squadron during the invasion of Egypt, covering the landing in Malta. He took part in the Bat- 25 25 tle of the Nile in the Diane, managing to avoid the slaughter and escaping to Malta, raising his flag in contemporary hand colouring. The évolutions navales. Paris: chez H. L. Guerin the Guillaume Tell. He was captured trying to break the blockade, and eventually exchanged back to narrow format is unusual, evidently employed so & L. F. Delatour, 1765 that the book could be used as a vade mecum for France in August 1800. Napoleon personally pre- private devotion. These Horae contain engravings Octavo (198 × 120 mm). Contemporary French cats-paw sented him with an honour sabre and appointed usually found in the octavo series of engravings calf, gilt spine decorated with floriate motifs (grape-and- him maritime prefect at Lorient. From 3 October vine tools at foot), red edges, marbled endpapers. 8 en- by members of the workshop of Jean Pichore for 1801 to the fall of the Empire in 1814, he served graved folding plates of naval manoeuvres, typographi- as Napoleon’s Minister of the Navy, being made the Hardouin brothers. Because of the narrow cal headpieces and wood-engraved tailpieces. Binding format of this imprint, Hardouin used cuts from a duke in April 1813. During the Hundred Days only lightly rubbed. An excellent copy, crisp and clean, Decrès briefly resumed his post as Minister of the the cycle of small engravings and from the border with the terminal advertisement leaf. cycles, since the large engravings would not fit. Navy. He died in a house fire in 1820. first edition of this important influence on the Craig p. 14; Polak 1120; Scott 340. Germain Hardouin was successor to his brother development of English naval thought, “divided Gillet, who had been active in Paris from 1491 until into 4 pts: manoeuvring of ships, evolutions, mis- £6,250 [118003] 1521/23, when Germain took over the enterprise, cellaneous marine matters, signalling, and also a publishing until 1541 (see Renouard, 198; J. Müller, glossary of terms. It was later translated by David Dictionnaire abrégé des imprimeurs/éditeurs français du Steel and incorporated into his Elements and practice XVIe s. (1970), p. 76). The almanac on A2 recto is of rigging and seamanship [1794]” (Craig). “Though for the years 1536–48, suggesting a publication less illuminating on fundamental principles than 25 date around 1536. Morogues, its methods of handling a fleet are £18,750 [117305] more fully elaborated, and it ends by heralding the final reform with an explanation of the system of 25 numerary signals devised and practised by that all too little appreciated genius Mahe de la Bourdon- BOURDÉ DE VILLEHUET, Jacques. Le nais, under whom the author must have served in Manœuvrier, ou essai sur la thoerie et la India” (Corbett, Signals and Instructions, 1776–1794, pratique des mouvemens du navire et des NRS vol. XXXV). Despite Kempenfelt’s efforts (he 25

All items are fully described and photographed at peterharrington.co.uk 15 26 27

26 bright jacket slightly yellowing at the top of the back panel, some trivial marks to the back of the jacket. An BRANDT, Bill. Perspective of Nudes. excellent copy. With a Preface by Lawrence Durrell and first glenny edition, the preferred English an Introduction by Chapman Mortimer. translation of one of the 20th century’s liter- London: The Bodley Head, 1961 ary masterworks. This edition was beaten to the press in 1967 by Mirra Ginsburg’s translation, but Quarto. Original grey and white patterned paper boards, Ginsburg had taken her copy text from the heavily titles to spine and front board in red. With the dust jacket. Illustrated throughout from photographs by the au- bowdlerised Soviet version, whereas Glenny trans- thor. Some spotting to boards and front endpapers. An lated the complete text. excellent copy in the lightly spotted jacket with two tears £750 [118912] at head of spine, the largest measuring 25 mm. first edition. One of those seminal works of art 28 which apparently came about by accident. Brandt was experimenting with a fish-eye lens and pro- CAMDEN, William. Britannia. Newly duced these extraordinary images of nudes on translated into English: with large Addi- beaches, distorting and merging with the rocks tions and Improvements. Published by fore edge of N3, the text never affected, otherwise a few which surround them. Edmund Gibson. London: by F. Collins for trivial marks only. An excellent, clean copy. £1,250 [119500] A. Swalle and A. & F. Churchil, 1695 first gibson edition of Camden’s great anti- Folio (391 × 234 mm). Contemporary calf, rebacked and quarian tour of Britain, the first to contain Rob- 27 recornered with the original spine laid down, title gilt ert Morden’s “best-known maps . . . Based on BULGAKOV, Mikhail. The Master and to second compartment, gilt edge-roll to boards, red improved sources and further corrected by local speckled edges. Engraved portrait frontispiece, 50 dou- enquiry, they remained standard maps for fifty Margarita. Translated from the Russian ble-page maps (of which 2, Kent and Norfolk, also fold- years and helped establish a more settled orthog- by Michael Glenny. London: Collins and ing), 8 numismatic plates, numerous engravings of an- raphy of English place names” (ODNB). Britannia Harvill Press, 1967 tiquities to the text, including a vignette of Stonehenge was first published, in a Latin octavo edition, in and a full page of illustrations at p. 696. Some stripping 1586. A 1600 edition contained maps after Merca- Octavo. Original green and black boards, gilt titles to to boards, initial blank browned, pale tide-mark to fore spine. With the dust jacket. Touch of spotting to past- margin of sigs. I-O in the introductory section and the tor and Kaerius; the maps of Christopher Saxton, edowns and endpapers, a sharp copy in the unusually first few leaves of the Counties section, shallow chip to the first to depict individual counties, appeared in

16 Summer miscellany: Peter Harrington 29 30

lectual networks, and learned societies across the 30 Isles” (Cramsie, British Travellers and the Encounter with Britain, 1450–1700, p. 485). CARROLL, Lewis. Alice’s Adventures in Chubb CXIII; Wing C359. Wonderland; [together with:] Through the Looking-Glass, and What Alice £5,000 [119343] Found There. London: Macmillan and Co., 29 1871 & 1883 CARROLL, Lewis. Through the Look- 2 works, quarto (176 × 116 mm). Finely bound in 20th- century red morocco by Sangorski and Sutcliffe, titles ing-Glass, and What Alice Found There. and “Alice” motifs to spines gilt, raised bands, twin rule With Fifty Illustrations by John Tenniel. to boards gilt, “Alice” devices to boards, inner dentelles gilt, gilt edges. Illustrated throughout by Sir John Ten- London: Macmillan and Co., 1872 niel. Bookplates to front blanks, the occasional minor Octavo. Original red cloth, gilt titles to spine, triple blemish, spines a little faded, an excellent set. 28 rules to covers framing central vignette gilt, black coated Early editions, Alice’s Adventures in Wonderland is the endpapers, gilt edges. Frontispiece with tissue-guard, 27th thousand and Through the Looking-Glass is the 49 illustrations by John Tenniel in text. Ownership in- 53rd thousand. A handsomely bound set. the 1607 edition, and were an importance source scription to head of half-title. Binder’s ticket to foot of for John Speed’s Theatre of the Empire of Great Britaine rear pastedown. Spine rolled, tips bumped with light £2,500 [118526] (1611–12). Morden’s efforts “reflect the great ad- wear, small marks to covers, inner front and rear hinges vances in surveying that had been made since the cracked but holding, occasional foxing; a very good copy. days of Saxton and Speed” (Parry, The Trophies of first edition. As with the first edition of Alice’s Time: English Antiquarians of the 17th Century, p. 333), Adventures in Wonderland, Through the Looking-Glass while Gibson’s translation is considered superior was published for the Christmas market but bears to the previous translation by Philemon Holland the following year’s date in its imprint. It was actu- (1610). Among its other noted improvements is ally published in December 1871, in an edition of the inclusion of a section on rare plants at the end 9,000 copies. of each county, by the naturalist John Ray. “In the Williams–Madan–Green–Crutch 84. fashion of the original, [Gibson’s edition] posi- £2,750 [117575] tively energized travellers, local scholars, intel-

All items are fully described and photographed at peterharrington.co.uk 17 31 32 33

31 Tall octavo. Original grey wrappers, titles to spine and ten copy of the introduction to The Drawings of Henri front cover white, illustration to front cover. With 60 il- Cartier-Bresson, by American writer and art critic CARTIER-BRESSON, Henri. Henri lustrations, number 11 tipped-in to p. 10. Toning to spine James Lord. Cartier-Bresson: Photographer. Fore- and onto top edge of covers, light creasing to joints, £350 [117950] word by Yves Bonnefoy. Boston: New York slight rubbing to extremities; a very good copy. Graphic Society, 1979 first edition, presentation copy, inscribed by the photographer on the title page, “a Monsieur 33 Quarto. Original cream cloth, gilt titles to spine, to front Gombrich, avec mon souvenir, le meilleur et Toute cover stamped in blind. With the dust jacket. With 155 CARTIER-BRESSON, Henri. L’immagi- mon admiration, Henri Cartier-Bresson”. The naire d’après nature. Disegni, dipinti, fo- duotone illustrations. Light offsetting to endpapers, an recipient was Sir Ernst Gombrich, the renowned excellent copy, in the jacket with light nicks and peeling tografie, documentari. A cura di Giuliana to laminate at edges. Austrian art historian, who provided an introduction to Cartier-Bresson’s Tête à tête in 1998. This Scimé. Milan: Padiglione D’Arte Contempora- first u.s. edition, presentation copy, in- catalogue accompanied the exhibit at the Musée nea, 1983 scribed by the photographer on the front free d’Arte moderne de la Ville de Paris, which ran from endpaper verso, “a Ruta, très affectueusement, 20 May to 13 September 1981. Laid-in is a typewrit- Quarto. Original white laminated paper wrappers, ti- Henri”. The recipient was Ruta Sadoul, wife of the tles to spine and front cover black. Housed in a custom writer and critic George Sadoul and founder of the flat-back folding case. With 62 illustrations, 11 in colour. eponymous cinematic prize with which Cartier- Spine and edges of covers lightly toned, an excellent copy. Bresson was associated in his final years. The Sa- douls had been intimate friends of the photogra- first edition, presentation copy, inscribed pher for decades. Originally published in France by the photographer on the title page, “au Profes- earlier the same year. seur Ernst Gombrich avec mon admiration et mon amical souvenir, Henri Cartier-Bresson”. (For an- £850 [117711] other presentation to the same recipient, see previous item.) This catalogue accompanied the exhi- 32 bition at the Padiglione d’Arte Contemporanea in CARTIER-BRESSON, Henri. Dessins Milan which ran from 8 September to 10 October 1973–1981. Paris: Musée d’Arte moderne de la 1983. Ville de Paris, 1981 £500 [117991] 32

18 Summer miscellany: Peter Harrington 34 35

34 Mountains resulted in his “Indian Gallery,” an 35 enormous collection of artefacts as well as more CATLIN, George. North American In- than 400 paintings, including portraits and scenes CHATWIN, Bruce. In Patagonia; The dians. Being Letters and Notes on Their of tribal life. The resultant book, first published Viceroy of Ouidah; On the Black Hill; The Manners, Customs, and Conditions, with uncoloured plates in 1841, is “one of the most Songlines; Utz; What Am I Doing Here. Written During Their Eight Years’ Travel original, authentic and popular works on the sub- London: Jonathan Cape, 1977–89 Amongst the Wildest Tribes of Indians in ject” (Sabin). “The history and the customs of such a people,” Catlin wrote, “preserved by picto- Together 6 separately published works, octavo. Uniform- ly bound by Bayntun-Riviere in mid-brown morocco with North America. 1832–1839. Edinburgh: John rial illustrations, are themes worthy of the lifetime Grant, 1926 dark brown morocco title labels, raised bands, striped of one man, and nothing short of the loss of my endpapers, gilt edges. Black and white photographs. A 2 volumes, large octavo. Original pictorial red cloth, ti- life, shall prevent me from becoming their histo- fine set. tles gilt to spines and front covers with pictorial decora- rian” (Hassrick). first editions of all of Chatwin’s works published tion in gilt and black, top edge gilt, others uncut. Over Hassrick 15; Sabin 11536. in his lifetime. Chatwin (1940–1989) was an English 300 colour illustrations on 180 plates, including 3 coloured maps, one folding. Very light bumps and rubbing £1,875 [117688] travel writer, novelist, and journalist. His first book In to ends of spines and tips; an excellent, fresh set. Patagonia established his reputation as a travel writer. In 1982 he was awarded the James Tait Black Memo- A young lawyer turned portraitist, Catlin set out rial Prize and the Whitbread Prize for Best First Novel in 1830 from his home in Pennsylvania to record for On the Black Hill and in 1988 was shortlisted for the on canvas the indigenous tribes of North America Man Booker Prize for his novel Utz. and their way of life. His eight years among the major tribes of the Great Plains and the Rocky £4,500 [117554]

All items are fully described and photographed at peterharrington.co.uk 19 36, 37, 39, 40

36 Leonard and Katharine Woolley on the front free marbled endpapers, gilt edges. A fine copy. CHRISTIE, Agatha. Murder on the Links. endpaper, “With love to you both, from, Agatha”. first edition. The binding is uniform with that Sir Leonard and his wife Katharine were good of item 36 above. London: Bodley Head, 1923 friends of Christie and her second husband, the ar- £2,750 [118060] Octavo. Finely bound by the Chelsea Bindery in dark chaeologist Sir Max Mallowan. Mallowan’s archae- blue morocco, titles and decoration to spine gilt, raised ological career began as an assistant to Leonard bands, single rule to boards gilt, marbled endpapers, in- Woolley at the excavations at Ur in southern Iraq, 39 ner dentelles gilt, gilt edges. A fine copy. and through this friendship and tutelage Christie CHRISTIE, Agatha. Death in the Clouds. first edition. Christie’s third novel is generally met his wife Katharine, on whom the character of London: for the Crime Club by Collins, 1935 reckoned to be her scarcest title. Louise Leidner in Murder in Mesopotamia is purport- edly based. Published in the US in the following Octavo. Original orange cloth, titles to spine in black. £5,000 [118059] year under the title The Tuesday Club Murders, this is Spine gently rolled and browned, slight fraying to spine one of the author’s most uncommon first editions. ends, slight wear to tips, light soiling to boards, toning 37 to endpapers; a very good copy. Wagstaff & Poole p. 80. CHRISTIE, Agatha. The Thirteen Prob- first uk edition, presentation copy, in- £8,000 [117925] scribed by the author on the front free endpaper, lems. London: for the Crime Club by Collins, “With love from, Agatha”. The recipients were Sir 1932 38 Leonard and Katharine Woolley. For the Woolleys, Octavo. Original orange cloth, titles to spine in black. CHRISTIE, Agatha. Murder on the Ori- see item 35 above. The book was published in the US in the same year under the title Death in the Air. Housed in a red quarter morocco solander box by the ent Express. London: for the Crime Club by Chelsea Bindery. Spine gently rolled and browned, fray- Wagstaff & Poole p. 103. ing to spine ends and joints, slight wear to outer tips, W. Collins Sons & Co Ltd, 1934 light soiling to boards. £3,000 [117914] Octavo. Finely bound by the Chelsea Bindery in dark first uk edition, the dedication copy, in- blue morocco, titles and decoration to spine gilt, raised scribed by the author to the dedicatees Sir bands, single rule to boards gilt, inner dentelles gilt,

20 Summer miscellany: Peter Harrington 41, 42, 43

40 first uk edition, presentation copy, in- book was published in the US in the same year un- . CHRISTIE, Agatha. Cards on the Table. scribed by the author to Sir Leonard Woolley on der the title Hickory Dickory Death the front free endpaper, “Len, with love from, Wagstaff & Poole p. 205. London: for the Crime Club by Collins, 1936 Agatha, May 1951”. For the Woolleys, see previous £2,500 [117905] Octavo. Original orange cloth, titles to spine in black. items. The work was also published in the US in Spine gently rolled and faded, small bumps to extremi- the same year. ties, an excellent copy. Wagstaff & Poole p. 202. 43 first edition, presentation copy, inscribed £2,500 [117906] CHRISTIE, Agatha. Dead Man’s Folly. by the author to Katharine Woolley on the front London: for the Crime Club by Collins, 1956 free endpaper, “Katharine, from, Agatha”. For the 42 Woolleys, see previous items. Octavo. Original red boards, titles to spine in black. With the supplied dust jacket. Spine gently rolled and lightly Wagstaff & Poole p. 126. CHRISTIE, Agatha. Hickory Dickory toned, an excellent bright copy in the jacket with light £3,000 [117919] Dock. London: for the Crime Club by Collins, foxing to rear panel and minor nicks to spine ends. 1955 first uk edition, presentation copy, in- 41 Octavo. Original red boards, titles to spine in black. With scribed by the author to Sir Leonard Woolley on the supplied dust jacket. Slight bumps to spine ends, an the front free endpaper, “To Len, from Agatha, CHRISTIE, Agatha. They Came to Bagh- excellent copy in the jacket with lightly faded spine. Nov. 1956”. For the Woolleys, see previous items. dad. London: for the Crime Club by Collins, first uk edition, presentation copy, in- The book features Christie’s alter ego, Ariadne Oli- 1951 scribed by the author to Sir Leonard Woolley on ver, and Poirot; it was also published in the US in the same year. Octavo. Original orange cloth, titles to spine in black. the front free endpaper, “For Len, with love from With the supplied dust jacket. Spine gently rolled, light Agatha”. For the Woolleys, see previous items. The Wagstaff & Poole p. 205. bumps to ends, an excellent copy in the bright jacket £2,250 [117902] with light foxing, trivial nicks to top edge, and a short closed tear to foot of front panel, tape repair to verso.

All items are fully described and photographed at peterharrington.co.uk 21 1902”. This recension of The River War was published in an edition of 1,003 copies, in the “week of 19 Oc- tober 1902” (Cohen), making Churchill’s presentation inscription notably early. Of the handful of inscribed and dated copies that have appeared at auction since the war, only two are of an earlier date than ours: Churchill to his future best man “Hugh Cecil from Winston S. Churchill 30. Oct. 1902” (Christie’s 2011) and the earl of Rosebery’s copy, inscribed “From Winston S. Churchill. Oct. 1902” (Sotheby’s 2005); Cohen notes that the latter was sent with a letter dated 23 October 1902. From the library of William Humble Ward (1867– 1932), second earl of Dudley, lord lieutenant of Ireland and governor-general of Australia, with his armorial bookplate (“Earl of Dudley, 7 Carlton Gardens”). Interestingly, Dudley’s library was cata- 44 45 logued by Hatchards in 1907; he was sworn in as governor-general of Australia at Sydney in Septem- 44 45 ber 1908. CHURCHILL, Winston S. Savrola. A Tale CHURCHILL, Winston S. The River War. “When The River War was republished in 1902, of the Revolution in Laurania. New York: An Historical Account of the Reconquest Churchill shortened it by a third. Every chapter was Longmans, Green, and Co., 1900 of the Soudan. Edited by Col. F. Rhodes, revised, if not omitted altogether, and all criticisms of Kitchener and the British Army were cut out. Octavo. Original dark blue cloth, titles to spine and with- DSO. New and revised edition. London: Now, as a Conservative MP, he found it prudent to in single frame to front board gilt. Housed in a custom Longmans, Green, and Co., 1902 tone down his questioning of the imperialist adven- blue cloth flat-back box. Spine slightly toned, a couple Octavo (206 × 136 mm). Contemporary red half morocco ture” (Jonathan Rose, The Literary Churchill: Author, of light marks to contents, endpapers and edges slightly Reader, Actor, 2015, p. 61). Churchill did add a new foxed. An excellent copy in bright cloth. for Hatchards, red linen cloth sides, gilt panelled spine, top edge gilt, marbled endpapers. Photogravure portrait chapter “describing the destruction of the Khalifa first edition in book form of Churchill’s only frontispiece of Kitchener, 14 coloured maps and plans (6 and the end of the war” (Cohen). Signed copies of novel, his third published book, but the first he folding), 8 sketch-maps in the text. Front joint sometime this edition of The River War are decidedly uncom- undertook to write and the second he completed. skilfully rehinged, back joint slightly split at head and tail, mon, particularly so when dated so soon after pub- Churchill’s melodramatic tale of liberal revolution dampstain to corner of frontispiece, bound without the lication. in an autocratic Mediterranean state was originally publisher’s 40pp. catalogue. A handsomely bound copy. Cohen A2.2 (“Essentially the text of the first edition, thor- serialized in Macmillan’s Magazine between May and first one-volume edition, revised; the sec- oughly revised and corrected, however, and reduced by December 1899. This edition, published in 4,000 ond edition overall. inscribed by churchill on one-third . . . A new chapter has been added describing copies on 1 February 1900, preceded the UK issue the half-title: “from Winston S. Churchill, 6 Nov. the destruction of the Khalifa and the end of the war”); by 12 days, possibly as US law required a foreign- Woods A2(b). authored book to be manufactured in America to £5,000 [118759] ensure copyright protection. “Whether they deem it a key indication of Churchill’s innermost philosophy and political morality or just a yarn, Savrola 46 continues to exert a grip on devotees of the canon” CHURCHILL, Winston S. My African (Langworth). Journey. With sixty-one illustrations from Cohen A3.1.a; Langworth pp. 38–41; Woods A3(a). photographs by the author and Lieuten- £1,250 [119574] ant-Colonel Gordon Wilson, and three maps. London: Hodder and Stoughton, 1908 45

22 Summer miscellany: Peter Harrington 47 (CHURCHILL, Winston S.) The Atlan- tic Charter. The President of the United States of America and the Prime Minister, Mr. Churchill, representing His Majesty’s Government in the United Kingdom, being met together, deem it right to make known certain common principles in the national policies of their respective countries on which they base their hopes for a better future for the world. Washington, DC: Office of War Information, 1943 Folio broadside (712 × 507 mm): OWI Poster No. 50. Creased where folded, one panel on verso toned and 46 with a few ink splashes. In excellent condition. An attractive copy of the decidedly uncommon Octavo. Original red cloth, gilt-lettered spine, titles and Atlantic Charter poster issued by the US Office of pictorial decoration to front board in black, blue, and War Information: no copy located by Copac in any grey. Publisher’s 16–page catalogue at end. Photograph- British or Irish institutional library; OCLC cites ic frontispiece, 46 photographic plates, and 3 maps. Gift copies at McGill, Penn State, New York Public inscription to verso of front free endpaper. Spine slightly faded, a little foxing to contents; an excellent copy in Library, Wooster, Denison, and West Texas A&M unusually bright cloth. only. 47 first edition. My African Journey was the first “The Atlantic Charter was a joint declaration re- book to derive purely from Churchill’s journalism, leased by US President Franklin D. Roosevelt and as distinct from his work as a war correspondent. British Prime Minister Winston Churchill on Au- the Atlantic Charter of August 1941 was not a bind- Before embarking he signed an extremely lucrative gust 14, 1941 following a meeting of the two heads ing treaty, it was, nonetheless, significant for sev- contract for the publication of a series of articles of state in Newfoundland. The Atlantic Charter eral reasons. First, it publicly affirmed the sense in The Strand, and for further publication in book provided a broad statement of US and British war of solidarity between the U.S. and Great Britain form. What Churchill was offered is impressive aims . . . Churchill and Roosevelt met on August against Axis aggression. Second, it laid out Presi- testimony to his perceived drawing power, at £750 9 and 10, 1941 aboard the USS Augusta in Placen- dent Roosevelt’s Wilsonian-vision for the postwar for five contributions he was receiving “more than tia Bay, Newfoundland, to discuss their respective world; one that would be characterized by freer Kipling, whom The Strand were paying £90 for his war aims for the Second World War and to outline exchanges of trade, self-determination, disarma- short stories; more than W. W. Jacobs, whose rate a postwar international system. The Charter they ment, and collective security. Finally, the Charter at the time was £110 for a story” (Pound, The Strand drafted included eight ‘common principles’ that ultimately did serve as an inspiration for colonial Magazine, 1891–1950). “The result bubbles with the United States and Great Britain would be com- subjects throughout the Third World, from Algeria Churchill’s irrepressible interest in everything mitted to supporting in the postwar world. Both to Vietnam, as they fought for independence” (US new, whether it was the thrill of hunting rhino, the countries agreed not to seek territorial expansion; Office of the Historian online). dangers of sleeping sickness, or the engagingly ex- to seek the liberalization of international trade; to This handsomely printed poster, designed by the tempore justice of the District Officers” (Woods, establish freedom of the seas, and international distinguished typographer W. A. Dwiggins, has Artillery of Words: The Writings of Sir Winston Churchill, labor, economic, and welfare standards. Most im- echoes of 18th-century proclamations – from the 1992, p. 81). portantly, both the United States and Great Britain choice of typeface to the distinctive bracketing of were committed to supporting the restoration of Cohen A27; Czech, African Big Game Hunting, p. 37; Woods the names of Roosevelt and Churchill – lending A12. self-governments for all countries that had been the piece a sense of the weight of history. occupied during the war and allowing all peoples £1,500 [119576] to choose their own form of government . . . While £2,000 [117820]

All items are fully described and photographed at peterharrington.co.uk 23 48 49

48 of the Commissariat Spécial de Police des Rensei- 4 volumes, octavo. Original red cloth, titles to spines gnements Généraux de la Gare de Paris-Nord, and gilt, top edges red. With the dust jackets. Illustrated CHURCHILL, Winston S. The Second witnessed by Le Commissaire Spécial next to the throughout with maps and genealogical tables. An excel- World War. London: Cassell & Co. Ltd, 1948–54 commissariat ink-stamp. Churchill was passing lent, bright set in the jackets with a little creasing and a few nicks to extremities. 6 volumes, octavo. Original black cloth, titles gilt to through Paris on his way back from a winter break spines, top edges red, grey endpapers decorated with in Marrakech, and on the evening in question he first editions. Churchill’s history of the two a design that alternates a lion passant with the initials “had dined with Odette Pol Roger, whose cham- major branches of the English-speaking nations W.S.C. With the typographical dust jackets with back- pagne, as well as whose company, he always en- – the British Empire and the United States – was ground design as per the endpapers. Maps and dia- joyed” (Gilbert, VIII, p. 589). The set was acquired begun during his “Wilderness Years” in the early grams, some folding. A very good set in slightly rubbed by us from direct descendants of the original own- 1930s, but not completed until after his retire- and chipped jackets, sunned at the spine. er. Family legend has it that a friend worked for ment from the political stage in the late 1950s. The first uk editions, signed and dated by the commissariat and, having advance knowledge events of the Second World War, the major inter- churchill on the half-title of volume I in 1951. of Churchill’s travel arrangements, suggested that ruption in the writing process, had reconfirmed Facing the signature is a lengthy inscription attest- he would be able to get their copy signed for them, his belief in the “Special Relationship”. “For the ing that the volume was signed by Churchill “sur and did so. second time in the present century the British le train Ferry-Boat”, as recorded in Day-book 97 Empire and the United States have stood together Churchill’s work is the single most important his- facing the perils of war on the largest scale known torical account of the Second World War. Cassell among men, and since the cannons ceased to fire were scrupulous in incorporating Churchill’s ex- and the bombs to burst we have become more con- tensive revisions to the last minute, and Churchill scious of our common duty to the human race.” always insisted that the UK edition was definitive. Consequently he gave considerable attention to Cohen A240.4.(I-VI).a; Langworth pp. 264–6; Woods the key events of American history: around a quar- A123(b). ter of the third volume, “The Age of Revolution”, is £5,500 [118393] dedicated to the American War of Independence, and a full third of the final volume, “The Great 49 Democracies”, contains a detailed study of the American Civil War. CHURCHILL, Winston S. A History of Cohen A267.1(I) – (IV); Woods A138(a). the English-Speaking Peoples. London: £475 [118649] 48 Cassell and Company Ltd, 1956–8

24 Summer miscellany: Peter Harrington 50 50 gilt. Illustrations throughout, as plates and to the text. individual copyrights in exchange for the promise Manchester Grammar School bookplate to front free that no other complete edition of Churchill works CHURCHILL, Winston S. The First Col- endpaper of vol. 1. Typical natural variation to the tone would be published until the expiration of interna- lected Works. Centenary Limited Edi- of the vellum bindings; slipcases occasionally a little tional copyright in 2019” (Richard M. Langworth). rubbed at tips. A fine set in a deluxe binding. tion; [together with:] — The Collected A handsome and elaborately bound set, including Essays . . . London: Library of Imperial His- The Centenary Edition is the only full collected the supplementary volumes of Collected Essays is- works of Winston Churchill, reproducing his 50 sued later and sometimes wanting. tory in association with the Hamlyn Publishing individual books in 34 volumes. This is number Cohen AA1; Langworth ICS AA1; Woods, p. 391. Group Ltd, 1973–6 81 of an intended limited edition of 3,000 sets, al- £6,750 [118568] Together 38 volumes, octavo. Original full vellum with though it is believed that no more than 1,750 sets 22-carat gold blocking, including titles to spines, armo- were actually published. “The specifications were rial device to front boards and ruling to spines and front titanic: five million words in 19,000 pages, weigh- boards, gilt edges, marbled endpapers, printed on Ar- ing 19lbs, taking up 4ft of shelf space. To achieve chive Long-Life Text Paper. Housed in the original green publication, 11 publishing houses in Great Brit- leatherette slipcases stamped with the Churchill arms in ain, the United States and Canada released their

All items are fully described and photographed at peterharrington.co.uk 25 51 52

51 that it was from the library of his grandfather, possibly August Friedrich von Kröhn (1781–1856), ad- CLAUSEWITZ, Carl von. Vom Kriege. jutant and minister of war to the Danish Statthal- Berlin: Ferdinand Dümmler, 1832–3 ter (governor) in Schleswig-Holstein, and colonel 3 volumes, octavo (200 × 119 mm). Contemporary brown in the army. 53 half roan, matching sand-grain cloth, titles direct to Printing and the of Man 297. spine, edges sprinkled blue. A little rubbed at the ex- would have been presented to Clara Mary South- tremities, corners bumped, front joint of volume I a little £12,500 [118754] am (née Coltart), wife of the mayor, Herbert R. H. cracked towards the foot, some browning of the text- Southam. Also present is the book label of their block front and back, but overall a very nice set indeed. 52 daughter, Vere Coltart Southam, carrying their ad- first edition. Clausewitz’s works were pub- dress at “Innellan, Shrewsbury”. lished posthumously, edited by his widow, and (CODY, William F.) WETMORE, Helen these, the first three volumes of ten, contain the Cody. Last of the Great Scouts: The Life This visit to the hills and hedgerows of Shropshire first appearance of Vom Kriege (On War), his dia- Story of Col. William F. Cody “Buffalo was part of Cody’s penultimate European tour of lectical analysis of the function of war in human 1902–3. It was advertised fulsomely as “Buffalo Bill”. As Told by His Sister. London: The Bill’s Wild West and Congress of Rough Riders of society. “The book is less a manual of strategy Partington Advertising Company, 1903 and tactics, although it incorporates the lessons the World . . . Now touring the provinces on its learned from the French Revolutionary and Napo- Octavo. Original red morocco-grain paper boards, gilt own special trains . . . Four Special Trains. 800 leonic Wars, than a general enquiry into the inter- lettered spine and front cover, gilt pictorial stamp of People. 500 Horses . . . Mounted Warriors of the dependence of politics and warfare and the princi- “Buffalo Bill” on front cover. Portrait frontispiece of World, a gathering of extraordinary consequence Cody, portrait of his sister, 10 illustrations on 9 plates to fittingly depict all that Virile, Muscular, Heroic ples governing either or both . . . published by his (all but one by Frederic Remington or E. W. Deming). widow [it] won immediate recognition as the most Manhood has and can endure”. This is a special- Spine sunned, binding rubbed and marked, inner joints ly produced promotional edition of Wetmore’s profound exposition of the philosophy of war – a cracked but sound, touch of foxing to fore-edge. place that has never been disputed” (PMM). Carter memoir, first published at Duluth in 1899, a key presentation copy from buffalo bill, in- and Muir’s estimation in 1967 of the continuing text in the invention of the American West and the scribed on the half-title: “With the Compliments relevance of Clausewitz’s work is confirmed by position of Buffalo Bill in that world. A very ap- of the subject W. F. Cody “Buffalo Bill” To the Daniel Moran in his article on Clausewitz in The pealing presentation copy and testimony to Cody’s Lady Mayoress. 1903”; pasted opposite is a studio Oxford Companion to Military History (2001) where it extraordinary world-wide celebrity, when he was portrait of Cody (half-length, hatless, dressed in is described as “the most important general treat- billed as “The One Grand Ruler of the Amusement white tie) by Marceau of New York, and below this ment of its subject yet produced”. Realm standing like an obelisk above and beyond the remains of the mount, inscribed “W. F. Cody all others”. This set with the slightly later ownership inscrip- “Buffalo Bill” To The [illegible] Mayoress. 1903”. £1,750 [118491] tions of Second Lieutenant von Kröhn of the 4th This records the arrival of Cody and his Wild West Battalion Upper Silesian Infantry Regiment, dated Show in Shrewsbury on Saturday, 30 May 1903 and in 1882 at Neisse, now Nysa in Poland, recording

26 Summer miscellany: Peter Harrington 55

54 Consul, based on the famous full-length portrait Rex Whistler (1905–1944), which eschewed the by Jean-Baptiste Isabey. experimentalism of the 1920s, found its inspira- 53 Cockalorum 167. tion in the 17th and 18th centuries and so was well (COSWAY-STYLE BINDING.) NAPO- matched to Swift’s classic. In this book Whistler £5,750 [119484] LEON. Napoleon’s Memoirs. Volume I: employed his favourite device of setting most of Corsica to Marengo. Volume II: Water- the illustrations within a highly decorative rococo 54 marginal frame. loo Campaign. Edited and translated by (CRESSET PRESS.) SWIFT, Jonathan. Somerset de Chair. London: The Golden £8,750 [119346] Gulliver’s Travels. Illustrated by Rex Cockerel Press, 1945 Whistler. London: The Cresset Press, 1930 55 2 volumes bound as one, quarto (310 × 185 mm). Late 20th-century red full morocco Cosway-style binding by 2 volumes, folio in half-sheets. Original green half niger (CRESSET PRESS.) SWIFT, Jonathan. Bayntun-Riviere, with a miniature portrait of Napoleon by Sangorski and Sutcliffe, raised bands to spines form- Engravings by Rex Whistler for Jona- ing compartments gilt-lettered direct, vellum sides, top (under glass and set into the front cover) surrounded than’s Swift’s Gulliver’s Travels. Printed by crossed banners, musket and sword, gilt panelled edges gilt, others untrimmed. Housed in the original spine with motifs of the Napoleonic bee and monogram card slipcase (numbered 185). Hand-coloured frontis- from the Original Plates. [London:] by Har- within a laurel wreath, two-line gilt border on sides, back piece to each volume, 10 similar plates, vignette portait rison and Sons for H. M. Fletcher, 1970 cover with gilt stamp of the arms of the house of Bona- of Swift to title pages, 5 maps, head- and tailpieces, all parte, front cover with overall pattern of Napoleonic engraved after the designs of Rex Whistler. Light mar- 30 leaves, folio-size (355 × 255 mm), deckle edges, loose bees and monogram within a laurel wreath, top edge ginal browning to endpapers from turn-ins, faint offset- in contemporary green half morocco portfolio. Com- gilt, untrimmed, richly gilt turn-ins, scarlet watered silk ting from a few engravings. A superb copy in the rubbed prising initial blank, title, 2 text leaves, limitation leaf, endleaves. Wood-engraved title page vignettes by John slipcase. and 25 engraved plates, of which 12 in original hand-col- Buckland-Wright, collotype portrait frontispieces, map first cresset press edition, number 185 of our, printed rectos only. Fine condition. endpapers by Somerset de Chair bound-in at the end. An 195 copies on handmade paper (there were also limited edition, number 8 of 100 sets, of which excellent copy. 10 copies on vellum). The short-lived Cresset 74 were for sale, of the first separate edition of first golden cockerel press edition, num- Press, co-founded by John Eldred Howard in 1927 Whistler’s illustrations for the celebrated Cresset ber 61 of 500 numbered sets, beautifully printed and run by Dennis Cohen and A. I. Meyers until Press Gulliver’s Travels (1930; see previous item), in Perpetua types on Arnold mould-made paper. 1931, produced fine editions of the classics and printed from the original plates. This superbly bound copy incorporates a fine min- of continental literature. Gulliver’s Travels is one of £1,250 [119348] iature half-length portrait of Napoleon as First the Press’s finest books. The illustrative style of

All items are fully described and photographed at peterharrington.co.uk 27 56, 57, 58, 59, 60

56 jacket with slight creasing to extremities, small nick to 59 foot of front flap. DAHL, Roald. Charlie and the Chocolate DAHL, Roald. The BFG. New York: Farrar, first edition, presentation copy, inscribed Factory. Illustrated by Joseph Schindel- by the author on the front free endpaper, “Jan & Straus and Giroux, 1982 man. New York: Alfred A. Knopf, 1964 Colin, Love Roald 1979”. The recipients were Jan Octavo. Original red cloth with gilt titles to spine, gilt Octavo. Original dark red cloth, gilt titles to spine, to and Colin Ross-Munro. Jan, an art historian who vignette to front cover, grey marbled endpapers. Origi- front board in blind, top edge brown, yellow endpa- regularly lectured at the Victoria and Albert Mu- nal grey cloth slipcase. Illustrated by Quentin Blake. A pers. With the dust jacket. Frontispiece and illustrations seum, was a close friend of Dahl’s second wife, fine copy. throughout. An excellent copy in the bright jacket with Liccy. signed limited issue of the first u.s. edi- some nicks to extremities, tips a little chipped, closed £1,250 [118335] tion, number 34 of 300 copies signed by the au- tear to fold of front panel, couple of tape repairs to verso. thor and illustrator. first edition, first printing, with the six- £1,950 [117784] line colophon on the final page which was cut to 58 five in subsequent printings. The book was not DAHL, Roald. Revolting Rhymes. Lon- 60 published in Britain until 1967. don: Jonathan Cape, 1982 DAHL, Roald (ed.) Roald Dahl’s Book of £2,500 [118651] Octavo. Original pictorial boards, title to spine and front cover in black and purple, buff endpapers. Illustrated Ghost Stories. London: Jonathan Cape, 1983 57 throughout by Quentin Blake. Slight bumps to extremi- Octavo. Original black boards, gilt titles to spine. With ties, boards a little soiled, a very good copy. DAHL, Roald. My Uncle Oswald. London: the pictorial dust jacket. An excellent copy in the jacket first edition, presentation copy, inscribed with small mark and slight abrasion to front panel, light Michael Joseph, 1979 by the author on the front free endpaper, “To Jan foxing to rear panel. Octavo. Original dark blue boards, spine lettered gilt. & Colin, with love, Roald”. The recipients were Jan first edition, presentation copy, inscribed With the dust jacket. Spine gently rolled, small bump and Colin Ross-Munro (see previous item). by Dahl on the front free endpaper, “To Jan & Colin, to lower fore tip of front board, an excellent copy in the £2,250 [118341] Love Roald”. The recipients were Jan and Colin Ross-

28 Summer miscellany: Peter Harrington 61, 62, 63, 64

Munro (see items 57 and 58 above). This volume 62 first edition. Matilda won the Children’s Book collects 14 of Roald Dahl’s favourite ghost stories, Award in the year of its publication. It formed the including “W.S.” by L. P. Hartley, “The Corner Shop” DAHL, Roald. Going Solo. New York: Far- basis for both the 1996 film directed by Danny by Cynthia Asquith, “Afterward” by Edith Wharton, rar Straus Giroux, 1986 DeVito and the successful stage musical which “On the Brighton Road” by Richard Middleton, and Octavo. Original blue cloth-backed cream boards, gilt ti- premiered at the RSC’s Courtyard Theatre in Strat- “The Upper Berth” by F. Marion Crawford. tles to spine, pictorial endpapers. With the pictorial dust ford-upon-Avon in November 2010. £1,250 [118337] jacket. Portrait frontispiece, photographic illustrations £500 [119578] throughout text, 2 maps. Slight rubbing to extremities, mark to rear cover onto foot of rear pastedown through 61 dust jacket, an excellent copy in the jacket with water 64 DAHL, Roald. Two Fables. With Illustra- stains to panels, slight creasing to extremities. DAHL, Roald. Rhyme Stew. Illustrations tions by Graham Dean. Harmondsworth: first u.s. edition, presentation copy, in- by Quentin Blake. London: Jonathan Cape, scribed by the author on the half-title, “To Jan, Viking, 1986 Love Roald”. The recipients was Jan Ross-Munro 1989 Octavo. Original black boards, gilt titles to spine. With (see previous items). Octavo. Original blue boards, gilt titles to spine. With the dust jacket. Colour frontispiece and black and white £1,600 [118338] the pictorial dust jacket. Black and white illustrations by illustrations in the text. Small bump to spine, small Blake throughout. An excellent bright copy in the jacket mark to foot of rear endpapers, an excellent copy in the with very light creasing to top edge. 63 jacket with slight rubbing to extremities, small crease to first edition, fourth impression. presenta- front panel near spine, small mark to foot of rear panel. DAHL, Roald. Matilda. Illustrations by tion copy, inscribed by the author to the half- first edition, presentation copy, inscribed Quentin Blake. London: Jonathan Cape, 1988 title, “Happy Birthday Colin, Roald, 12 Feb. 1990”. by the author on the front free endpaper, “To The recipient was Colin Ross-Munro (see items 57, Colin, Love Roald”. The recipient was Colin Ross- Octavo. Original red boards, gilt titles to spine. With the 58,60, 61, and 62 above). Munro (see previous item). Two Fables was pub- dust jacket. Illustrations by Quentin Blake. Tiny nick to lished in honour of Dahl’s 70th birthday. rear free endpaper; an excellent copy in the bright jacket. £750 [118340] £1,250 [118336]

All items are fully described and photographed at peterharrington.co.uk 29 65 66

65 66 his views on the evolutionary origins of morality and religion. “The Descent, understood by Darwin as DARWIN, Bernard. The Golf Courses DARWIN, Charles. The Descent of Man, a sequel to the Origin, was written with a maturity of the British Isles. Illustrated by Harry and selection in relation to sex. New York: and depth of learning that marked Darwin’s status Rountree. London: Duckworth & Co., 1910 D. Appleton & Company, 1871 as an élite gentleman of science” (ODNB). Large square octavo. Original green cloth, titles and flo- 2 volumes, octavo. Original red diagonal grain cloth, ti- Freeman 941. ral decoration to spine and front cover gilt and green, top tles to spines gilt, rules and cornerpieces in black to cov- £1,250 [117907] edge gilt, others untrimmed. Colour frontispiece and 63 ers, yellow coated endpapers. Minor wear to spine ends colour or monochrome plates with captioned tissue- and tips, a couple of light marks to covers, short split to guards by Harry Rountree. Gift inscription to front free head of front hinge of vol. I. An excellent set. 67 endpaper. Spine gently rolled and toned, small bumps to first u.s. edition, first issue (with the errata DARWIN, Charles. Insectivorous Plants. ends and tips, light foxing throughout, small pencil note on the verso of the title leaf of vol. II). First pub- to tissue guard of plate facing p. 64. With illustrations. London: John Murray, 1875 lished in the UK the preceding year, it was in this first edition, in the first issue binding work that the word “evolution” appears for the first Octavo. Original green bead-grain cloth neatly rebacked with the original spine laid down, corners refurbished, with the illustrator’s name misspelled “Rown- time, preceding its appearance in the sixth edition blind-panelled covers, brown coated endpapers. 30 wood- tree” on the front; an essential part of any golf- of the Origin the following year. Darwin had hoped ing library, written by one of the great writers on engraved illustrations in the text. Attractive contemporary that one of his supporters might tackle the thorny armorial bookplate of Alfred Crease Coxhead; only slight the sport. Donovan & Murdoch note that the golf question of human evolution, but was forced to face rubbing to extremities, inner hinges cracked but sound, a courses of Ireland were “eliminated” from the sec- the logic of his own theory himself. Darwin devi- few leaves at the beginning with brown staining (probably ond edition (1925). ated from his ostensible subject of mankind to de- from a pressed flower). A particularly bright copy. Donovan & Murdoch 14410. scribe sexual selection in the animal kingdom, ena- first edition, from the first impression of 1,000 £1,500 [117883] bling him to answer those who saw peacock tails as copies. “These meticulous studies form a minor an expression of divine aesthetics. Darwin also set contribution to the evolutionary series by the out a definite family tree for humans, tracing their study of the adaptations of such plants to impov- affinity with the Old World monkeys, and laid out erished conditions . . . The book was published on

30 Summer miscellany: Peter Harrington 67 68

2 July 1875, in a standard binding without inserted 68 illustrations by John Minton. Ownership annotations advertisements. It is stated that 3,000 were print- to 6 pages, including an index of favoured recipes to ed, of which 2,700 were sold to the trade at once. DAVID, Elizabeth. A Book of Mediterra- the rear free endpaper, and an original recipe for Hol- This cannot be strictly true because both the sec- nean Food. Decorated by John Minton. landaise sauce, as the result of attempting David’s recipe was “a mass of curds and whey”. Spine gently rolled; an ond and third thousands of the same year stated London: John Lehmann Ltd, 1950 excellent copy in the jacket with slight nicks to extremi- their thousands on the title pages” (Freeman). Octavo. Original red and white textured cloth, title to ties and a small chip to head of spine. Freeman 1217. spine gilt on brown ground. With the dust jacket de- first edition. David (1913–1992) taught herself £3,000 [119518] signed by John Minton. Frontispiece, vignette title, and Mediterranean-style cooking while living abroad during the early 1940s and began writing a food column for Harper’s Bazaar in 1949. This book was published to wide acclaim the following year. “David was the best writer on food and drink this country has ever produced. When she began writing in the 1950s, the British scarcely noticed what was on their plates at all, which was perhaps just as well. Her books and articles persuaded her readers that food was one of life’s great pleasures, and that cooking should not be a drudgery but an exciting and creative act. In doing so she inspired a whole generation not only to cook, but to think about food in an entirely different way” (ODNB). £1,000 [119638]

All items are fully described and photographed at peterharrington.co.uk 31 69 70

69 Octavo (221 × 143 mm). Cosway binding of full dark olive Octavo. Original beige cloth stamped to resemble peb- levant morocco by Rivière, spine gilt in compartments ble-grain morocco, titles gilt to spine and front, floral (DICKENS, Charles.) STONEHOUSE, between 5 raised bands and dated at foot, front cover design by Cuchy to spine and boards in dark green. Pho- John Harrison. Green Leaves. New with miniature illustration hand-painted on ivory by tographic portrait frontispiece. Nick to tail of spine, oth- Chapters in the Life of Charles Dickens. Miss C. B. Currie and mounted behind glass within a cir- erwise in excellent condition. cular gilt wreath of ivy leaf tools, single gilt rule to back first edition, inscribed by the author on Revised and enlarged edition with 10 il- board, green moiré silk doublures and endpapers, gilt the photographic portrait plate, “Al Sr. Paul Os- lustrations. London: The Piccadilly Fountain decoration to turn-ins, top edge gilt. Internally clean, some minor expert restoration to joints, overall in excel- good Hardy, en homenaje da simpatia, José de Press, 1931 lent condition. Diego, San Juan – P.R. Enero 2 de 1914” (2 January 1914). The recipient, Osgood Paul Hardy (1889– A genuine Cosway binding, one of those com- 1955), was a Californian explorer and author of missioned by the bookseller Henry Sotheran, several studies of the Incas and Peru; he served with a preliminary leaf inserted stating that this as interpreter and chief assistant on the Yale Uni- fine binding is no. 905 of “the Cosway Bindings versity–National Geographic Society Peruvian invented by J. H. Stonehouse with Miniatures on Expedition of 1914–15 that investigated the newly Ivory by Miss Currie”, signed by Stonehouse and discovered Machu Picchu. The book has the later Miss Currie. Stonehouse was the inventor of the pencil ownership inscription of Hardy’s wife. Cosway binding style and the general manager of Sotheran’s bookshop. This collection of poems by the “Father of Puerto Rican Independence”, also the “Father of Modern £5,000 [118041] Puerto Rican Poetry”, is scarce inscribed; it contains his best known love poem “A Laura”. 70 £750 [118072] DIEGO, José de. Pomarrosas. Barcelona: Imprenta de Henrich y Ca. en Comandita, 1904 69

32 Summer miscellany: Peter Harrington 70 71 72

71 72 p. 94). The book and binding were made just two years before Cobden-Sanderson threw the Doves DOS PASSOS, John. Three Soldiers. New (DOVES PRESS.) SHELLEY, Percy. Po- typeface into the Thames, thus concluding the bit- York: George H. Doran Company, 1921 ems. Selected and Arranged by T. J. Cob- ter dispute between him and his partner Emery Octavo. Original black cloth, titles to spine and front den-Sanderson. Hammersmith: The Doves Walker, and bringing the era of the Doves Press to in orange, top edge orange. With the dust jacket. A fine Press, 1914 a close. copy in a superb jacket, only very slightly rubbed at the Ransom, Private Presses, p. 253. ends and corners and with the faintest sunning to spine Octavo. Original pinkish-brown sealskin by the Doves panel. Bindery, title to spine gilt, gilt compartments, single £2,750 [119575] rule frame to covers gilt, all edges and turn-ins gilt. first edition, first state (three blank leaves Spine slightly faded, internally fresh; an excellent copy. to front, none at back, and the textual error on first doves edition, one of 200 copies on p. 213 reading “signing”, later corrected to “sing- paper. This copy is beautifully bound with un- ing”), in the second issue jacket, with review ex- derstated elegance to a design by T. J. Cobden- cerpts in place of the first issue publisher’s blurbs, Sanderson at the Doves Bindery, reflecting the including a quotation from the Brooklyn Daily Eagle restrained style typical of the Doves Press, and is which was replaced with one from the Stars and signed and dated “19 C-S 14”. The slightly mottled Stripes review in the third issue. This is an excep- appearance of the binding is characteristic of seal- tional copy in jacket of Dos Passos’s stark First skin. “Cobden-Sanderson ordered sealskins from World War novel, rare thus. Richardson’s in Newcastle. He apparently liked it, Potter 2. as seal was used as an alternative to goatskin for £1,375 [117426] binding many other Doves Press books. The sealskin used ranges in colour from orange to brick- red or terracotta, and some of the skins were probably specially selected by Cobden-Sanderson for their attractive blotchy appearance” (Tidcombe, 72

All items are fully described and photographed at peterharrington.co.uk 33 73 74

73 74 75 (DULAC, Edmund.) QUILLER-COUCH, (DULAC, Edmund.) HOUSMAN, Lau- (DULAC, Edmund.) BRONTË, Char- Arthur. The Sleeping Beauty and Other rence. Princess Badoura. A Tale from lotte, Emily & Anne. The Novels. London: Fairy Tales. From the old French. London: the Arabian Nights. London: Hodder and J. M. Dent & Sons, 1922 Hodder & Stoughton, [1910] Stoughton, [1913] 6 volumes, octavo (182 × 120 mm). Finely bound by Large quarto (305 × 250 mm). Near-contemporary red Quarto. Original white cloth, titles and elaborate pic- Riviere and Son in blue half calf, titles and centre tool half morocco, red cloth sides, titles and decoration to torial design to spine and front cover blocked in gilt to spines gilt, raised bands, blue cloth boards, marbled spine gilt in compartments, marbled endpapers, top and green, top edge gilt, others untrimmed. Tipped-in endpapers, top edges gilt. Coloured frontispiece by Du- edge gilt, others untrimmed. Housed in a custom red colour frontispiece and 9 colour plates with captioned lac to each volume and 54 further coloured plates. Some cloth slipcase. Colour frontispiece and 29 colour plates, tissue-guards. Very light foxing to boards; an excellent minor spotting to a couple of leaves and to fore edges, with tissue-guards. Spine lightly toned, a couple of faint copy. spine a little rubbed, an excellent set. marks to covers, very good. signed limited edition, number 32 of 750 cop- An attractively bound set of the Brontë sisters’ signed limited edition, number 327 of 1,000 ies signed by the artist. With an advertisement novels. copies signed by the artist. This collection inlaid-in for an exhibition of the original watercol- £1,250 [117534] cludes four classic French tales: Sleeping Beauty, ours at the Leicester Galleries, Christmas 1913. Cinderella, Blue Beard, and Beauty and the Beast. £1,500 [117567] £2,500 [119714]

34 Summer miscellany: Peter Harrington 75 78 78

76 very good copy in the browned jacket with chips to ex- Possum’s Book of Practical Cats was first published in tremities and spine. ELIOT, George. The Works. Edinburgh & 1939 and was first published with these illustra- inscribed by the author on the title page, “In- tions by Nicolas Bentley in 1940. London: William Blackwood and Sons, 1901 scribed for Miss Katharine Watson by T. S. Eliot”. £2,000 [119611] 12 volumes, octavo (166 × 105 mm). Contemporary green First illustrated edition, seventh impression. Old half calf, green cloth sides, titles to spines gilt, decorated gilt in compartments, marbled endpapers, top edges 78 gilt. Half-titles and title pages printed in red and black. ELLIS, Bret Easton. American Psycho. Minor rubbing to extremities, occasional faint scratches to boards; an excellent set. London: Picador, 1998 the warwick edition, an attractive library set Octavo. Original black boards, titles to spine in silver, of Eliot’s collected works. Eliot “skilfully, sympa- blue endpapers. With the dust jacket. An excellent bright thetically, and wittily puts difficult choices before copy in the jacket with slight creasing to spine ends. her characters, showing their frailty in both comic first uk hardback edition. signed by the and tragic mode and analysing their often mixed author on the title page, “For Paul, best wishes, and confused motives” (ODNB). This edition is Bret Easton Ellis”. First published in the US and UK uncommon as a complete set, with just one set in wrappers in 1991. An uncommon book signed. traced on OCLC and four traced at auction. £750 [118344] £750 [119529]

77 ELIOT, T. S. Old Possum’s Book of Practi- cal Cats. London: Faber and Faber Limited, 1953 Octavo. Original white cloth, titles to spine in red, cat vignette to front cover. With the dust jacket. With numerous colour and monochrome illustrations by Nicolas Bentley. Spine very lightly toned, foxing to endpapers; a 77

All items are fully described and photographed at peterharrington.co.uk 35 79 80, 81, 82

79 80 red endpapers. With the dust jacket. Blindstamp to title page. A little spotting to top edge; an excellent copy in FITZGERALD, F. Scott. Inscribed photo- FLEMING, Ian. Thunderball. London: Jon- the bright, price-clipped jacket. graph. athan Cape, 1961 first edition. This novel is the only Bond book Single photo (75 × 75 mm) inscribed by Fitzgerald. Octavo. Original dark brown boards (binding A), gilt to be written in the first person, presented as the Mounted, glazed and framed. Light tape residue to up- titles to spine, skeletal hand design on front board in testimony of a 23-year-old Canadian woman with per and lower edges slightly affecting inscription. blind. With the pictorial dust jacket. Spine gently rolled, whom Bond has an ill-fated affair. In furtherance photograph inscribed by fitzgerald “Yours light foxing to edges; an excellent copy in the jacket of this pretence, Vivienne Michel gets a spurious with nicks to extremities, 2 short closed tears to head of in ironic humor, F. Scott Fitzgerald”. Also inscribed credit on the title page as co-author. spine, light browning to flaps. by the recipient “Received as given in gentle hu- Gilbert A10a (1.1). first edition, signed by the author on the mor, J. Biggs”. This passport photo was probably £975 [117913] obtained in anticipation of Fitzgerald’s aborted front free endpaper. Ian Fleming’s novel incorpo- Russian trip; the image was later used as the fron- rated material from an unproduced screenplay he 82 tispiece of Mizener’s Fitzgerald biography The Far had worked on in 1958 in collaboration with Kevin Side of Paradise. J. Biggs was Fitzgerald’s roommate McClory, Jack Whittingham, and Ivar Bryce, with FLEMING, Ian. On Her Majesty’s Secret during his senior year at Princeton. They were col- the result that Fleming found himself in a well- Service. London: Jonathan Cape, 1963 laborators on the college publications, The Tiger and publicised case in the High Court defending him- Nassau Lit, frequently turning out whole issues be- self against McClory’s accusations of plagiarism, Octavo. Original dark brown boards, titles to spine in silver, ski track design to front board in white. With the pic- tween them. In later years, Biggs, then a prominent though Fleming and McClory eventually settled out of court. torial dust jacket. A little foxing to top edge of text block; judge in Wilmington, would bail out Fitzgerald an excellent copy in the jacket with just a little toning to after his escapades. Biggs helped find the Ellerslie Gilbert A9a (1.1). spine panel. estate for the Fitzgerald residence in Wilmington £12,500 [119526] first edition. and was one of the few mourners at Fitzgerald’s fu- Gilbert A11a (1.1). neral. Signed photos of Fitzgerald are rare, and this 81 unique association with Princeton and his college £975 [117911] roommate is outstanding. FLEMING, Ian. The Spy Who Loved Me. £12,500 [118762] London: Jonathan Cape, 1962 Octavo. Original dark grey boards, titles to spine in silver, dagger design to front board in silver and blind,

36 Summer miscellany: Peter Harrington 83 84 85

83 can poet and novelist William Plomer had acted as ary politician and natural philosopher’s letters publisher’s reader for Jonathan Cape from 1937. He and papers which discuss his ground-breaking FLEMING, Ian. The Man with the Gold- was instrumental in the publication of Fleming’s experiments in electricity as well as his thoughts en Gun. London: Jonathan Cape, 1965 work and the dedicatee of Goldfinger. on a wide variety of subjects including astrologi- Octavo. Original black boards (binding B), gilt titles to Gilbert p. 596. cal phenomena, magnetism, naval navigation techniques, the structure of education, the slave spine, green and white endpapers. With the dust jacket. £400 [118707] An excellent copy, with a couple of faint spots of foxing trade, economy, and his account of the American to edges of text block, in the bright jacket with two tiny Revolution. Franklin’s reputation as the first great punctures to rear flap. 85 American scientist rests on his work on electricity; first edition, second state, without the gun de- FRANKLIN, Benjamin. The Complete his accounts of experiments using Leyden bottles, sign blocked in gold on the front board, which was Works in Philosophy, Politics, and Mor- lightning rods, and charged clouds are extensively quickly abandoned as too costly. The 12th James recorded in his papers, many of which were pub- Bond novel. als. Now First Collected and Arranged; lished for the first time in 1806. Gilbert A13a (1.3). with Memoirs of his Early Life, Written Jared Sparks has noted that “the editor [of this by Himself. Second edition. In three Vol- £475 [117908] edition] was a Mr. Marshall. His name is not con- umes. London: printed for Longman, Hurst, nected with the work; but he performed his part with good judgement, and used much diligence 84 Rees, Orme, and Brown, [1811] in searching for essays and papers, that had not (FLEMING, Ian.) PLOMER, William. 3 volumes, octavo (225 × 140 mm). Modern half calf, before been comprised in any collection” (Ford p. marbled paper boards, red morocco label to spines, Address Given at the Memorial Service compartments and raised bands ruled and decorated in 249). The index to all three volumes is placed at for Ian Fleming. St Bartholomew the gilt, edges uncut. Engraved portrait frontispiece to vol. the end of the first volume instead of the last “to render the volumes more equal” (Advertisement). Great. Westerham: Privately printed at the I, 3 vignette title pages as issued, 13 plates, some folding. Small tears to sig. B6 and M2 of vol. I, the former obscur- Ford 550 & 551. Westerham Press, 15 September 1964 ing a little text, tissue repair to fore edge of sig. A4 of vol. II, very minor foxing to contents, overall an excellent set. £1,950 [117671] Octavo. Original black wrappers, printed paper label to front cover. With the original unprinted glassine. A fine second edition, a reissue of the first edition of copy. 1806 with the change of printed titles and lacking first edition, wrappered issue. A limited issue the publisher’s advertisements to the end of vol- in hard covers was also produced. The South Afri- ume III as issued. A collection of the revolution-

All items are fully described and photographed at peterharrington.co.uk 37 Henry IV. Translated from the French editions with variations and additions from many celebrated MSS. by Thomas Johnes. To which are prefixed a life of the author, an essay on his works and a criti- cism on his history. In two volumes. Lon- don: Henry G. Bohn, 1852 2 volumes, large octavo (238 × 166 mm). Recent red morocco by Bayntun-Riviere, titles and decoration to spines gilt in compartments, vignette of knight to front covers, gilt frame to covers, turn-ins and gilt edges, marbled endpapers. Illuminated chromolithograph frontispieces and divisional titles in both volumes, chromolithograph title page in vol. 1, with 70 similar plates by Henry Noel Humphreys, all with paper guards, and numerous wood engravings in the text. A fine set. 86 A handsomely bound set of Johnes’s translation of Froissart’s chronicle of the Hundred Years’ War. 86 The first edition of this translation was published FROISSART, Sir John. Chronicles of in four volumes at the translator’s own press in Hafod between 1803 and 1810; this edition is the England, France, Spain, And the adjoin- first to add the three preliminary essays published ing countries, from the latter part of the in 1839. The superb chromolithograph plates by reign of Edward II to the coronation of Noel Humphreys were first published in William Smith’s edition of 1844–5. Froissart’s chronicle is considered one of the most important sources for the history of medieval Europe and chivalric culture. Originally written in French in the late 14th century, it circulated widely in manuscript, with lavishly illuminated copies especially popular among nobles and clergyman, and was first printed in Paris by Anthoine Vérard c.1495. An edition 87 in English, translated from a Latin abridgement, did not appear until 1608. Johnes “remains the FROST, Terry. Timberaine C. London: Par- only man to have undertaken the formidable task agon Press, 2001 of translating Froissart’s Chronicles in their entirety, Triptych consisting of 3 woodcuts on heavy card. Each and the appearance of subsequent editions until sheet size: 104.8 × 50 cm. Excellent condition. Presented 1906 testifies to their worth” (ODNB). in three acrylic box frames. £1,500 [119532] Edition of 16. Each sheet signed and dated in pencil on the verso lower right by Frost. Individual prints are also numbered 1 to 3 on the verso at the upper right to indicate their order. £4,000 [118845]

38 Summer miscellany: Peter Harrington 88 88

ink annotations to contents, occasional minor splits and superior illustrations from the stock of Antwerp’s punctures to fore edges and infrequent foxing to con- famous printer Plantin. tents, an excellent copy. “Gerard contributed greatly towards the advance- 87 first edition of Johnson’s enlarged version of ment of the knowledge of plants in England, and the herbalist’s major work, first published in 1597. in his Herball he described and illustrated several 88 Thomas Johnson (c.1595–1644), the London apoth- hundreds of our native flowering plants, including ecary who was already a botanical writer of some GERARDE, John. The Herball or Gen- about 182 which were additional to those recorded note by 1633, sensibly marked his additions and in earlier works” (Henrey, p. 47). erall Historie of Plantes. Very much En- major alterations to the first edition, making it Henrey 155; STC 11751. larged and Amended by Thomas Johnson possible to distinguish the revisions from the orig- Citizen and Apothecarye of London. Lon- inal. His edition brought a new and more scholarly £12,500 [118013] don: printed by Adam Islip, Joice Norton and focus to Gerard’s Herball; it was reprinted in 1636 and became increasingly expensive through the Richard Whitakers, 1633 succeeding centuries. Folio (350 × 230 mm). Eighteenth-century russia, green It is extensively illustrated and Johnson drew sever- morocco label to spine, compartments, raised bands, al of the diagrams himself. The woodcuts included and boards elaborately decorated in gilt, marbled end- in the first edition were printed from wood-blocks papers, gilt edges. Engraved vignette title page by John obtained from Frankfurt which had been used to Payne, 2,766 woodcut illustrations. 2 bookplates, one of Chillingham Castle, to front pastedown, bookseller’s illustrate the Eicones plantarum of Taberaemmonta- ticket to front pastedown, shelfmark to front free end- nus (1590), but Johnson supplemented these with paper. Spine ends and joints lightly rubbed, a few neat

All items are fully described and photographed at peterharrington.co.uk 39 89

89 GIBRAN, Kahlil. The Garden of the Prophet. New York: Alfred A. Knopf, 1933 Octavo. Original black cloth, gilt titles to spine, titles and a decorative roundel based on a design by the author to front board gilt, publisher’s device to rear board in blind, top edge yellow. With the dust jacket. 6 plates from drawings by the author, 2 facing plates from a facsimile of the author’s manuscript in English with one line of Arabic. An excellent copy in the dust jacket with dust soiling, small chips to ends and corners, and some closed tears (one from the top edge rather long), but all intact and unrestored. first edition of Gibran’s final work, in the rare jacket. The Garden of the Prophet was intended as the second part of a trilogy beginning with The Prophet, Gibran’s masterpiece published in 1923, and to conclude with The Death of the Prophet, a work which was never written. Though unfinished,The Garden of the Prophet was published two years after Gibran’s death in 1931, “put together by Barbara Young, an American poet who served as Jubran’s [Gibran’s] amanuensis during his last years. Barbara Young not only collated scattered manuscript materials but pieced them together with many of her own 90

40 Summer miscellany: Peter Harrington words, drawing on Jubran’s Arabic works of a mys- tical nature” (Suheil Bushrui, Essays in Arabic Liter- ary Biography 1850–1950, p. 189). Young also wrote the foreword to Gibran’s collected prose poems, published together in English translation in 1934. A scarce book in itself, the title is rare with the dust jacket – we have never seen another copy and can trace none in auction records. £3,750 [119616]

90 GORMLEY, Antony. Fallout. Copenhagen: Editions Copenhagen, 2013 Original lithograph printed with ink and linseed on 300 gsm Velin d’Arches wove paper. Sheet size: 69 × 100 cm. Excellent condition. Edition of 40. Signed, dated, and numbered on the verso by Gormley. £6,000 [117432]

91 GORMLEY, Antony. Site. Copenhagen: Editions Copenhagen, 2013 Original lithograph printed with ink and linseed on 300 gsm Velin d’Arches wove paper. Sheet size: 69 × 100 cm. Excellent condition. Edition of 40. Signed, dated, and numbered on the verso by Gormley. £6,000 [117433]

All items are fully described and photographed at peterharrington.co.uk 41 92 93

92 mologist, the fourth and fifth volumes of whose Flora Londinensis Graves edited. Unfortunately Cur- GRAVES, George. British Ornithology: tis died in 1799 before this work could come to Being the History with a coloured repre- fruition, presumably prompting Graves to publish sentation of every known Species of Brit- this work himself. ish Birds. Assisted by several eminent or- Mullens and Swann, pp. 245–7. nithologists. London: printed for the Author £1,250 [118370] by Stephen Couchman, 1811–13 2 volumes in 1, octavo (230 × 146 mm). Near-contempo- 93 rary tan calf, titles to green sheep label to spine, fully GREENE, Graham. The Quiet American. gilt in compartments, single gilt rule to covers, double gilt rule to turn-ins. Frontispiece and 95 engraved plates London: William Heinemann Ltd, 1955 hand-coloured by Graves. A little rubbing to extremities, Octavo. Original blue cloth, gilt titles to spine, publish- slight bumps to tips, head of front board lightly faded, er’s device to rear board in blind, top edge blue. With the couple of small scratches to boards, colour slightly dust jacket and Book Society wraparound band. Top edge smudged to 3 plates, small tear to plate 17, colour to lightly dust toned, an excellent bright copy. plates extremely clear and bright; an excellent copy, with manuscript page numbers and a manuscript index first edition. It was originally published in the bound in at rear dated 4/7/49, with occasional helpful same year as Den stillsamme amerikanen, translated marginalia directing the reader to relevant plates. into Swedish from the manuscript, one of a num- first edition, complete as issued in two vol- ber of works Greene published first in Sweden, al- umes, a third volume being published in 1821 as legedly in a fruitless attempt to impress the Nobel an addition to the second edition. The plates for Prize committee. this book were originally intended to be used by Brennan 33; Miller 35a. William Curtis, the renowned botanist and ento- £500 [118460]

42 Summer miscellany: Peter Harrington 95

94 first edition in book form. Written during the year 1879 and first serialized in the magazine Good HAMILTON, Richard. The Beatles. Lon- Words (where it was bowdlerised by its Scottish don: Alan Cristea Gallery, 2007 clergyman editor), The Trumpet-Major was a success Inkjet digital print on heavy wove paper. Sheet size: 105.4 with the critics; however, in spite of Hardy himself × 75.9 cm. Excellent condition. Presented float mounted drawing the two vignettes for the front covers, the in a silver frame with perspex. novel did not sell well in book form. Edition of 80. Signed and numbered in pencil On this copy the blank rear covers have a blind- lower right by Hamilton. This collage image was stamped three-rule border; other copies are iden- originally created to be used as a poster inserted in tical except for a two-rule border. Of the 1,000 the gatefold sleeve of the Beatles’ “White Album”, copies printed, 600 were issued with the two-rule also designed by Hamilton. border (almost entirely to lending libraries), 1,500 £15,000 [118785] were issued with the three-rule border a month or two later, and the remaining 20 unbound quires were remaindered two years later. Since the three- 95 decker format was intended to be rented rather HARDY, Thomas. The Trumpet-Major. A than bought by the public (the vast majority of Tale. London: Smith, Elder & Co., 1880 first edition copies always went directly to lending libraries), it is increasingly difficult to find Hardy’s 3 volumes, octavo. Original red cloth, titles and illustra- pre-1890 novels in condition approaching this. tion to front covers in black, titles to spines gilt, triple rule frames to rear covers, top edge untrimmed, others Purdy pp. 31–5. trimmed. Housed in a custom red cloth slipcase with red £22,500 [118886] silk ribbon. Spines slightly faded, minor wear to tips, faint marks to rear covers, a couple of gatherings unopened; an excellent set in unusually bright cloth.

94 All items are fully described and photographed at peterharrington.co.uk 43 96 97 98

96 to usage throughout the remainder of the volume) spare neither the time nor the money for the longer without these. These eight signatures are often book. In addition, war-time restrictions still make HARDY, Thomas. Jude the Obscure. found mixed (first and second state) . . . [but] all are it impossible fully to meet the demand for the com- With an Etching by H. Macbeth-Raeburn first state in the first state in Hardy’s own copy, five plete version and by cutting the length of the book and a Map of Wessex. London: James R. Os- presentation copies inscribed by him in November by about one-half, twice the number of copies can good, McIlvaine & Co., [1895] 1895, and in the British Museum, Bodleian, and be produced from a given stock of paper. When, Cambridge copies . . . Signatures A–H in the first finally, a friend even offered to prepare for me the Octavo. Original vertical-ribbed green cloth, gilt titles to state may possibly be an indication, therefore, of abridgement . . . I accepted . . . I hope that by the spine, gilt roundel of Hardy’s monogram within a floral wreath on front cover, top edge gilt, others untrimmed. the first impression” (Purdy). process of condensation the book has also become Etched frontispiece with captioned tissue-guard by H. Purdy pp. 86–91. easier to read, though the problems with which it deals are inevitably difficult and for their adequate Macbeth-Raeburn, map at the end. Pencil ownership in- £500 [117832] scription and booksellers blind stamp to head of front treatment the original book would have to be made free endpaper. Spine gently rolled, light bumps to ex- much longer rather than shorter” (p. 8). tremities, small fade mark to front panel, light foxing to 97 See Cody & Ostrem B-6. Copac locates only three copies, pastedowns. HAYEK, Friedrich August von. The Road at the Universities of Oxford and Cambridge, and at the first edition in book form, first state, with to Serfdom (Abridged Edition). London: National Library of Wales. all 17 pages noted by Purdy retaining their pagina- £500 [118804] tion: uncommon thus. Hardy’s last novel originally George Routledge & Sons Ltd, 1946 appeared as a bowdlerised serial in Harper’s Magazine Octavo. Original white paper wrappers lettered in blue. 98 from December 1894 to November 1895, the Euro- Re-pricing sticker (3/6 rather than 2/6 net) to front wrap- pean and American editions were published simul- per. Rear wrapper a little chipped at foot, spine very HEMINGWAY, Ernest. The Old Man and taneously in London and New York and post-dated lightly rubbed. Light spotting and paper a little browned; a very good copy. the Sea. New York: Charles Scribner’s Sons, 1896. “The records of neither printer nor publisher 1952 have survived in the case of Jude, but from Osgood, first abridged edition. “To this Preface of the McIlvaine’s advertisement . . . (Saturday Review, 15 original edition, published in March 1944, only Octavo. Original light blue calico-grain cloth, spine let- February 1896), it is apparent that there was more a few words need be added in explanation of the tered in silver, author’s name to front board in blind. than one impression of the novel. It is difficult to present abridged edition. Although a cheap edition With the pictorial dust jacket. An excellent copy in the fresh jacket with light creasing to extremities. say if these are distinguishable. Signature A–H do of the complete book has already been issued . . . exist in two distinct states, however – with page many friends have urged on me the desirability of a first edition, first printing (with Scribner’s numbers on partially blank pages and (conforming shorter and still cheaper edition for those who can “A” to colophon), in the first issue jacket, printed

44 Summer miscellany: Peter Harrington 100

Folio. Original vellum-backed blue boards, gilt titles to spine, top edge gilt. Housed in the original blue slipcase. With 27 colour illustrations. A fine copy. signed limited edition, number XIII of 24 copies signed by the editor, artist, and 22 of the 100 27 contributors reserved for the artist, editor and William A. McCarty-Cooper; a further 26 copies in brown and making no mention of Hemingway’s Duodecimo. Original dark blue rexine, titles to front were reserved for the contributors and another 250 Nobel Prize. Much has been made of the colour cover in silver. Frontispiece and 38 black and white illus- copies were released for sale. trations after etchings by David Hockney. Slight bumps tint on the rear panel portrait on the dust jacket as The 22 contributors who signed this work are Doris an issue point. However, Grissom refutes Hanne- to spine, joints creased, slight fading to lettering; an excellent copy. Lessing, William Boyd, Margaret Drabble, Martin man’s assertion that the blue tinted photograph first edition. inscribed by the artist on Amis, William Golding, Patrick Leigh Fermor, Ni- on the rear flap predates the olive tint, noting, “the gel Nicolson, Seamus Heaney, Douglas Adams, Ju- identification of a first-printing jacket does not re- the front free endpaper, “for Rory, with love from, David”. lian Barnes, Craig Raine, Kazuo Ishiguro, Iris Mur- quire identifying ambiguous rear-jacket colours: It doch, V. S. Pritchett, Erica Jong, Arthur Miller, John is the brown printing on the flaps and rear panel £500 [118011] Julius Norwich, Susan Sontag, Joyce Carol Oates, that identify the first-printing Scribner’s jacket”. John Updike, Norman Mailer, and Ian McEwan. Grissom A24.1.a; Hanneman A24a. 100 The additional contributors were Anthony Burgess, £3,000 [117811] HOCKNEY, David, & Stephen Spender Ted Hughes, Paul Theroux, Gore Vidal, and T. S. Eliot. This copy with the bookplate of Barry Hum- (eds.) Hockney’s Alphabet. Drawings & 99 phries to the front pastedown. In 1990 Humphries Written contributions. London: Faber and married Lizzie Spender, thus becoming Stephen HOCKNEY, David. Six Fairy Tales from Faber, for the Aids Crisis Trust, 1991 Spender’s son-in-law. the Brothers Grimm with original etch- £2,750 [119713] ings. London: Petersburg Press, 1970

All items are fully described and photographed at peterharrington.co.uk 45 101 102 103 HOCKNEY, David. A Bigger Book. Co- HODGSON, William Hope. The House (HOLLIS, Thomas.) BLACKBURNE, logne: Taschen, 2016 on the Borderland and other novels. Sauk Francis. Memoirs of Thomas Hollis, Elephant folio (70 × 50 cm). Original illustrated boards, City: Arkham House, 1946 Esq., F.R. and A.S.S. [Appendix to the titles to front cover and spine in white. With the dust Octavo. Original black cloth, title and decoration to Memoirs . . .] London: [privately published,] jacket. Together with the bookstand designed by Marc spine gilt. With the dust jacket designed by Hannes Bok. 1780 Newson. With the original packing box. Illustrated A really excellent, bright copy in the jacket with a little throughout by Hockney with 13 fold-outs. All in excel- rubbing and a couple of nicks to extremities. 2 volumes, quarto (327 × 253 mm). Near-contemporary lent condition. tree calf by Kalthoeber (his ticket, slightly oxidised, on first collected edition. The volume com- first and signed limited edition. One of the verso of the first front free endpaper), red morocco prises four of Hodgson’s novels, none of which 10,000 numbered copies signed by Hockney on lettering-pieces, green morocco numbering-pieces had previously been published in the US in book with red roundel onlaid, spines gilt in compartments, the limitation page. Hockney takes stock of more form: The House on the Borderland, The Boats of the scrolled floral cornerpieces, centre-tool featuring an than 60 years of work, from his teenage days at the “Glen Carrig”, The Ghost Pirates, and The Night Land. urn, scrolled foliate rolled panel to boards, bead and Bradford School of Art, through his breakthrough chain edge-roll, gilt octoglyph and metope roll to the in 1960s Swinging London, life by Los Angeles £750 [118711] turn-ins, marbled endpapers, yellow edges, original old pools in the 1970s, up to his recent extensive series gold silk page-markers intact. Engraved frontispiece, of portraits, iPad drawings, and Yorkshire land- dedication leaf, and 34 other plates, many of them scapes. Together with a supplementary illustrated portraits, including a fine mezzotint of Isaac Newton, chronology of more than 600 pages. “drawn and scraped by James Macardel from an Original painted by Enoch Seeman”, single engraving to the text. £1,750 [117666] A little rubbed, particularly at the extremities, corners

101 46 Summer miscellany: Peter Harrington 102 103 104 bumped, minor chipping head and tail of the spine, light first gift of books to Harvard College . . . For the With the 20th-century bookplate of Robert J. Hay- browning throughout, occasionally a little heavier and following fifteen years thousands of books would hurst, Lancashire retail chemist and bibliophile, with some sporadic foxing, offsetting from some of the be sent westward by the most generous donor co- whose main library of naval history was comple- plates, two splits to the mezzo of Newton, one along the lonial American libraries were to know” (Marshall, mented by a subsidiary collection of 18th-century plate mark, repaired with Japanese tissue on the verso, but overall very good. “Thomas Hollis: The Bibliophile as Libertarian,” in literature in well-preserved contemporary bindings. the Bulletin of the John Rylands Library 66 (2), p. 247). first edition, large paper copy, a handsome £2,750 [117415] copy of this biographical memoir of the notable 18th-century political propagandist. Hollis (1720– 104 1774) “believed citizenship should be active: indi- JAMES, Henry. The Two Magics. The viduals had an important role to play in public life. He partly fulfilled this responsibility by charitable Turn of the Screw. Covering End. London: work as a governor of Guy’s and St Thomas’s hos- William Heinemann, 1898 pitals, and a guardian of the asylum and Magdalen Octavo. Original turquoise cloth, titles to spine and front Hospital . . . He believed that legitimate govern- cover gilt, floral design to front cover, publisher’s device ment was contractual, and that the people as con- to rear cover, blocked in blind, edges untrimmed. Toned stituent authority were entitled to replace tyrants by spine gently rolled, bumps and slight rubbing to ends, new governments. As a republican Hollis provided offsetting to endpapers, a very good copy. material for Catharine Macaulay’s History of England. first edition, lytton strachey’s copy, Yet he was also a patriotic Englishman and warm with his signature to the front free endpaper and supporter of the house of Hanover. His heroes bookplate to front pastedown; one of 300 copies were Elizabeth I, Oliver Cromwell, and Pitt, all of of the colonial issue that were transferred to the whom extended England’s international standing, domestic market, in the second state binding with as well as John Milton, his particular hero”. In ad- nine tulip buds to the front cover. The Two Magics dition to his charitable work Hollis also pursued includes the first appearance in book form of “The a programme of reprinting and distributing lit- Turn of the Screw”, widely acknowledged as one of erature “from the 17th-century republican canon, the greatest ghost stories in the language. thus keeping the cause of parliamentary reform Edel, Lawrence & Rambeau A52iii; Supino 52.4.0. alive during a difficult period”. He later turned his £1,250 [117799] philanthropy to America. “In 1758 Hollis made his 103

All items are fully described and photographed at peterharrington.co.uk 47 105 105

105 Danjo discovered a new and devastatingly accurate quick to recognise the potential of Heki Danjo’s method of shooting that completely revolution- shooting style, however, so it did not take long for (JAPANESE ARCHERY.) MASATSUGU, ised the course of Japanese archery. Prior to Heki the method to spread” (Onuma & De Prospero, Ky- Heki Danjo. Hekiryu insai ha sha teki Danjo, shooting styles varied greatly and there was udo: The Essence and Practice of Japanese Archery, p. 16). shu (The book of Heki-ryu insai ha school little in the way of formalised teaching, especially With the advent of firearms in the mid-16th centu- archery target shooting). [Illustrated in the case of battlefield technique. Archers mostly ry, and the pacification of the warring factions un- manuscript in Japanese.] [Kyoto?: Yamaza- trained on their own, adopting whatever methods der the Tokugawa shogunate in the early 17th cen- they felt were most effective. The samurai were ki (compiler), c.1850] tury, the practical usefulness of archery waned, but its practice was encouraged with the develop- Octavo-size (232 x 150 mm), pocket-bound in tendril- ment of kyudo as a “martial way”, as opposed to embossed blue paper wrappers, calligraphic title label the battlefield techniques of kyujustsu, with various to front panel. 158–page manuscript, unpaginated, in schools, or ryu, forming, many claiming direct a crisp, clear late Edo-style script, red and black inks, fukuro-toji. Over 80 hand-coloured pen and ink illus- transmission from Heki Danjo. trations throughout, many full-page, all with excellent The present manuscript represents the teachings detail, and with explicatory captioning. Some stripping of the Heki-ryu insai ha school, founded by Toshi- and worming to the wrappers, some very slight worming da Insai (who was Tokugawa Ieyasu’s archery mas- to head margin front and back, but remains a remark- ter, having himself been taught by Heki Danjo) able, bright exemplar. and still extant today. It offers detailed guidelines A wonderful late Edo-period manuscript on the on all aspects of archery: the creation of a kyudojo, archery of the Heki-ryu insai ha school, a branch similar to the famous Sanjusangendo Temple in of kyujutsu tracing its origins to the teachings of Kyoto, still used for an annual archery contest; the the semi-legendary master Heki Danjo Masatsugu types of target used; varieties of bow and arrow; (c.1440–1505). It is related that when Heki Danjo the specifics of feathers for fletching; target areas was around 40 “he had a revelation about the for the hunting of boar and deer; the correct nock- working of the bow which he called ‘Hi, Kan, Chu’ ing of arrows; and the knotting of the bowstring. (Fly, Pierce, Centre). After experimenting with various ways of holding and drawing the bow, Heki £5,750 [118910] 105

48 Summer miscellany: Peter Harrington 106 107 107

106 brarian. The present copy matches the rarer of two leaf. Mild craquelure to spine, extremities slightly rubbed, variants (based on the spelling of one word in the a few light scuffs to sides, part of front joint superficially JOSEPHUS, Flavius. [Opera, in Greek, colophon) given by Adams. cracked, inner hinges firm, mild paper disruption to margin of sig. U4, plate no. 2 closely trimmed along fore edge, edited by Arnoldus Arlenius.] Basel: Hi- Adams J352; Hoffmann II, 443. eronymus Froben & Nicolaus Episcopius, 1544 part of the frame just shaved, the image unaffected, oth- £7,500 [118255] erwise a few trivial marks only. An excellent, crisp copy. Folio (319 × 217 mm). Contemporary blind-stamped pig- first edition of Keate’s “remarkable” shipwreck skin over wooden boards, metal clasps and cornerpieces, narrative (NMM), in a handsome provincial bind- spine in compartments and with two later leather labels 107 ing. “In 1783, the Antelope, commanded by Captain (one chipped with loss), later marbled endpapers. Colla- KEATE, George. An Account of the Pelew tion: *6 a–z A–z Aa–Hh6 Ii4 AA–MM6, Greek type, title in red Henry Wilson, was wrecked on a reef near one of and black and with woodcut printer’s device, large woodcut Islands. Situated in the Western Part of the Palau (Pelew) Islands, a previously unexplored historiated initial at start, initial spaces with guide-letters, the Pacific Ocean. Composed from the group. The entire crew managed to get safely woodcut headpieces, woodcut printer’s device to verso of Journals of Captain Henry Wilson, and ashore, where they were well treated by the natives final leaf. Some early red ink underlining. Small nick at some of his Officers, who in August 1783, and eventually managed to build a small vessel from head of spine, lightly soiled, rubbed, a few unobtrusive very the wreck, in which they reached Macao. They took small wormholes within text, some spotting or light foxing, were there Shipwrecked, in the Antelope, Prince Lee Boo, one of King Abba Thulle’s sons, very good. Provenance: Jesuit College, Würzburg (various a Packet belonging to the Honourable with them to England, where he made a very good ink inscriptions, one dated 1575); the Hon. W. T. Monson (engraved armorial bookplate to front pastedown). East India Company. London: G. Nicol, 1788 impression. Unhappily, in spite of all precautions, he soon died of smallpox . . . [Keates’s] Account was editio princeps, a wide-margined copy of the Quarto (284 × 215 mm). Contemporary reddish-brown extremely popular, and in 1788 and 1789 four edi- handsomely printed first edition in the original catspaw calf by Povey for J. Bence, both of Wotton-un- tions were printed in London” (Hill). Greek, providing a comprehensive history of the der-Edge, Gloucestershire (Povey’s ticket to the front pastedown), smooth spine gilt-ruled in compartments, Jews from Creation to the end of the war with Hill 907; Lowndes 2943; NMM I 615. For Povey see green morocco label, crown and ship tools, bound green Ramsden, Outside London, p. 134, erroneously placing Rome (70 ce). The printed work is taken from silk page-marker. Engraved portrait frontispiece, folding Wotton in Buckinghamshire. manuscripts in the library of Diego Hurtado de map, folding plate of coastal profiles, 14 further plates Mendoza, for whom the editor Arlenius was li- including portraits and views. With the terminal errata £2,000 [118289]

All items are fully described and photographed at peterharrington.co.uk 49 108 109 110

108 Octavo. Original red cloth, titles in black to spine and a faint few marks to boards, endpapers lightly tanned, front board. Portrait frontispiece. Somewhat rubbed overall a very good copy. KENNEDY, John F. Profiles in Courage. and soiled, frayed head and tail of spine, lower corners first edition of Keynes’s second book, which rubbed through, endpapers lightly browned, pale toning New York: Harper & Brothers, 1956 established his reputation as a political econo- to the text, overall very good. Octavo. Original black cloth-backed blue boards, gilt ti- mist, inscribed from John Leofric Stocks to his tles to spine. With the dust jacket. Housed in a blue quar- first edition, inscribed by the author on wife, the British social reformer and economics ter sheep solander case. 4 leaves of illustrations on plate the frontispiece verso “To the Association of Rus- lecturer Mary Danvers Stocks, Baroness Stocks paper, printed either side. Spine gently rolled, wear to sian Advocates in France”, dated Paris 1932. The (née Brinton; 1891–1975). Mary Brinton gradu- extremities, bump to head of spine, a very good copy in head of the Provisional Government Kerensky’s ated with a First Class degree from the London the bright jacket with creasing to folds and light foxing. first-hand account of the revolutions of 1917 was School of Economics, campaigned vigorously for first edition, presentation copy, inscribed also published in French and German the follow- women’s rights, and was a member of Millicent by the author on the front free endpaper, “To Mr. ing year. His early signature is uncommon. Fawcett’s National Union of Women’s Suffrage So- and Mrs. John Knight – with the very highest re- £2,750 [117986] cieties (NUWSS). She lectured at her alma mater gards – John Kennedy”. John S. Knight (1894– from 1916 to 1919 and at King’s College for Women 1981), a pioneering journalist and close personal 110 from 1918 to 1919, and she also taught economic friend of the Kennedys, founded Knight Newspa- history at Oxford. Her husband, John Leofric pers, which would later become Knight Ridder, KEYNES, John Maynard. The Economic Stocks, was a British philosopher who held aca- which was for a time the largest newspaper pub- Consequences of the Peace. London: Mac- demic posts at the universities of Manchester and lisher in the United States. millan and Co., Limited, 1919 Liverpool; they married in December 1913. £17,500 [117813] Octavo. Original dark blue cloth, spine lettered and dou- The newspaper article laid-in was written for ble-ruled in gilt, double ruling continued along boards The Common Cause one month after publication of 109 in blind. With a newspaper article about the significance Keynes’s book. Its title, “All You Can Squeeze Out of Keynes’s book from the suffragette journal The Common of a Lemon and a Bit More”, refers to Sir Eric Ged- KERENSKY, Alexander F. The Catastro- Cause, dated 16 January 1920, tipped-in to the front past- des’s promise to his Cambridge electorate to ex- phe. Kerensky’s Own Story of the Rus- edown. Contemporary gift inscription, “M.D.S. from tract the harshest possible reparations from Ger- sian Revolution. New York: D. Appleton and J.L.S. Xmas 1919”, to front free endpaper. Spine rolled many. The article provides a detailed précis of each and faded, ends bumped, extremities gently rubbed with Company, 1927 chapter of Keynes’s book before asking: “What has all this to do with a feminist paper? In reply to such

50 Summer miscellany: Peter Harrington 111 112 112 a question we would refer our questioners to p. 127 111 Octavo. Original blue cloth, spine lettered and ruled in of Mr. Keynes’s book, where they will find a graph- gilt, boards ruled in blind. With an advertisement for a ic account of the last General Election. It was the KEYNES, John Maynard. A Treatise on selection of economics books published by George Allen election at which women voted for the first time; Money. London: Macmillan and Co., Limited, & Unwin laid-in. Contemporary ownership inscription to front free endpaper. Spine sunned, gently rolled, and and it was the election at which the citizens of this 1930 head bumped, a few marks to boards, endpapers lightly country with no uncertain voice gave Mr. Lloyd 2 volumes, octavo. Original dark green cloth, spines let- browned and spotted, overall a very good copy. George his mandate for the Peace Conference . . . tered in gilt, double line rules in blind to front boards first edition. “The world-wide slump after 1929 The destinies of Europe were, for the moment, in continued in gilt to spines. Numerous tables and dia- prompted Keynes to attempt an explanation of, our hands, and we failed Europe because we knew grams to contents. Twentieth-century ownership in- and new methods for controlling, the vagaries of next to nothing about her economic capacities, scriptions to front free endpapers. Spines rolled and a the trade-cycle . . . in his General Theory, he sub- next to nothing about her economic needs . . . Mr. little bumped, spine of volume II lightly sunned, hinges jected the definitions and theories of the classical Keynes’ book has taught us something at last, and gently cracked but holding, a few marks to rear endpa- school of economics to a penetrating scrutiny and the moral of our dissertation upon it is this: where pers of volume I, overall a very good set. found them seriously inadequate and inaccurate” two or three women voters are gathered together first edition of the first of Keynes’s two major (PMM). His conclusion, namely that “the regula- that book should be in their midst. It will teach contributions to economic theory and his most tion of the trade-cycle – that is to say the control of us to think internationally, and it will teach us to comprehensive work on monetary theory. It an- booms and slumps, the level of employment, the think in thousands of millions”. The article is un- ticipates many of the ideas of the General Theory, wage-scale and the flow of investment – must be signed in print, but it seems likely that it was writ- which it immediately preceded and by which it has the responsibility of governments”, permanently ten by Stocks herself, as her name, “M. Stocks”, is been, perhaps unfairly, overshadowed. altered the terms of economic debate and consid- written in pencil at the end of the article. Moggridge A7.1. erations of the role of government in managing Fundaburk 9981; Mattioli 1807; Moggridge A 2.1.1. £750 [119527] the economy (or not). £750 [119545] Moggridge A10.1; Printing and the Mind of Man 423. 112 £975 [119391] KEYNES, John Maynard. The General Theory of Employment Interest and Mon- ey. London: Macmillan and Co., Limited, 1936

All items are fully described and photographed at peterharrington.co.uk 51 113 114 115

113 first uk edition in book form. It was preceded Magazine from January through November 1901” by the US book edition the previous month, having (Roberts). This copy is from the noted collection (KING, Jessie M.) “MARION” [Gem- been originally serialized in Pearson’s Magazine be- of Mrs J. Insley Blair, with her Blairhame black mo- mell, Marion]. Mummy’s Bedtime Story tween 1896 and 1897. Written while the newlywed rocco book label to the front pastedown. Book. London: Cecil Palmer, [1929] Kipling was living in Vermont, Captains Courageous Roberts A174, Stewart 254. is Kipling’s only novel set entirely in America. This Quarto. Original pictorial boards, illustrated blue and £600 [119608] yellow endpapers. With frontispiece, illustrated title copy is from the noted American collection of Mrs page, 11 full-page colour plates, and numerous smaller J. Insley Blair; with her Blairhame black morocco colour illustrations throughout by Jessie M. King. Light book label to the front pastedown. 116 rubbing to spine ends, an excellent, very bright copy. £1,000 [119609] KNIGHT, Charles (ed.) London. London: first edition. Marion Gemmell has only re- Charles Knight & Co., 1841–4 cently been acknowledged as the author, since for 115 many years the identity of “Marion” was assumed 6 volumes, octavo (248 × 170 mm). Near-contemporary red half calf, marbled paper sides, titles gilt to black la- to be that of the illustrator, Jessie Marion King KIPLING, Rudyard. Kim. London: Mac- bels to spines, decorated gilt in compartments, brown (B199, Colin White bibliography). millan and Co., Limited, 1901 coated endpapers, edges sprinkled red. Engraved fron- £1,250 [117823] Octavo. Original red cloth, gilt titles to spine, central tispiece in vol. 1, wood-engraved vignettes through- elephant-and-swastika roundel to front board gilt, top out. Contemporary ownership inscription to second free binder’s blanks. Slight rubbing to extremities and 114 edge gilt. Housed in a custom red cloth slipcase and chemise. Title page printed in red and black. Frontispiece boards, top edges dust toned; an excellent set. KIPLING, Rudyard. Captains Coura- with tissue guard and 9 plates. Bookseller’s cataloguing first edition of this richly illustrated account geous. A Story of the Grand Banks. Lon- slip laid-in. Minor rubbing to bottom edge, faint foxing of London. “The demand for such books sprang to endpapers; an excellent, bright copy. don: Macmillan & Co., Limited, 1897 from the sense that the city was transforming it- first uk edition, published on 17 October 1901, self, new places and experiences coming into be- Crown octavo. Original blue cloth, titles and decorations 16 days after its book publication in the US. “Con- ing, while others were passing away” (Mee). An to spine and front cover gilt, black coated endpapers, sidered to be Kipling’s greatest work, and the fin- attractively bound set. gilt edges. Housed in a custom blue cloth box. Frontis- est novel about the India of the British Empire, piece with tissue-guard, 22 illustrations, by I. W. Taber. Jon Mee, The Cambridge Introduction to Charles Dickens, p. 54. Bookseller’s cataloguing slip laid-in. Minor rubbing to the text appeared serially in the United States in extremities, occasional faint foxing; an excellent copy McLure’s Magazine from December 1900 through £500 [119595] with unusually bright, clean boards. October 1901 . . . and in Great Britain in Cassell’s

52 Summer miscellany: Peter Harrington in the West Indies. The author, a police superintendent in Kathiawar, was born in Grenada in 1887, and possibly came into contact with canne in London, where Vigny taught between 1900 and 1911, including a period at E. W. Barton-Wright’s Bartitsu Academy on Shaftesbury Avenue, which operated between 1898 and 1902. Barton-Wright’s jujutsu-influenced “bartitsu” style was immortal- ised by Arthur Conan Doyle in the Sherlock Hol- mes story “The Adventure of the Empty House”, in which Holmes claims to have bested Moriarty at the Reychenbach Falls using “baritsu” (sic). The popularity of canne and similar techniques faded in Europe after 1918 as “the canne was no longer a fashion accessory, street safety had improved, and many of the canne-fencing military teachers had been wounded or killed in the war” 116 (Green and Svinth, eds, Martial Arts of the World, p. 220), though the testimonials in Lang’s preface 117 demonstrate his success in introducing his methods to police in Bombay, Sind and Pune; later, in [LANG, Herbert Gordon.] The “Walk- Mandatory Palestine, “Lang’s book formed the ing-Stick” Method of Self-Defence. By an basis of self-defence training [for] thousands of Officer of the Indian Police. London: Ath- Jews” (ibid.) letic Publications Ltd, [1926] Uncommon: four library copies traced in the UK Small octavo. Original red cloth, spine lettered in black, (National Library of Scotland, Oxford, and two in front board lettered and panelled in black. With the dust the British Library); OCLC adds four copies world- 118 jacket. 16 double-sided photographic plates. Front board wide, all in North America. very lightly bowed, light spotting to edges. An excellent £875 [117850] published under the pseudonym “Stephanus Ju- copy in the slightly soiled and nicked dust jacket with a nius Brutus, Celta”, it is typically attributed to the toned and chipped spine panel and a closed tear along the front joint affecting half a letter. 118 Calvinist diplomatist and writer Hubert Languet (1518–1581), though it has also been suggested to first edition of this idiosyncratic stick-fight- [LANGUET, Hubert.] Vindiciae contra be the work of Philippe de Mornay. It is a vindica- ing handbook combining the “canne” method of tyrannos: Sive, de principis in Populum, tion of the people’s right to resist tyranny, and its Swiss master Pierre Vigny (referred to by Lang Populiq in Principem, legitima potestate, impact can be measured by noting the times and as “Vigui”) with the “bois” method widespread Stephano Iunio Bruto Celta, Auctore. [No places at which it has been translated or reprinted place: no printer,] 1580 (London, 1648 and 1689; Paris, 1789; Berlin, 1848). It is bound as issued with De iure magistratum, a sim- Small octavo (155 × 98 mm). Contemporary limp vellum, ilar protest against tyranny in relation to religious lacking ties, spine hand lettered in ink. Early inscription matters by the Protestant theologian Théodore de to title page, pencil note to front pastedown and end- Bèze. The other 1580 edition was printed by the papers. Spine ends and corners rubbed, covers a little leading Protestant printer in Basel, Pietro Perna, marked, pastedowns creased and with a few tears, margins a little browned and with a few small nicks to fore together with a Latin translation of Machiavelli’s edges, a very good copy. Il principe. One of two editions printed in 1580 of “one of the Adams L153, suggesting a Strasburg printing; see Printing and the Mind of Man 94b (1579 edition). perennial documents of anti-tyranny” (PMM), originally published the year before. Although £5,500 [118501] 117 there is some doubt about the authorship as it was

All items are fully described and photographed at peterharrington.co.uk 53 119

119 LEWIS, Wyndham. The Wild Body. A Soldier of Humour and Other Stories. London: Chatto & Windus, 1927 120 Octavo. Original orange cloth, gilt titles to spine, top edge orange. With the dust jacket. Some minor marks 120 Laura Jean Libbey (1862–1924), describing her and dust soiling to cloth, tape residue to rear leaves from LIBBEY, Laura Jean. Manuscript trav- holiday in Nassau, undertaken from 18 January an attached note, but an excellent copy with a very smart to 1 April 1900, with her friend Amelia. Libbey dust jacket, only faintly sunned to spine panel and very elogue: “Two Months in Nassau, New was a prolific writer, author of 82 novels, many of gently rubbed at ends and corners. Providence, Bahamas. Jan. 18th to April which were first published in serialized form in first edition, presentation copy, inscribed 1st 1900.” New York: 1900 papers such as The New York Family Story Paper, The “to Lady Ottoline Morrell, from Wyndham Lewis, Fireside Companion, and the New York Ledger. “She Quarto (260 × 199 mm). Contemporary red half moroc- was so prolific and popular with readers that she Dec 1929” on the front free endpaper. This copy co-grain skiver, marbled boards and endpapers, title also has a short autograph note, written on an gilt to the spine, raised bands, gilt devices to the com- had several stories running at the same time in empty laid-in envelope, designating this copy as partments, top edge gilt. 85–page manuscript in a neat different story papers”. Indeed “at the peak of her a Christmas present, and recommending three and highly legible hand, pages feint-ruled in pencil publishing career in the 1880s and 1890s Libbey of the stories from the collection for Morrell to within border in red and blue ink; 8 mounted original claimed to earn between $60,000 and $75,000 per read first. Lewis had frequently attended Morrell’s photographs, 7 of them half-plate albumen prints from year. Her earnings enabled her to live most com- Garsington gatherings, where his hostess had ob- the studio of J. F. Coonley, captioning in the negative, fortably and to take numerous foreign tours”, in- the other a small snapshot; further illustrated with a served the effortlessness with which he created cluding a nine-month grand tour of Europe and number of halftone illustrations clipped from a guide- Egypt in 1892. a negative energy around himself. The Wild Body book, including a folding panorama of “Nassau from collects eleven sardonic short stories relating the the Hotel Colonial”, a number of images of shipboard Written in six chapters, this is a comprehensive adventures of Ker-Orr, a self-styled “soldier of hu- life on the S.S. Saratoga on the voyage out, and a cou- and highly readable account which provides ex- mour”, and his travels in France in the run-up to ple of views of New York to conclude. Minor wear to tensive details about the attractions (“we paid a the First World War. tips, albumen print mounted as the frontispiece a lit- visit to the Phosphorescent Lake which can only tle chipped with some loss, text leaves lightly browned, Keynes A9. be seen to advantage on a dark moonless night”); but overall excellent £3,250 [117881] accommodation (“we were driven to the Marine An illustrated manuscript travelogue by dime Villa, a pretty boarding house situated directly on novelist and “Prophetess of the proletariat” the bay”); food (“the bananas formed my most

54 Summer miscellany: Peter Harrington 121 favourite vegetable when fried in batter”); history American Women’s Dime Novel Project: Joyce Shaw (Nassau was “galvanized into life during the war Peterson, Working girls and millionaires: the melodramatic of Rebellion when it became the head quarters of romances of Laura Jean Libbey, p. 21. the blockade-gunning fleet”); geography (“The £3,250 [118169] island is formed entirely of coral rock and the lay- 122 er of soil upon it is so thin that it is wonderful that any vegetation can find nourishment”); industry 121 122 (“the plant called Sisah . . . when dried is made LINDGREN, Astrid. Pippi Långstrump; LONGFELLOW, Henry Wadsworth. The into bundles and then baled and sent North by Pippi Långstrump går ombord; Pippi Song of Hiawatha. With illustrations steamer to be made into robes”); and customs of Långstrump i Söderhavet. Stockholm: Ra- the people of Nassau (“at other times the society from designs by Frederic Kemington. is rather mixed . . . it is not considered quite ‘the bén & Sjögren, 1945–48 Boston & New York: Houghton, Mifflin and thing’ for ladies to attend the entertainments”). 3 works, small octavo. Original grey cloth-backed picto- Company, 1891 Among her accounts of many day trips, Libbey rial paper covers, titles to spines in black. Text in Swed- Octavo (235 × 168 mm). Original full vellum, titles to spine details visiting a sea garden: “we left our yacht ish. Illustrations to text by Ingrid Vang Nyman. Own- ership inscription to foot of front pastedown of Pippi and front cover gilt, illustration to front cover gilt, frames and entering a little boat with a piece of glass set Långstrump. Slight wear to extremities; an excellent set. to covers gilt, top edge gilt, others untrimmed, buff end- in the bottom were slowly rowed back and forth, papers, white silk page marker. Housed in a custom red looking down through the transparent water to first editions of the first three Pippi Long- cloth slipcase. Title page printed in red and black. Portrait the white sandy bottom on which were growing stocking novels, uncommon together and in such frontispiece and 22 photogravures with captioned tissue- the most beautiful corals and seaweeds while good condition. guards, black and white illustrations throughout. Light big conch shells moved about among their roots £3,750 [118781] rubbing to extremities, minor soiling to vellum, a couple of gatherings unopened; an excellent copy. and bright coloured fishes darted through their branches”. Libbey also occasionally offers a more first remington edition, limited issue, personal and less positive reaction to the city: number 159 of 250 copies. Originally published in “the cockroaches which infest the whole place 1855, Longfellow’s epic poem, a Native American were my greatest dread”. love story, is one of the most enduring produc- tions of American Romanticism. The photographer Jacob Frank Coonley (1832– 1915), who provided a number of the photographs BAL 12720; Dykes, Remington 786; McCracken, pp. 149–51. that Libbey uses, moved to Nassau about 1889. £350 [118895]

All items are fully described and photographed at peterharrington.co.uk 55 123

123 LOUDON, Mrs Jane. The Ladies’ Flower- Garden of Ornamental Bulbous Plants. London: William Smith, 1841 Quarto (264 × 201 mm). Publisher’s deluxe binding of dark brown skiver, decorative gilt spine, three-line gilt border on sides enclosing elaborate gilt panel, gilt edges, yellow coated endpapers. 58 fine hand-coloured lithograph plates (with tissue guards) by Day & Haghe after the Misses Loudon. Head of spine chipped, binding a little rubbed and scraped. A very good, clean copy. first and best edition. “Mrs. Loudon’s attractive flower books, first published in the forties, were reissued ten or fifteen years later with plates that had become coarsened and joyless” (Wilfrid Blunt, The Art of Botanical Illustration, 1950, p. 236). Jane Loudon née Webb (1807–1858) “was to Victo- rian gardening what Mrs Beeton was to cookery. Her beautifully illustrated books on gardening and plant identification sold in their thousands and women all over the country were enthused by them to take up gardening as a hobby” (V&A online). She met her husband, the landscape gardener and horticultural writer John Claudius Loudon, when her extraordinary early novel The Mummy! A Tale of the Twenty-Second Century (1827) – a pioneering science fiction work which set futuristic technology, 123

56 Summer miscellany: Peter Harrington 124 125 126 including a steam plough, among the trappings of 125 126 Egyptomania – was reviewed favourably by Lou- don in The Gardener’s Magazine. The Scot decided to LOUDON, Mrs Jane. British Wild Flow- LOUDON, Mrs Jane. The Ladies’ Flow- “seek out the acquaintance of the writer, whom he ers. London: William Smith, 1847 er-Garden of Ornamental Greenhouse believed to be male” (ODNB) – and they were mar- Quarto. Original green fine diaper-grain cloth neatly re- Plants. London: William Smith, 1848 ried seven months later. furbished at extremities of spine, corners and inner joints, Quarto. Original green vertically-ribbed cloth neatly re- Nissen 1235; Plesch p. 317 (“aux illustrations élégantes spine gilt lettered and with overall floral decoration, blind furbished at extremities of spine and corners, spine gilt bien composées, certaines dénotant un talent peu ornamental panel on sides, front cover with central gilt lettered and with overall floral decoration, blind orna- commun”); Prtizel 5633. See also Sarah Dewis, The Loudons stamp of foliage and bluebells, pale yellow coated endpa- mental panel on sides, front cover with central gilt stamp and the Gardening Press: A Victorian Cultural Industry (2016). pers. 60 fine hand-coloured lithograph plates (with paper of foliage and bluebells, yellow coated endpapers. 42 fine guards) by Noel Humphreys. Spine lightly sunned, a touch hand-coloured lithograph plates (with tissue-guards) af- £1,875 [118923] of foxing in places. A very good, clean copy, with the pub- ter the Misses Loudon. Inner joints cracked but sound, lisher’s preliminary advertisement leaf. light cockling to front free endpaper and prelims, touch 124 An uncommon early issue; the first was dated 1846. of foxing to plates otherwise an attractive copy in the The plates here are by Noel Humphreys – “deserv- original cloth. LOUDON, Mrs Jane. The Ladies’ Flower- edly remembered for his extensive and signifi- first and best edition. Garden of Ornamental Perennials. Lon- cant contribution to the commercially produced Nissen 1236; not in Pritzel. don: William Smith, 1843–44 book” (ODNB) – who was a neighbour and relative of J. C. Loudon. British Wild Flowers “was another £1,750 [118940] 2 volumes, quarto (277 × 210 mm). Early 20th-century green pebble-grain morocco by Riviere, richly gilt spines, of [Jane Loudon’s] publications that went into at sides with single-line gilt border, gilt ornamental corner- least three editions. It followed the format of the pieces, gilt edges, richly gilt dentelles, marbled endpa- Ladies’ Flower-Garden series but addressed fe- pers. 96 fine hand-coloured lithograph plates (with pa- male and male readers. This new emphasis marks per guards) by Day & Haghe after the Misses Loudon. a fundamental change for female popularisers of Joints lightly rubbed, a touch of foxing to plates. A very science as they begin to write for an audience that good, clean set, handsomely bound. included adult males” (Dewis, p. 205). first and best edition. Nissen 1233 (not noting this issue); Pritzel 5636 (errone- Nissen 1237; Pritzel 5634. ously dating the first edition to 1845). £3,750 [118936] £1,250 [118945]

All items are fully described and photographed at peterharrington.co.uk 57 127

127 128 LOWRY, L. S. His Family. Cheshire: Adam LOWRY, L. S. The Level Crossing. Lon- Collection Ltd, 1972 don: Patrick Seale Prints Ltd, 1973 Colour offset lithograph on heavy wove paper. Image Colour offset lithograph on wove paper. Sheet size: 60 × size: 52.8 × 71.1 cm. Sheet size: 62 × 83.7 cm. Tape residue 70 cm. Excellent condition. Presented in an elaborate gilt to extreme upper edge hidden by the mount, otherwise and wooden frame with double mount and gilt mount a bright copy in excellent condition. Presented in a lime slip by Halcyon Gallery. waxed ash frame with conservation glass and mount. Edition of 750. Signed in pencil lower right by Edition of 575. Signed in pencil lower right by Lowry. Reproduced from an original oil painting Lowry, numbered lower left, Fine Art Trade Guild executed in 1946. blindstamp lower left. An image after an oil paint- £6,000 [118178] ing executed in 1955. £5,000 [118006]

58 Summer miscellany: Peter Harrington 129

129 LUBBOCK, John. Pre-Historic Times, as Illustrated by Ancient Remains, and the Manners and Customs of Modern Sav- ages. London: Williams and Norgate, 1865 Octavo. Original red cloth, title to spine gilt, black geo- metric border to covers, brown coated endpapers. Own- ership signature to half-title. Binder’s ticket to rear pastedown. Spine slightly faded, a little wear to tips, hinges partly cracked but holding, occasional spot of foxing. An excellent copy in bright cloth. first edition of what has been called “the most influential work dealing with archaeology in the 19th century” (Murray, p. 243) in which Lubbock “introduced the terms Neolithic and Paleolithic into the archaeological lexicon”. Lubbock was Darwin’s neighbour in Kent, and helped prepare the manuscript of Origin of Species for the press. He is “routinely cited as one of the great ‘founding fathers’ of prehistoric archaeology; his work brought together an appreciation of time depth and the principles of evolution from Lyell and Dar- win with the record of prehistoric stone tools and other implements and their parallels with ethno- graphic examples” (Cochrane & Gardner, p. 311). Cochrane & Gardner (eds.) Evolutionary and Interpretive Archaeologies: A Dialogue; Murray, Milestones in Archaeology: A Chronological Encyclopedia. 128 £1,250 [117961]

All items are fully described and photographed at peterharrington.co.uk 59 130 131

130 to front pastedown, occasional light foxing to contents; a very good copy. LYELL, Charles. Elements of Geology. first edition. The book ran to three editions in London: John Murray, 1838 the year it first appeared. In it, Lyell synthesized Octavo (185 × 104 mm). Near-contemporary half calf, re- the evidence for the earliest humans in Europe and backed, green morocco label to spine lettered gilt, mar- North America. “Lyell’s book was unique among bled sides, edges sprinkled red. Ownership signature to contemporary scientific works in the geographic 132 front pastedown. Tips and board edges worn, boards and disciplinary breadth of its synthesis . . . he lightly scuffed, internally clean. A very good copy. unified data from many areas under a single hy- into English by Simon Patericke. London: first edition of the companion volume to Ly- pothesis [and] also reached beyond the intellec- ell’s pioneering work, Principles of Geology (1830–3). tual frontiers of geology, drawing connections printed by Adam Islip, 1602 “Originally intended as a supplement to the Prin- between the geological evidence for human an- Folio (269 × 182 mm). Contemporary calf, neatly rebacked ciples, this formed an independent practical guide tiquity and the data collected by archaeologists, to style, red morocco label to spine, raised bands and to the science of geology” (Summerhayes, p. 12). anatomists and linguists”. boards ruled in gilt, centrepieces stamped in blind to Summerhayes, Earth’s Climate Evolution. Riper, Men Among the Mammoths (1993). boards, edges speckled green, later endpapers. Bound without initial and final blanks, with two final leaves bear- £500 [117955] £650 [117892] ing “A table of the Maximes”. Early inscription to title page. Extremities lightly rubbed, a few chips and marks to boards, hinges gently cracked but very firm, some in- 131 132 frequent dampstaining to upper margins and a small tear LYELL, Sir Charles. The Geological Evi- (MACHIAVELLI.) GENTILLET, Innocent. to lower margin of leaf G5, otherwise a very good copy. dences of the Antiquity of Man. With re- A Discourse upon the Meanes of wel gov- first edition in english of the work popularly marks on theories of the origin of species erning and maintaining in good Peace, a known as Antimachiavel, a translation of Gentillet’s Discours sur les moyens de bien gouverner et maintenir en by variation. London: John Murray, 1863 Kingdome, or other Principalitie. Divided bonne paix un royaume ou autre principauté (1576). De- Octavo (214 × 138 mm). Near-contemporary green half into three parts, namely, The Counsell, the spite being widely discussed in Elizabethan and calf, marbled sides, red speckled edges, orange endpa- Religion, and the Policie, which a Prince Jacobean England, Machiavelli’s Il principe was not pers. Woodcut frontispiece, one plate, woodcut illustra- published in a complete English translation until tions to text. Faint inscription to verso of half-title. Spine ought to hold and follow. Against Nicho- las Machiavell the Florentine. Translated 1640, a remarkable delay perhaps partly explained faded, tips slightly worn, spot of wear to front hinge, a by the existence of Patericke’s translation, which little scuffing to boards, evidence of bookplate removal

60 Summer miscellany: Peter Harrington cited enough of Machiavelli’s original to serve as a substitute for it. STC 11743. £5,000 [118509]

133 MACKAY, Andrew. The Theory and Practice of Finding the Longitude at Sea or Land: to which are added, various methods of determining the latitude of a place, and variation of the compass; with new tables. London: for J. Sewell, P. Elmsly, and J. Evans, 1793 2 volumes bound as one, octavo (211 × 126 mm). Recent half calf period style (retaining the original endpapers), red morocco label, marbled sides. 7 engraved folding plates. Scattered foxing and a few old pale stains. A very good copy, with half-title to both volumes. first edition of this important and scarce work. The Scottish teacher of navigation, Andrew Mackay (1758–1809), “corrected the latitude of Aberdeen, estimated the longitude by comparing timings of Jovian satellite phenomena with Greenwich, and rated chronometers. Meantime he earned his living teaching mathematics, geography, navigation with lunars, surveying, and fortification” and the current work gained him the “thanks of the boards of longitude of England and France” (ODNB). In his Preface, Mackay makes an interesting reference to the horologists John Harrison, Larcum Ken- dal, and John Arnold: “If a chronometer or timekeeper could be constructed, so as to go uniformly when placed in different position, and under different degrees of heat, then would this method of finding the longitude at sea be a most valuable acquisi- 133 tion to the navigator . . . every person acquainted with the principles of watchmaking must highly ad- largely Scottish, predominantly from Mackay’s provenance: inscribed in a contemporary hand mire the accuracy of Harrison’s timekeeper. Those home town of Aberdeen, listing many shipmas- on the front free endpaper: “J. Wallace. Two vol- made by Arnold and Kendal are also excellent; but it ters, mathematical instrument makers, and umes in one vide Page 264”; possibly the author of A is to be hoped, that instruments of this kind may be merchants; it includes Sir Joseph Banks and the New Treatise on the Use of Globes and Practical Astronomy still farther improved, and may be afforded much astronomers Nevil Maskelyne and William Her- (New York 1812); with, below this, a gift inscription cheaper than at present, for the high price is a very schel. Copac locates copies at twelve British and (dated 1834) to a “Mr. W. M. C. K. P. Davies”. great objection to them, and very much prevents Irish institutional libraries; OCLC adds a little over Adams & Waters, English Maritime Books Printed Before 1801, their being generally used”. a dozen worldwide but this is very scarce in com- p. 407. merce, and only a handful of copies have appeared The list of subscribers runs to approximately 530 £3,750 [119448] names (taking in the region of 610 copies) and is at public auction since 1966.

All items are fully described and photographed at peterharrington.co.uk 61 134 135

134 uted to make him one of the chief figures in the 136 establishment of Victorian journalism as a digni- MACKAY, Charles. Memoirs of Extraor- fied profession” (ODNB). MAKAROV, Stepan Osipovich. Le “Vi- dinary Popular Delusions and the Mad- tiaz” et l’Ocean Pacifique. Observations £850 [119521] ness of Crowds. Illustrated with numer- Hydrologiques faites par les Officiers de ous engravings. London: Office of the -Na 135 la Corvette “Vitiaz” pendant un Voyage tional Illustrated Library, 1852 Autour du Monde, exécuté de 1886 à 1889, (MADONNA.) KLEIN, Steven. X-STaTIC et Recueil des Observations sur la Tem- 2 volumes, octavo (182 × 121). Nineteenth-century green PRO=CeSS. [New York: Steven Klein Studio, half calf, marbled boards, red morocco spine labels, pérature et le Poids Spécifique de l’Eau de raised bands decorated in gilt, compartments decorated 2003] l’Océan Pacifique Nord. (“Vitiaz” i Tikhii in blind, edges speckled red. Wood-engraved frontis- Landscape quarto. Original brushed cotton paper- pieces, vignette half-titles, 116 vignettes in text. Extremi- Okean. Gidrologicheskiia Nabliudeniia, backed onionskin paper. With the brushed cotton paper ties lightly worn and some peeling to boards, hinges gen- envelope. Housed in the original cardboard postage box. proizvedennyia Ofitserami Korveta “Vi- tly cracked but holding, occasional foxing and endpapers Fully illustrated with colour photographic reproductions a little browned from turn-ins, some minor dampstain tiaz’” vo vremia krugosvietnago plavaniia by Klein. Envelope opened; a fine copy. to upper margins of first volume, overall a very good set. 1886–1889 godov, i svod Nabliudenii nad signed limited edition, number 823 of 1,000 second edition, and the first thoroughly Temperaturoiu i Udiel’nym viesom Vody copies, signed by the photographer in silver mark- illustrated one, following Bentley’s 1841 first Sievernago Tikhago Okeana.) St. Peters- er pen on the slipcase. This book, designed by edition, which had only five plates over three vol- Giovanni Bianco, accompanied Klein and Madon- burg: Imperial Academy of Science, 1894 umes. This is an important early work on popular na’s collaborative exhibition installation X-STaTIC delusions of all types, considering the credulous Quarto. Original grey-green paper-covered printed PRO=CeSS which included photography from the boards, rebacked with green cloth, the original spine enthusiasm of mankind for phenomena such as photoshoot in W Magazine and seven video seg- laid down. Numerous tables to the text, 32 maps and alchemy, witchcraft, relics, the Crusades, urban ments. The installation ran from 28 March to 3 plates, all but one folding, French and Russian parallel myths, as well as economic events such as the tu- May 2003 in the New York gallery, Deitch Projects. text presented in double column. A little rubbed, small lip bubble, the Mississippi Bubble, and the South ink stamps of the Danish Royal Naval Library Chart Ar- The title of the exhibition is from the song “X-Stat- Sea Bubble. Still in print, Mackay’s book has had a chive to the front board and title page only, light variable ic Process” on Madonna’s 2003 album American Life. profound influence on economics and sociology, browning to the text block, but overall a very good copy. An uncommon book not traced in any institutions with many modern economists referring to his on OCLC, and just once in auction records. first edition of the official account of Makarov’s work when analysing the stock market bubbles of first pacific hydrographic survey on theVityaz , our own age. “Charles Mackay’s passionate erudi- £2,500 [118805] 1886–9. Uncommon, OCLC shows just thirteen tion and urbane, unaffected prose style contrib- copies world-wide, all but three (Natural History

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136 136

Museum, National Library of New Zealand, and boats were used on the Black Sea with notable Arctic expeditions in 1899 and 1901. In 1900 he Universitäts- und Forschungsbibliothek Erfurt/ success” (Ency. Brit.); he was the first to launch was appointed chief commander and military Gotha) in the United States. torpedoes from a boat, which itself had been governor of Kronstadt, and following the disas- Makarov had graduated from the Imperial Mari- launched from the tender, in an attack on the Ot- ter at Port Arthur in 1904 was sent to command time Academy in 1865, commissioned ensign in toman ship Intibah. the battle fleet there, his active command con- 1869. Between 1867 and 1876 he served as flag Makarov made two round-the-world hydrograph- trasting sharply with his predecessors. He died captain to Admiral Andrei Popov with the Baltic ic expeditions in the corvette Vitjaz, the one re- in April 1904 when his flagship the Petropavlovsk Fleet, before captaining the torpedo boat tender corded here, and another of 1894–6. He designed struck a mine and sank. Velikiy Knyaz Konstantin in the Russo-Turkish War, the world’s first icebreaker, the Yermak, oversaw £6,500 [118514] 1877–8. “His new designs and tactics for torpedo her construction, and commanded her on two

All items are fully described and photographed at peterharrington.co.uk 63 after gathering O, small ink stain to fore edge encroach- ing slightly in to margin of a couple of gatherings, without the terminal blank leaf, otherwise a very good copy. first aldine edition, one of the earliest books to be produced in pocket format and in Aldus’s beautiful italic type. Aldus starting issuing his ground-breaking “Libelli Portatiles” – or “Port- able Library” – in April 1501 with an edition of Virgil, followed by Horace in May, Petrarch in July, Juvenal and Perseus in August, and this edition of Martial in December, marking 1501 as one of the most extraordinary years in the history of publishing. The editio princeps of the Epigrammata was printed at Venice by Vindelinus de Spira between 1469 and 1473. “The series of editions of classical Latin and Greek authors and Italian vernacular poets published as pocket-sized books (enchiridia) was Aldus’s most successful editorial innovation . . . [and they] immediately caught the eye of wealthy European literati and collectors. Their slim and elegant proportions contributed towards a permanent change in the physical appearance of Western books, and secured Aldus enduring fame . . . The elegance of the book proportions and the beauty of the printing in the elegant new founts designed for Aldus by Francesco Griffo assured an immediate success” (University of Cambridge online). The edition is well represented institutionally but fewer than two dozen copies have appeared at public auction in the last 100 years. Adams A 689; Ahmanson-Murphy 47. £7,500 [118784]

138 MARX, Karl. Capital. A critical Analysis of capitalist Production. Translated from 137 the third German edition, by Samuel Moore and Edward Aveling, and edited 137 original spine laid-down, sides gilt tooled overall with by Frederick Engels. Stereotyped edition. roll tool borders enclosing large central lozenge, centre London: Swan Sonnenschein and Co., 1889 MARTIAL, Marcus Valerius Martialis. and corners filled with scrolling floriate motifs (includ- Epigrammata. Venice: in aedibus Aldii [Aldus ing a tulip tool), remains of pinkish silk ties, spine tooled Octavo. Original red cloth, blindstamped decorative bor- in black with a repeated floriate motif within five com- der to covers, spine ruled and lettered gilt within a gilt Manutius], December 1501 partments (and tulip tool), blue-green edges. Previous rule border. Front board with loss of colour to fre edge, Octavo (150 × 94 mm), collation: A–Z &8. Mid-17th- owner’s monogram on colophon leaf. A little wear to ex- corners lightly rubbed, rear hinge cracked but firm. A century continental sheep sometime rebacked with the tremities of binding, gilt dulled, gathering N misbound very good copy, largely unopened.

64 Summer miscellany: Peter Harrington 138

First stereotyped UK edition issued in a single volume, reprinting the original English translation of January 1887, which was published in two volumes in an edition of 500 copies. See Rubel 633 and Draper. £2,250 [119515]

139 (MARX, Karl, & Friedrich Engels.) DIXON, Richard, & others (eds.) Collected Works. London: Lawrence & Wishart, 1975–2005 50 volumes, octavo. Original red cloth, spines and front boards lettered in gilt, edition and volume titles printed in black and red. With the dust jackets and the publisher’s slips laid-in to vol. 1. Numerous illustrations, some photographic, colour, folding. Dust jacket extremities a little rubbed and creased, dust jacket of vol. 8 price- clipped, hinges of vol. 14 cracked and exposed with text 139 block slightly loose from binding, a little stripping to front free endpaper of vol. 16, overall bright and clean, will provide for the first time to the English-speak- ments” (General Introduction, vol. 1, pp. xix–xx). an excellent set. ing world a practically complete, organised and The 50 volumes are organised into three groups: first editions, all with the London imprint annotated collection of the works of the founders philosophical, historical, political, economic, and except for vols. 5 and 22 (New York), and vol. 26 and first teachers of the international communist other works (vols. 1–27); Marx’s Capital and its pre- (Moscow). The edition was published in conjunc- movement . . . It will embrace all the extant works liminary versions and related writings collectively tion with the Institute of Marxism-Leninism and of Marx and Engels published in their lifetime and known as Grundrisse der Kritik der Politischen Ökonomie Progress Publishers, both Moscow, and Interna- a considerable part of their legacy of manuscripts (vols. 28–37); and letters (vols. 38–50). tional Publishers Inc., New York. “This edition – manuscripts not published in their lifetime and unfinished works, outlines, rough drafts and frag- £3,250 [119043]

All items are fully described and photographed at peterharrington.co.uk 65 140 141

140 etchings depicting the Calypso, Aeolus, Cyclops, 142 Nausicaa, Circe and Ithaca episodes. (If Matisse had (MATISSE, Henri.) JOYCE, James. Ulys- read Joyce’s novel, he preferred to concentrate on its MILNE, A. A. When We Were Very Young. ses. With an introduction by Stuart Gil- mythical underpinnings.) Stuart Gilbert, who wrote With decorations by E. H. Shepard. Lon- bert. New York: The Limited Editions Club, the introduction, edited the Odyssey Press edition of don: Methuen Children’s Books, 1974 1935 the book, generally considered the most authorita- Octavo. Bound for the publisher by Zaehnsdorf in blue motive text, at Joyce’s request. Folio. Original brown cloth decorated in gilt from a rocco, titles and decoration to spine gilt, frame and vignette design by Le Roy Anderson, top edge spotted brown, £5,000 [118553] to front cover gilt, gilt edges, blue pictorial endpapers. Il- others untrimmed. In the publisher’s tan card slipcase, lustrated by E. H. Shepard. Spine faded, an excellent copy. titled on spine. With 21 monochrome illustrations on a 141 fiftieth anniversary edition, number 13 of variety of coloured paper of different sizes by Henri Mat- 300 copies signed by Christopher Robin Milne. isse. Spine gilt just a little dulled; an excellent copy. MAUGHAM, W. Somerset. The Col- From the library, though unmarked as such, of signed limited edition, and the first illustrated lected Plays; The Selected Novels; The publisher Charles Shirley, chairman of Methuen edition, number 112 of 1,500 specially bound cop- Complete Short Stories. London: William Children’s Books from 1976 to 1979. ies signed by the artist. The illustrations include Heinemann Ltd, 1952–54 £750 [118688] 9 volumes, octavo (191 × 125 mm). Finely bound by Sangorski and Sutcliffe in red half morocco, titles and 143 decoration to spines gilt in compartments separated by raised bands, red cloth boards, marbled endpapers, top MILNE, A. A. Winnie-the-Pooh. With edges gilt. Spines ever so slightly faded, an excellent set. Decorations by E. H. Shepard. London: A handsomely bound collection of Somerset Methuen Children’s Books, 1976 Maugham’s works, comprising the first edition of Octavo. Publisher’s deluxe red morocco, titles and pic- The Selected Novels (1953), in three volumes; The Col- torial designs to spine and front board gilt, map endpa- lected Plays (1952), in three volumes, first published pers, gilt edges. With the publisher’s slipcase. Illustra- 1931; and The Complete Short Stories (1954) in three tions throughout by E. H. Shepard. A fine copy. volumes, first published 1951. rare presentation copy of the 50th an-

140 £2,250 [118321] niversary edition, number 27 of 300 copies

66 Summer miscellany: Peter Harrington 142 143 144 signed by Christopher Robin Milne. This copy has 144 With the slipcase, as issued. Illustrated throughout by E. H. Shepard. A fine copy. been fulsomely inscribed by Christopher Robin to MILNE, A. A. Now We Are Six. With the winner of “The Hum with Pooh” poetry com- fiftieth anniversary edition, number 13 of petition: “Dear Mubina Punjani, this book tells you decorations by E. H. Shepard. London: 300 copies signed by Christopher Robin Milne. that you have been awarded First Prize in your age Methuen Children’s Books, 1977 From the library, though unmarked as such, of group in The Hum with Pooh Competition. What Octavo. Original red morocco, spine lettered and deco- publisher Charles Shirley, chairman of Methuen I would like to add is that I thought your poem the rated in gilt, frames and vignettes to covers gilt, gilt Children’s Books from 1976 to 1979. best of all the entries in all the age groups – and edges, pictorial endpapers. With the slipcase, as issued. £1,250 [118689] some came from people older than Pooh himself. Illustrated throughout by E. H. Shepard. A fine copy. Well done! And I hope you will continue writing fiftieth anniversary edition, number 13 of poetry. Yours sincerely Christopher Milne”. 300 copies signed by Christopher Robin Milne. £2,750 [118665] With the errata slip correcting the stated issue run from 490 to 300 laid-in, signed by the chairman and managing director of Methuen Children’s Books and the chairman of Richard Clay. From the library, though unmarked as such, of publisher Charles Shirley, chairman of Methuen Children’s Books from 1976 to 1979. £950 [118687]

145 MILNE, A. A. The House at Pooh Corner. With decorations by E. H. Shepard. Lon- don: Methuen Children’s Books, 1978 Octavo. Original pink morocco by Zaehnsdorf, titles and decoration to spine gilt, frames to covers gilt, vignette to front cover gilt, gilt edges, pink pictorial endpapers. 143 145

All items are fully described and photographed at peterharrington.co.uk 67 147

first edition. G. E. Moore (1873–1958) was critical of the dominant idealist metaphysics of the time. In this, his most famous book, he pre- sents a new approach to ethical theory wherein “analytical concern with the structure of ethical concepts is sharply separated from debates about the substance of morality” (ODNB). Connected to the original nucleus of the Bloomsbury Group 146 through his membership of the Apostles, “Moore was never himself a member . . . but if he took 146 édition comédie française, number 113 of from them a profound, and perhaps exaggerated, 250 copies printed on japon, in a very handsome sense of the value of friendship and art, they took MOLIÈRE. The Works. Paris & Philadel- binding. from him the thought that lives dedicated to these phia: Barrie frères, [c.1900] values were indeed lives well spent. As Keynes £2,750 [117852] 12 volumes, quarto (298 × 226 mm). Contemporary red later put it, Principia Ethica provided them with crushed morocco by Pfister of New York, spines gilt- their ‘religion’ (Keynes, 436)” (ODNB). Writing to tooled with repeated intertwining rose leaf motif, sides 147 Clive Bell in 1908, Virginia Woolf remarked, “I am with gilt single-line panels, gilt rose spray cornerpieces, MOORE, George Edward. Principia Eth- climbing Moore like some industrious insect, who central gilt motif of intertwining rose stems, richly gilt ica. Cambridge: Cambridge University Press, is determined to build a nest on top of a cathedral turn-ins, rose-pink marbled endpapers, top edges gilt, spire.” others untrimmed. Colour gravure frontispieces, plates 1903 Ziegenfuss II 171; see Copleston, History of Philosophy, vol. (with captioned tissue guards), decorative divisional Octavo. Original brown cloth, spine lettered in gilt, 8, Bentham to Russell, ch. 18. titles, head- and tailpieces by Louis & Maurice Leloir, edges uncut. An unusually fresh copy with some light Jacques Leman, and Edmond Hedouin; printed in dou- rubbing to extremities, endpapers tanned, overall in ex- £1,250 [119496] ble columns. Limitation leaf in volume I bearing the cellent condition. letterpress legend “Printed for Mr. Daniel S. Miller”. An excellent set.

68 Summer miscellany: Peter Harrington 149 150

mounted, and inserted. Page 100 misnumbered as page 149 110 as Gibson notes is true of some copies. Early ink inscriptions to front free endpaper and title page, library NABOKOV, Vladimir. Lolita. London: Wei- shelf marks in neat pencil to front binder’s blank. Light denfeld and Nicolson, 1959 wear to joints and bumped corners, boards scuffed with a few spill-burns, endpapers browned from turn-ins, Octavo. Original black boards, titles to spine in silver, lower corner of sig. C6 torn affecting text on p. 36, fore top edge pink. With the dust jacket. A fine copy. edge of sig. G3 slightly torn affecting text on both pag- first uk edition. Originally published in Paris es, some infrequent spotting to contents, overall a very in 1955. good copy. £750 [117702] fifth edition of Ralph Robinson’s translation of Utopia, first published in 1551 and revised in 1556. Alsop printed a corrected edition in 1624 150 148 with a dedication to More’s great-grandson, Cre- NATHAN, Robert. The Bishop’s Wife. In- sacre More, which is reprinted here. “It was writ- dianaopolis: The Bobbs-Merrill Company, 1928 ten, like Gulliver’s Travels, as a tract for the times, to 148 rub in the lesson of Erasmus; it inveighs against Octavo. Original yellow cloth, titles to spine and front MORE, Sir Thomas. The Common- the new statesmanship of all-powerful autocracy board black, top edge orange, blue patterned endpapers. and the new economics of large enclosures and With the art deco dust jacket. An excellent copy in bright wealth of Utopia: Containing a Learned cloth of this poorly-produced book, in the bright jacket the destruction of the old common-field agricul- and pleasant Discourse of the best state with a couple of nicks, minor chips and a little rubbing ture, just as it pleads for religious tolerance and to spine ends and edges. of a Publike Weale, as it is found in the universal education . . . More had all Swift’s gift for first edition. The novel was the basis for the Government of the new Ile called Utopia. utterly convincing romance: the beginning, when 1947 film of the same name, starring Cary Grant, Rafael Hythlodaye recounts his voyages, has a viv- London: printed by B. Alsop & T. Fawcet, and David Niven, and Loretta Young, as well as the idness which draws the reader on into the political are to be sold by Wil: Sheares, 1639 1996 film, The Preacher’s Wife, starring Denzel Wash- theory” (PMM). Duodecimo (142 × 81 mm). Contemporary calf, red mo- ington, Whitney Houston, and Courtney B. Vance. Gibson 29; Pforzheimer 741; not in Sabin. See Printing and rocco label to spine, spine and boards ruled in blind, the Mind of Man 47. £1,250 [119456] edges red. Housed in a red cloth-backed box, black calf labels to spine lettered and ruled in gilt. With the ad- £3,500 [118681] ditional engraved title page by W. Marshall cut down,

All items are fully described and photographed at peterharrington.co.uk 69 years to our knowledge. There were a further 1,000 copies on ordinary paper and 50 largest paper copies on thick paper. This copy has an excellent Cambridge provenance. It bears the inscription of the Reverend Robert White Almond (1786–1853) who, like Newton, was admitted to Cambridge University as a sizar. From 1803 he studied mathematics, first at Trin- ity College and then at Queen’s College, as the inscription notes. He matriculated with an MA in 1813 and soon thereafter became the Rector of St Peter’s Church in Nottingham, where he remained until his death. Almond was one of the principal founders of the Bromley House Library as well as the President of Nottingham’s Astronomical So- ciety for 34 years, where he led scientific discus- sions and advised on the purchase of new books. His keen interest in contemporary science led him to purchase several pieces of apparatus for the library, including a sundial which he presented in 1836. This copy remained in Cambridge throughout the late 19th and early 20th centuries: George Stace was mayor of the town from 1910 to 1911, and British theoretical physicist Edmund C. Stoner 151 graduated with a First Class degree from the university in 1921. Babson 13; Gjertson, Newton Companion, 476; Wallis II.9. one of 200 large paper copies of the third 151 See Printing and the Mind of Man 161. NEWTON, Isaac. Philosophiae natura- and definitive edition of “the greatest work in the history of science” (PMM), containing the £27,500 [118883] lis principia mathematica. Editio tertia text edited by Henry Pemberton and by Newton aucta & emendata. London: William & John himself, in the form that Newton approved, the 152 Innys, printers to the Royal Society, 1726 last published during the author’s lifetime and the basis of all subsequent editions. It contains (NIELSEN, Kay.) GRIMM, The Broth- Quarto (283 × 223 mm). Contemporary sprinkled calf, a new preface by the author together with exten- ers. Hansel and Gretel and Other Stories. neatly rebacked with corners restored, compartments and raised bands lettered and elaborately decorated in sive alterations (the most notable being to the London: Hodder and Stoughton, [1925] gilt, boards ruled in gilt. Bound with the half-title which scholium on fluxions) and additions such as a new section on the motion of the moon’s nodes Quarto. Original white cloth, titles and decorations to is often missing; bound without the licence leaf and fi- spine and front cover gilt and blue, top edge gilt, red nal advertisement leaf as is common. Engraved portrait and the inclusion of several experiments by John frontispiece, engraved illustration of cometary orbit by Theophilus Desaguliers, Newton’s assistant. It is John Senex on p. 506, woodcut diagrams to the text. Ar- the first to contain the three-quarter-length line morial bookplate of George Stace, modern ownership engraved portrait of Newton by George Vertue inscription of Edmund C. Stoner and label of J. H. Stoner after John Vanderbank which was made during to front pastedown, near-contemporary ownership inscription of Robert White Almond to front free end- Newton’s lifetime. This frontispiece has become paper, pencil annotations to pages 133 and 243. Boards uncommon, and many copies of the third edition marked, frontispiece foxed as typical, occasional faint in circulation are bound without it: even fewer ink marks and spotting to margins, upper edges of sig. have both the frontispiece and the half-title. Large Q1, R1, R4, Xx2, Yy2, and Zz2 browned, edges of rear free paper copies are significantly scarce in commerce; endpaper slightly torn, overall a very good copy. only eight have appeared at auction in the last 20 152

70 Summer miscellany: Peter Harrington 152 153 154 and gilt pictorial endpapers. Title page and letter heads the dust jacket. Colour frontispiece and 7 colour plates, the front free endpaper, “For Leo, of the hooded printed in red and black, colour frontispiece and 11 col- 50 full page illustrations and various vignettes to text, all insights . . . who reads the unwritten books. With our plates tipped-in with captioned tissue-guards, and by Kay Nielsen. Slight bumps to spine ends, light fox- love, Anaïs”. The recipient was likely Leo Lerman, 10 monochrome full page illustrations. Spine gently ing to fore edge, an excellent copy in the uncommon editor of Harper’s Bazaar at the time, and friend of rolled, a little foxing to covers, 2 tiny nicks to foot of front jacket with small chips to extremities, short closed tears cover, another to head of spine; an excellent copy. to head of rear panel, head and foot of front panel, tape Nin’s, with whom she often had “whimsical and repair to verso. completely free talks”. In 1946 Nin respectfully signed limited edition, number 175 of 600 turned down Lerman’s request for a short auto- first edition, preceding the first US edition by copies signed by the artist. One of the finest illus- biography to use in a profile feature: “I am more a year. Romer Wilson is the pseudonym of the au- trated editions of the Brothers Grimm: “Nielsen is interested in human beings than in writing, more thor Florence Wilson; Red Magic is the last in a se- a brilliant colourist and a highly decorative illus- interested in lovemaking than in writing, more in- ries of three collections of fairy tales arranged by trator, his works, formed into frieze-like patterns, terested in living than in writing . . . I walk into the her. It was also the final work that Nielsen was to are closest to Persian or Middle-Eastern designs fire always, and come out more alive. All of which illustrate fully before his departure for Hollywood. and therefore akin to Leon Bakst or Edmund Du- is not for Harper’s Bazaar”. The illustrator was one An uncommon work, with only three copies in the lac” (Houfe, The Dictionary of 19th Century Book Il- of Nin’s two husbands, Hugh Parker Guiler; they jacket traced at auction in the last 100 years. lustrators and Caricaturists, p. 243). With the single- were married from 1923 until her death in 1977. leaf printed advertisement for Nielsen’s original £2,750 [117787] Anaïs Nin, The Diary, vol. 4 (1944–1947), p. 97. water-colours, available at the Leicester Galleries, laid-in. 154 £750 [118766] £4,500 [119599] NIN, Anaïs. This Hunger. With five 153 woodblocks by Ian Hugo. New York: Gemor Press, 1945 (NIELSEN, Kay.) WILSON, Romer (ed.) Octavo. Original cream paper-covered boards, titles to Red Magic. A Collection of the World’s spine and front cover in purple, illustrations to covers Best Fairy Tales from All Countries. With in purple, edges untrimmed. With 5 woodblock prints. Illustrations in Colour and Line. London: Slight bumps to spine ends, a couple small faint marks Jonathan Cape, 1930 to covers; an excellent copy. first and limited edition, one of 1,050 cop- Octavo. Original red cloth, gilt titles to spine, publisher’s ies. Presentation copy, inscribed by the author on device to rear panel blocked in blind, top edge red. With 154

All items are fully described and photographed at peterharrington.co.uk 71 155

155 (NONESUCH PRESS; BIBLE; English.) The Holy Bible reprinted according to 156 the Authorised Version 1611. London: The 155 artist, being sensitive not only to the form of the Nonesuch Press; New York: The Dial Press, book but appreciating the possibilities of its page 1925–7 for decoration, and he also seemed to appreciate 5 volumes, quarto (306 × 185 mm). Original reddish- the quality of the book he illustrated . . . [he had] brown niger, gilt ruled spines, three-line gilt border on an imaginative grasp of the subject matter, and his sides with corner rosettes, gilt edges, gilt ruled turn-ins. witty and elegant illustrations are finely engraved Housed in a pair of custom-made brick-red cloth solan- and inventive in design” (Alan Horne, The Diction- der boxes, baize lined. Engraved title pages, head- and ary of 20th Century British Book Illustrators, p. 221). tailpieces by Stephen Gooden. Spines darkened, volume Nonesuch 21. I with dark band at head of lower cover, a few minor abrasions, otherwise an excellent set. £4,750 [119660] first edition thus. Number 57 of 75 sets printed on Arnold unbleached rag paper. Attractively 156 printed at the Oxford University Press by Freder- OMAR KHAYYÁM; Edward FitzGerald ick Hall, the typography by the Nonesuch moving force Francis Meynall, and illustrated by Stephen (trans.) Rubáiyát, with an Accompani- Gooden, the handsome Nonesuch Bible is one of ment of Drawings by Elihu Vedder. Bos- the finest editions of the 20th century: “the page ton: Houghton Mifflin and Company, & Ber- size is a happy compromise between the manage- nard Quaritch, London [1886?] able and the majestic” (James A. Dearden, Encyclo- paedia of Library and Information Science, vol. 20, 1977, Square folio (390 × 313 mm). Finely bound by Bayntun pp. 97–8). of Bath in contemporary olive morocco, with the spine and front of the original cloth bound in at the rear, spine The illustrator, Stephen Gooden, whose “archi- gilt in compartments with titles direct, spine and front tectural” title pages – different in each volume – board decorated with gilt tooling and coloured morocco onlay, rear board panelled with gilt rules, board edges echo the spirit of the 17th century, “was a ‘literary’ 155

72 Summer miscellany: Peter Harrington 156 157 157 and turn-ins gilt, green moiré silk endpapers, gilt edges. his name as a leading American illustrator. With an introduction by A. C. Benson. Frontispiece, decorative title page, colophon, dedica- This copy comes from the library of Lt. Colonel tion, divisional title, 48 plates illustrating the text, 3 Reproduced from a manuscript written pages of notes within decorative borders (a total of 56 Thomas Herbert Lewin (1839–1916), administrator and illuminated by F. Sangorski & G. Sut- plates complete). Covers largely faded to tan, headcap in colonial India and author of several related books cliffe. London: Siegle, Hill & Co., [1911] with some small loss, some other scuffs and marks, and on Indian matters. He was superintendent of police a damp stain to front board, occasional spotting within in the Bengal frontier, but made a name for himself Large quarto. Original vellum, titles to brown morocco but on the whole clean, a very good copy. as a linguist and ethnologist, with a talent for going label to spine gilt, elaborate floral and peacock decora- A very attractive Bayntun-bound copy of Vedder’s native. John Whitehead’s biography of him, Thangl- tions to spine and front cover gilt, top edge gilt, others iena (1993), relates how he once befriended a local untrimmed, brown endpapers decorated in green and Rubáiyát with an intriguing provenance, this an purple. Title page printed in red and black, opening early UK issue giving Bernard Quaritch as co- tribe by claiming kinship with its chief, whose name double-page spread with elaborate calligraphic borders, publisher. The Vedder edition was first published was Twekan Tongloyn (“Tom Lewin”). Lewin has an- 10 colour illustrations by E. Geddes, calligraphy by A. with a Boston imprint alone, dated 1884. Potter’s notated the text throughout with comments and al- Sutcliffe. Boards slightly bowed, light foxing to covers, bibliography mentions an issue of the first edition ternative translations. This copy was later inscribed, an excellent copy. with the Quaritch imprint but does not enlarge on in the year of his death, by his wife to his son: first edition thus, number 415 of 550 copies whether or not it is dated. “Charles McLean Lewin, with love, Margaret Lewin, printed on handmade paper signed by Francis Elihu Vedder (1836–1923) was an American Symbol- July 11 1916”. The son was a captain in the Queen’s Sangorski and George Sutcliffe; a further 25 were ist artist who trained in New York, Paris, and Italy Own Hussars, who survived the war but died in 1919. printed on japon. This is one of the most lavish and became friends with authors such as Herman Potter, Omar Khayyám, 201 note. editions of the Rubáiyát in the renowned translation by Edward FitzGerald, first published in 1859. Melville and Walt Whitman. Strongly influenced by £1,975 [118659] the Pre-Raphaelites, as well as the mysticism of Wil- Of all the literature of the Islamic world, perhaps liam Blake and W. B. Yeats, Vedder became known only The Thousand and One Nights has had a compa- for his allegorical paintings of women and was also 157 rable impact on the European imagination. commissioned to produce glassware and sculptures OMAR KHAYYÁM; Edward FitzGer- Potter 81. for Tiffany. The first edition of the present work was ald (trans.) Rubaiyat of Omar Khayyam. £1,250 [118468] so popular that it sold out in six days, and it made

All items are fully described and photographed at peterharrington.co.uk 73 158 159

158 destitute in and around the two cities; one of 1,500 Quarto. Original red cloth, printed paper label to spine, copies printed. fore and bottom edges untrimmed. Photogravure portrait OMAR KHAYYÁM; Edward FitzGerald frontispiece with tissue guard. Ownership inscription Fenwick A.1a. (trans.) Rubáiyát of Omar Khayyám. Ren- rubbed from front free endpaper. Spine sunned with the £3,000 [118647] label tanned and a little chipped, ends and corners lightly dered into English verse. With drawings bumped, some marks to cloth, front hinge starting at the by Edmund J. Sullivan. London: Methuen & 160 top, title page tissue guard tanned and splitting but pre- Co, Ltd, 1913 sent, otherwise internally clean and sound, a good copy. OWEN, Wilfred. Poems. With an Intro- Quarto (244 × 183 mm). Recent red morocco by Bayntun- first edition of perhaps the greatest single au- Riviere, titles and decoration to spine gilt, single rule duction by Siegfried Sassoon. London: thor collection of First World War poetry. This slim frame to covers gilt, wide turn-ins, gilt edges, marbled Chatto & Windus, 1920 volume, promoted and published by Sassoon after endpapers, original covers bound in at rear. Colour fron- Owen’s death and backed by Edith Sitwell, contains tispiece with tissue-guard and 75 monochrome line en- all Owen’s best known poems, including “Dulce gravings. Bookplate to front pastedown. Faint mark to top et Decorum est”, “Insensibility”, “Anthem for edge, spine very lightly toned; an excellent, bright copy. Doomed Youth”, “Futility” and “Strange Meeting”. first edition with sullivan’s illustra- Hayward 337. tions. Hartrick regarded Sullivan as “naturally the £2,000 [118866] most gifted of the younger black-and-white artists of my time, not excepting Beardsley” (ODNB). 161 £1,500 [119625] (OXFORD ENGLISH DICTIONARY.) 159 MURRAY, James H. (ed.) A New Eng- ORWELL, George. Down and Out in Paris lish Dictionary on Historical Principles; and London. London: Victor Gollancz Ltd, 1933 Founded Mainly on the Materials Col- lected by the Philological Society. Oxford: Octavo. Original black cloth, title to spine green. An excellent copy in unusually bright cloth with occasional Clarendon Press, 1888–1928 faint foxing to contents. 10 volumes bound in 20, large quarto (340 × 263 mm). first edition of Orwell’s first full-length work, Publisher’s dark red straight-grain quarter morocco, red a two part memoir of his life among the poor and 160 cloth sides, titles and university crest to spines gilt, top

74 Summer miscellany: Peter Harrington edges gilt, dark red endpapers. Typical light variation to spines, a couple of headcaps expertly restored; an excellent, handsomely bound set. first edition in book form of “the greatest treasure-house of any language in the world, unri- valled for its comprehensiveness and ease of con- sultation as well as for its reliability and scholar- ship” (PMM). “The scheme of ‘a completely new English Dictionary’ was conceived in 1858 . . . Herbert Coleridge and after him Dr. F. J. Furnivall, were the first editors. Their work, which covered 20 years, consisted mainly in the collection of materials, and it was not until Dr. J. A. H. Murray took the matter up in 1878 that the preparation of the Dictionary began to take active form . . . . The essential feature of the Dictionary is its historical method, by which the meaning and form of the words are traced from their earliest appearance on the basis of an immense number of quotations, collected by more than 800 voluntary workers. The Dictionary contains a record of 414,825 words, whose history is illustrated by 1,827,306 quotations” (Drabble, 728). The Dictionary was originally issued in fascicles which were then gathered into book form. After Murray’s death the editing was entrusted to his colleagues Henry Bradley, W. A. Craigie, and C. T. Onions. “The scale of the OED was astonishing by comparison with that of any English dictionary published before the end of the 19th century. Murray had revolutionized the whole process by which the English language was mapped” (ODNB). These volumes are titled “The Oxford Dictionary” on the spines, whereas the trade binding bore the title “A New English Dictionary”. The University Press had used “The Oxford Dictionary” as the title in its catalogues and advertisements from at least 1904. The dictionary was officially renamed “The Oxford English Dictionary” in 1933 on the publication of the first supplement, edited by W. A. Craigie and C. T. Onions. Printing and the Mind of Man 371. £7,500 [118724]

161

All items are fully described and photographed at peterharrington.co.uk 75 162 [PAPWORTH, John B.] Select Views of London. With Historical and Descriptive Sketches of some of the most Interesting of its Public Buildings. London: R. Acker- mann, 1816 Imperial octavo in half-sheets (275 × 185 mm). Contem- porary red straight-grain half morocco, matching paper sides, smooth spine gilt in compartments, edges untrimmed. Housed in a custom red full morocco solander box. 76 hand-coloured aquatint or line-engraved plates (some of these with aquatint sky), of which 5 folding, all by Stadler or Hamble after Papworth or Pugin. With the publisher’s advertisement leaf tipped to the title page. Recent armorial bookplate of George Seton Veitch to the front pastedown. Board-edges rubbed, tips bumped and slightly worn, mild soiling to sides, very faint offsetting from a few plates, the occasional minor spot or mark. An excellent copy with bright, richly coloured plates. first edition in book form of this splendid illustrated account of Regency London, an early issue with most watermarked plates dated 1816, two (“St James’s Palace” and “Carlton House”) dated 162 1817; Abbey’s copy had watermarks between 1814 and 1818. Copies are noted with a variant title page internal furnishing and decorations of these build- publisher’s deluxe binding, notably retaining an naming Papworth as the author, with no priority ings, as well as landscaping of the gardens” (ODNB). advertisement leaf not noted by Abbey or Tooley. assigned. His contributions to the London cityscape which he Abbey Scenery 217; Adams 117; Prideaux pp. 144–7; Tooley Select Views first appeared in Ackermann’s Reposi- depicted included new showrooms for Ackermann 361. and various other artisans, and the first gin palace tory of Arts between 1810 and 1815; this book edi- £6,000 [119340] tion is considered “a vivid testimony of the high to be built in England, on Holborn Hill. standards of this monthly publication” (University Select Views is divided into the “Western” and “East- of Rochester, online). The text, and the majority of ern” Divisions, namely Westminster and the City the plates, are Papworth’s; two illustrations, “View of the London. There are descriptions and plates of the Temple of Concord in the Green Park”, and of Westminster Abbey, Grosvenor Square, the Brit- “View of the Bridge & Pagoda St James’s Park”, are ish Museum, Whitehall Chapel, Bank of England, after Pugin. Papworth entered the Royal Academy Newgate and Old Bailey, as well as “representa- Schools in 1798, becoming “noted for his mastery tions of City churches and other topographical fea- of perspective and classical ornament . . . [His] tures now no longer in existence” (Prideaux). “Of contribution to the evolution of design is particu- particular topographical interest is the set of views larly important, spanning, as it does, the changes of West End Squares . . . Select Views anticipates the in taste and fashion that mark the transition from compilation of another architect, James Elmes’s the late Georgian to the early Victorian period. This Metropolitan Improvements [1827] in its illustration of was a time which saw the emergence of a new group the work of contemporaries and topically records of patrons – bankers, industrialists, and business- the ephemeral structures which appeared in the men – who were to constitute Papworth’s main cli- parks to celebrate the Peace of 1814” (Adams 117). ents, and for whom he not only designed estates, A handsome, untrimmed copy in strictly con- villas, and business premises, but also handled the temporary Regency half morocco, possibly the 162

76 Summer miscellany: Peter Harrington 164 165

164 wear to extremities, a couple of scratches to boards; a very good, attractive set. PLATH, Sylvia. Ariel. London: Faber and first editions of the last three volumes, with Faber, 1965 the revised and corrected second editions of the Octavo. Original red cloth, gilt titles to spine. With the first two volumes. Thornton had announced his dust jacket. Very slight rubbing to extremities, an excel- intention to translate Plautus into English verse as lent fresh copy in the jacket with lightly toned spine and early as December 1762, publishing specimens in 163 light foxing to covers, tiny nicks to extremities. Robert Lloyd’s St James’s Magazine. Volumes I and first edition of Plath’s most enduring poetry II were first published in 1767. To these volumes, 163 book, published two years after her suicide, edited George Colman, to whom the book was dedicated, by Ted Hughes and with an introduction by Rob- contributed the translation of Mercator, while Rich- PINTER, Harold. No Man’s Land. Lon- ert Lowell. Plath believed her Ariel poems to be the ard Warner translated Captivi and supplied some of don: H. Karnac (Books) Limited, 1975 best she had ever produced, “announcing to her the critical matter. After Thornton’s death Warner Octavo. Original red and black cloth, gilt titles to spine, mother that ‘they will make my name’” (ODNB). completed the project in three further volumes us- black endpapers, top edge red. Very light fading to spine £750 [118320] ing Thornton’s partial translations of two further ends, an excellent fresh copy. plays. “An esteemed translation, accompanied with excellent notes from the best commentators” first edition, signed limited issue, number 165 123 of 150 copies. Presentation copy to cast mem- (Lowndes). ber Terence Rigby, additionally inscribed by the PLAUTUS. Comedies, translated into fa- Volume I with the bookplate of Robert J. Hayhurst to author on the title page on the opening night of miliar blank verse by Bonnell Thornton. the front pastedown, heir to a successful chain of dis- the first production, “April 23. 75. To Terry with London: T. Becket and P. A. De Hondt, 1769–74 pensing chemists, based in Nelson, Lancashire: “A deep gratitude & great admiration, Harold”. Ter- collector of books, in a delightful room at his home, ence Rigby played Briggs in the first production of 5 volumes, octavo (210 × 127 mm). Contemporary mottled white-painted bookshelves stacked high on all the calf, titles to blue and green sheep labels to flat spine, gilt available wall space show to advantage the hand- No Man’s Land at the Old Vic Theatre. banded, edges sprinkled green. This set with two book- £2,850 [118044] plates to front endpapers excepting volume II: an armorial tooled leather bindings of a collection that has been bookplate to the front pastedowns, and the bookplate of acquired slowly and with discrimination over the Samuel Bagster Boulton (1830–1918) to the front free end- years” (The Chemist and Druggist, 7 September 1957). papers; Boulton was the first baronet of Copped Hall, Tot- Lowndes, p. 1880. teridge. Printing error to imprint of vols. IV and V. Slight £1,250 [118913]

All items are fully described and photographed at peterharrington.co.uk 77 167

John William Polidori (1795–1821). Henry Colburn first published it on 1 April 1819 in hisNew Monthly Magazine, with the subtitle “A Tale by Lord Byron”. Colburn also prepared a book edition, with Byron again named as the author, before Sherwood, Nee- ly & Jones took over publication and reissued the book under their imprint and with Byron’s name removed. The Colburn first issue is unobtainably rare and the second issue is very scarce indeed. This is the third issue, with the first gathering (the Prefatory “Extract of a Letter from Geneva”) reset into 23 lines of text (removing the suggestion of improprieties regarding Mary Shelley and Claire Clairmont, “two sisters as the partakers of his rev- els”) and “lmost” on the final line of page 36.

166 Byron publicly disowned authorship of the text, but the subsequent success of the publication was due largely to its connections to the famous poet; 166 title and title page, discreetly repaired marginal tear to Polidori saw neither recognition nor much remu- c2, c3, and c7, a few other mild damp-stains and some [POLIDORI, John William.] The Vampy- spotting within, but still a very good copy, untrimmed neration for his creation. He committed suicide by re; A Tale. London: for Sherwood, Neely, and and unwashed. drinking prussic acid two years later. “Although by no means the first appearance of the vampire first edition, third issue, this handsome copy Jones, 1819 in European literature, Polidori’s tale established notably untrimmed, retaining the half-title, the Octavo (223 × 140 mm). Finely bound by R. R. Donnely the prototype later developed in Bram Stoker’s “Extract of a Letter Containing an Account of Lord & Sons, Chicago, in 20th-century purple full morocco, Dracula” (ODNB). spine gilt in compartments with titles direct, double Byron’s Residence in the Island of Mitylene” (pp. 73–84), and the final blank. Chew p. 176; Summers 542; Viet IV; Wise II, p. 71; Wolff gilt rule bordering boards, gilt rule to board edges, gilt- 5577. roll to turn-ins, grey endpapers, top edge gilt, others The Vampyre was conceived during the same com- untrimmed. Housed in a patterned cloth slipcase. The petitive storytelling evening as Mary Shelley’s £2,750 [118280] binding fine, ink mark to half-title, damp-stain to half- Frankenstein, and was written by Byron’s doctor,

78 Summer miscellany: Peter Harrington 168 169 170

167 first trade edition, deluxe issue in art fab- colour plates, black and white illustrations to text by the ric; with 1903 to the title page and the single page author. Spine lightly faded, slight bumps and rubbing to POTTER, Beatrix. The Tailor of Glouces- endpapers occurring four times, and the variant extremities, a little rubbing to head of front board, light ter. London: Frederick Warne and Co., 1903 frontispiece, repeating the illustration used for bleeding of colour from boards onto edges; a very good copy. Sextodecimo. Original red boards, titles to front board the pictorial label on the front cover of the trade and spine in white, pictorial label with illustration to edition. The first deluxe binding of Peter Rabbit had signed by the author on the half-title. Scarce front board, pictorial endpapers. Frontispiece and 26 been relatively plain and not particularly popular, signed, with only one other copy traced at auction. colour illustrations by the author. Bookseller’s stamp so Warne suggested the use of brocade for the next A later undated printing. to head of front pastedown. Spine faded, light foxing to book. Potter obtained some samples of patterned Linder p. 427; Quinby 15. edges; an excellent copy. cloth from her grandfather’s textile printing £3,250 [118307] first trade edition, with a single-page picto- works, Edmund Potter & Co. of Manchester, one rial endpaper occurring four times, which was of the largest calico printers in Europe. An art fab- 170 replaced with double-page endpapers in later im- ric binding, which Potter referred to as “a flowered pressions. Eleven of the illustrations are repeated lavender chintz, very pretty”, was selected for the POTTER, Beatrix. Appley Dapply’s Nurs- from the privately printed edition and 16 are en- deluxe issues of The Tailor of Gloucester and Squirrel ery Rhymes. London: Frederick Warne and tirely new for this edition. This trade edition was Nutkin in 1903, and vellum labels used for the title Co., [1917] published in October 1903. and author’s name, as it was impracticable to print Linder p. 423; Quinby 4. directly onto the fabric. Sextodecimo. Original green boards, titles to front cover and spine in red, with illustrated label to centre of front Linder p. 423; not in Quinby. £1,500 [118306] cover, pictorial endpapers. With frontispiece and 14 il- £4,000 [118305] lustrations. Ownership inscription to head of front free 168 endpaper, another erased to verso. Spine very lightly faded, slight bumps to extremities, a couple of light pencil POTTER, Beatrix. The Tailor of Glouces- 169 marks; an excellent copy. ter. London: Frederick Warne and Co., 1903 POTTER, Beatrix. The Roly-Poly Pud- first edition. Sextodecimo. Original floral patterned cloth, title to ding. London & New York: Frederick Warne Linder p. 430; Quinby 23. front cover gilt on vellum label, pictorial endpapers. and Co., [c.1913] £500 [118309] Frontispiece and 26 colour illustrations by the author. Contemporary Christmas gift inscription to front free Octavo. Original red cloth, titles to spine blue and to endpaper. Light browning to spine and board edges, front cover blue and gilt, pictorial label to front cover, slight bumps to extremities, an excellent copy. bevelled edges, pictorial endpapers. Frontispiece, 17

All items are fully described and photographed at peterharrington.co.uk 79 172

172 (RACKHAM, Arthur.) AESOP. Aesop’s Fables. A new translation by V. S. Vernon Jones, with an introduction by G. K. Ches- terton. London: William Heinemann, 1912 Quarto (197 × 142 mm). Recent green morocco by Bayn- tun-Riviere, gilt titles to spine, spine richly decorated gilt in compartments, animal corner-pieces gilt to covers within gilt frame, decorative turn-ins and gilt edges, marbled endpapers, original green cloth front cover and pictorial endpapers bound in at rear. Colour frontispiece 171 and 12 colour plates with captioned tissue-guards, with black and white illustrations in the text. Bookplate to front pastedown. Spine and head of front cover lightly 171 Gérard, French poet and playwright, and mother faded, boards slightly sprung, still an excellent copy. of Proust’s friend Maurice Rostand; she was mar- first trade edition. “The peculiar secret of PROUST, Marcel. Du côté de chez ried to Edmond Rostand, best known for his play Swann. À la recherche du temps perdu. Rackham’s success in seizing upon the essence Cyrano de Bergerac. The presentation inscription is of the human and portraying it in animal form, Paris: Bernard Grasset, Editeur, 1914 inserted on different paper stock to the rest of the which is after all the basic device of the morality, Octavo (186 × 115 mm). Bound by Semet & Plumelle in book, as usual for this title. is unwittingly touched upon in Chesterton’s de- near-contemporary blue half morocco, marbled sides, The necessary first issue points are all present: lightful introduction to the 1912 edition of Aesop’s top edge gilt, fore edge uncut, marbled endpapers, origi- with the wrappers dated mcmxiii, the title page Fables: ‘There can be no good fable with human be- nal wrappers bound in at front and rear. Small book label dated 1914, the intrusive bar in the publisher’s ings in it. There can be no good fairy tale without to front free endpaper. Spine slightly faded, small repair name, and p. 528 with the imprint dated “le huit them’. Rackham’s genius is such that it bridges the to front wrapper; an excellent copy, handsomely bound. novembre mil neuf treize”. The publication of two, and carries the didactic fable into the realm first edition, first state, presentation Proust’s masterpiece was much affected by the of fairy story, and lends to the imaginative world copy, inscribed by the author “à Madame Great War, leading to delayed publication of the of fairies a tangible and convincing reality” (Fred Rostand, hommage d’admiration respecteuse, first novel in the series. Gettings, Arthur Rackham, 1976, pp. 83–4). Marcel Proust”. The recipient was Rosemonde £22,500 [117367] £1,250 [119522]

80 Summer miscellany: Peter Harrington 173 174 175

173 studies in civil engineering. He was an engineer- Cramm, Somerset Maugham, and Prince George, RANSOME, Arthur. Winter Holiday. Lon- ing contractor in the Bay Area for 30 years. Duke of Kent. don: Jonathan Cape, 1933 £2,750 [117786] £800 [119487] Octavo. Original green cloth, title to front board in 175 176 blind, title to spine gilt, map endpapers. With the dust jacket. With 27 black and white illustrations. Spine gen- RENAULT, Mary. The Last of the Wine. ROBINSON, Charles (illus.) The Big tly rolled, a little foxing to edges of text block; a very good London: Longmans, Green and Co, 1956 Book of Fairy Tales. Edited by Walter Jer- copy in the jacket with a few shallow chips and nicks to extremities and slightly soiled rear panel. Octavo. Original brown boards, gilt titles to spine. With rold. London: Blackie and Son Limited, 1911 first edition of the fourth title in the Swallows the dust jacket. Double-page map as frontispiece. Light [but 1910] and Amazons series. foxing to edges, an excellent copy in the jacket with faded spine, light rubbing to extremities. Quarto. Original blue cloth, titles and pictorial decora- £2,000 [118672] tion to spine and front cover gilt, gilt edges, pictorial first edition. This is the second of Renault’s his- endpapers green and red. Colour frontispiece and 121 torical novels to deal with male homosexuality as colour plates, 16 red and black plates and numerous 174 its key theme. “Her interest in sexuality and specifi- black and white illustrations in text. Contemporary REAGAN, Ronald. An American Life. cally in homosexuality and fluid gender roles and gift inscription to head of front free endpaper. Spine rolled and faded, light bumps to extremities and head of New York: Simon and Schuster, 1990 identities may also have contributed to her mar- ginalization – yet these very interests warrant a re- front cover, slight wear to bottom tips, inner rear hinge cracked but holding, a very good copy. Octavo. Original blue cloth-backed red boards, gilt titles evaluation of her achievement in an era more liberal to spine, facsimile autograph stamped in blind to foot of than the one in which she began to write” (ODNB). first edition, dated 1911 on the title page, but front cover, grey endpapers. With the dust jacket. With A nice association copy, with the gift inscription with a Christmas gift inscription dated 1910 to 32 pages of photographic reproductions. A fine copy in front free endpaper, and so evidently published the fresh jacket. of First World War poet Cecil Roberts on the front free endpaper, “To Alec Lacy, from his friend Cecil for the Christmas season and post-dated 1911, as first edition, inscribed by the author on Roberts – Since you love Greece. June 1959”. Rob- was usual practice with pre-war deluxe illustrated the first blank, “To Ora and Joyce Elliott. With Best erts privately claimed to have been a lover of Lau- gift books. Wishes, Ronald Reagan”. Ora Elliott (1922–2008) rence Olivier, Ivor Novello, Baron Gottfried von £675 [117856] served in Patton’s 13th (Black Cat) Armored Divi- sion, before returning to Berkeley to finish his

All items are fully described and photographed at peterharrington.co.uk 81 177 178 179

177 178 179 ROOSEVELT, Theodore. The Wilder- ROWLING, J. K. Harry Potter and the ROWLING, J. K. Harry Potter and the ness Hunter. An account of the big game Philosopher’s Stone. London: Bloomsbury, Chamber of Secrets. London: Bloomsbury, of the United States and its chase with 1997 1998 horse, hound, and rifle. Illustrated. New Octavo. Original pictorial wrappers, titles to front cover Octavo. Original pictorial boards. With the pictorial dust York: G. P. Putnam’s Sons, 1893 in yellow, white and dark green, titles to spine yellow, jacket. Trivial bumps to spine ends, an excellent, bright white and black. Issued without a dust jacket. Creasing copy in the jacket with minor creasing to top edge. Octavo. Original grey cloth, gilt titles to spine, titles to spine, laminate lifting very slightly at bottom edge first edition, inscribed by the author on to front cover in brown, gilt vignette to front cover and and join of rear panel and spine, light creases to front the dedication page, “To Charlotte with best wish- spine. Frontispiece with tissue-guard and 23 plates, dec- and rear wrapper at upper tips, internally fresh. An excel- orative chapter headings printed in brown, tailpieces in lent, bright copy. es, J. K. Rowling”. black. Bookseller’s ticket to front free endpaper. Spine Errington A2(a). gently rolled and a little browned, slight rubbing to ex- first edition, paperback issue, one of 5,150 tremities, top edge dust toned; an excellent copy. copies. With all the requisite points of the first £5,750 [119516] first edition, first printing, with the chap- impression: the Bloomsbury imprint, a 10–down- ter headings in brown. The Wilderness Hunter is “the to-1 number line, the misprint “Philospher’s” on 180 best of Roosevelt’s natural history writings . . . by the rear cover, and the list of equipment on p. 53 with “1 wand” appearing twice in the list. ROWLING, J. K. Harry Potter and the 1893 Theodore’s writings showed more confidence Philosopher’s Stone; the Chamber of Se- and his storytelling became more natural and at Errington A1(aa). ease, especially when he shared his expansive £4,250 [117657] crets; the Prisoner of Azkaban; the Gob- knowledge of forest and game and his genuine ex- let of Fire; the Order of the Phoenix; the citement with nature” (White). Half-Blood Prince; the Deathly Hallows. Richard D. White Jr, Roosevelt the Reformer: Theodore London: Bloomsbury, 2005–7 Roosevelt as Civil Service Commissioner, p. 109. 7 individually published works, octavo. Original pictorial £300 [119359] paper-covered boards. With the dust jackets. A fine set. Each book in this complete set of the Harry Potter novels is inscribed by the author on the title page,

82 Summer miscellany: Peter Harrington 180 181 with the first six inscribed “To Louisa, J. K. Rowl- love, J. K. Rowling”. The set is accompanied by a out by the author. A fine copy of this elaborate and fan- ing”, and the final book inscribed “To Louisa, with letter of provenance from Fiddy Henderson, Rowl- tastical limited edition. ing’s personal assistant, dated 21 August 2005. The first edition, limited issue, signed by the first six books were sent together and the set was author on the half-title, with the authentication completed when Deathly Hallows was published hologram. This specially bound edition includes a in 2007; the latter book also bears the publisher’s portfolio of ten additional prints by Rowling that holograph sticker authenticating the signature. The were not issued with either the trade edition or set consists of mixed editions: Half-Blood Prince and the manuscript editions. Rowling initially began Deathly Hallows are first editions, the earlier works the full-length version of The Tales of Beedle the Bard later impressions. It is unusual to encounter a com- shortly after finishing the seventh Harry Potter plete set inscribed to the same recipient. novel, in which the storybook played a major role. Errington A13(a), A14(a). She wrote and illustrated six manuscript copies £12,500 [118747] that were finely bound and given to people who had been important in the publication of the Har- ry Potter books. A seventh manuscript copy was 181 auctioned to raise funds for her charity, The Chil- ROWLING, J. K. The Tales of Beedle the dren’s High Level Group, and broke the record for Bard. Translated from the original runes the most expensive modern literary manuscript. Her fans’ disappointment that the full text would by Hermione Granger. With commentary not be made available prompted her to release a by Professor Albus Dumbledore. London: trade edition, as well as the present limited edi- The Children’s High Level Group, 2008 tion, bound in a similar style to the manuscript Octavo. Original brown morocco-patterned boards, cor- version offered for auction. Uncommon signed: nerpieces and centrepiece to front board of silver metal there was only one signing event for this book, at with blue faux gems, metal clasp, green silk bookmark. the National Library of Scotland, attended by two Housed in the embroidered velvet bag within the pub- hundred children selected by lottery. lisher’s calf solander case with titles to the spine gilt and Errington A15 (aaa). design to the lid blocked in blind. Illustrations through- 180 £7,500 [117812]

All items are fully described and photographed at peterharrington.co.uk 83 “There is little doubt that the frequent visits and the presence in Italy of companies and personalities such as Diaghilev’s Ballets Russes, Isadora Duncan, Ida Rubinstein, Bella Hunter, Mary Wigman and Jia Ruskaja, channelled the interest of Italian theatre- goers away from such a culturally sterile form of national choreography. Some of those ‘innovative’ foreign inputs, moreover, were soon destined to become official manifestations of the Fascist regime’s politically pre-determined culture. The allegedly negative effect of Fascist culture on the Italian ballet tradition is much debated among Italian dance scholars and has yet to be fully ascertained. Some claim that, by supporting other forms of dance such as the ‘free’ and neo-classically inspired style promoted by Jia Ruskaja, and by forcing eminent supporters of the ballet to move abroad, Mussolini’s 182 182 regime gave a deadly blow to what was left of the once-acclaimed art form. Others point out that it 182 whose stage name simply means “I am Russian”, was under the Fascist regime that two important was the daughter of a White Russian officer. She ballet institutions were created in Rome, such as RUSKAJA, Jia. La danza come un modo fled Russia in 1918 just after the October Revolu- the Opera Ballet School (1928) and the Regia Scola di essere. Prefazione di Marco Ramperti. tion. After studies in Geneva and a failed marriage di Danza (Royal School of Dance) (1940)” (Grau). Ventisette fotografie fuori testo. Milan: to an Englishman in Constantinople, she settled in This is a compelling association copy for the history Casa Editrice I.R.A.G., 25 April 1927 Rome and devoted herself to dance. She had her of dance in Italy, connecting one of its most modern- debut on 4 June 1921, and swiftly became a promi- ising proponents to the head of state, and revealing Folio. Original red morocco, titles gilt to spine and nent proponent of the “free dance” movement in- front, gilt design to front board, moiré silk endpapers. the manner by which parts of futurist culture were 10 large photographic prints mounted on black card, and troduced by Isadora Duncan, dancing at the Teatro promoted under Mussolini’s fascist regime. 16 smaller photographic images on 8 plates at the rear. degli Indipendenti throughout the 1920s before Andrée Grau, Europe Dancing (2000). Spine and corners a little worn, some faint spotting to opening her own ballet school in Milan at the Teatre the first and final blank, small tear to the lower margin dal Verme in 1929. By 1932 she was promoted to the £6,750 [117929] of first blank, very good condition overall. charge of the Teatro della Scala ballet school, and true first edition, copy number 1 of 225 in 1940 her own school was recognised by the state 183 as the Regia Scuola di Danza (from 1948 named the copies on handmade paper signed by ruska- RUSSELL, Bertrand. History of Western ja, this copy specially bound for presen- Academia Nazionale di Danza), for which she acted tation to mussolini and additionally in- as founding director until her death. Philosophy and its Connection with Po- scribed on the first blank, “A Benito Mussolini, litical and Social Circumstances from the ommagio di devozione e di infinita ammirazione, Earliest Times to the Present Day. London: Jia Ruskaja, 11 Julio 1927, Roma”. La danza come un George Allen and Unwin Ltd, 1946 modo di essere was republished the following year by Casa Editrice Aples, in a larger, though still lim- Octavo. Original grey and white cloth, spine lettered in ited, edition of 1,500 copies. That edition is now yellow on brown. With the dust jacket. Slight toning to the board edges, but effectively a fine copy in an excep- uncommon, but the first is truly rare; we can find tional jacket, only very slightly ruffled at the edges and no example of the 1927 edition in library holdings with a small closed tear to the top edge of the rear panel worldwide, nor any recorded at auction. The red near the fore-corner. morocco binding here is likely to be unique to first uk edition. Russell’s compendious ac- Mussolini’s special presentation copy. count of the history of philosophy, from the Or- Jia Ruskaja, born Evgenija Borisenko (1902–1970), 182 phism of Ancient Greece to the Logical Positivism

84 Summer miscellany: Peter Harrington 183 184 186 of the author’s day, was a triumph of his populist of the structure of the atom and the first scientist Octavo. Original tan buckram, titles and illustration to craft and is perhaps his most famous book. Writ- to split the atom in 1917. This volume was “the first front board and spine gilt, top edge gilt, others uncut. ten during the Second World War, Russell’s project textbook on radioactivity, surveying contempo- Vignettes by James Broom-Lynne. Spine a little faded was in part conceived to explain to his audience rary knowledge of the entire field” (Dibner). otherwise a fine copy. the exact nature of the “civilisation” for which they Dibner 51. first edition, limited issue, number 259 of were fighting. Appropriately, the dust jackets were 750 copies signed by the author, published the £750 [119530] printed on the backs of surplus Second World War same month as the trade issue (May 1946). A long maps, this one showing part of the German border poetical sequence on the author’s favourite sub- with Poland; they do not generally survive in any- 185 ject, “which tries to sum up her own horticultural thing approaching collectable condition. Simon SACKVILLE-WEST, Vita. The Garden. aesthetic and is in some respects superior to its predecessor The Land” (ODNB). & Schuster published the first US edition in the London: Michael Joseph, 1946 preceding year, but the UK edition is preferred. An Cross & Ravenscroft-Hulme A44(b). exceptional copy. £500 [118855] £800 [119081] 186 184 SALINGER, J. D. The Catcher in the Rye. RUTHERFORD, Ernest. Radio-Activity. Boston: Little, Brown and Company, 1951 Cambridge: Cambridge University Press, 1904 Octavo. Original black cloth, gilt lettered spine. With Octavo. Original green cloth, spine and front board let- the dust jacket. Housed in a custom red cloth solander tered in gilt, ruling to boards continued across spine in box with a gilt-lettered white paper label to the front blind. 1 plate and numerous tables to the text. Bookplate panel. Tips slightly bumped, a couple of faint marks to and stamp from the library of Exeter College Oxford to covers; an excellent copy in the unusually bright jacket front pastedown and free endpaper, small paper label with spine panel entirely unfaded, tiny chips to spine to spine a little chipped. Spine rolled, ends and cor- ends, minor tape residue to flaps, 10 cm closed tear to ners bumped, extremities lightly rubbed, hinges gently rear panel. cracked but holding, overall a very good copy. first edition of one of the great American nov- first edition of the author’s first book on radio- els of the 20th century. activity. Ernest Rutherford (1871–1937) was a pio- £8,500 [119586] neer in the study of nuclear physics, the discoverer 185

All items are fully described and photographed at peterharrington.co.uk 85 187 188 189

187 of collector Charles Lambert Rutherston (1866– his masterpiece, notes that in this work Schum- 1927), who was elder brother of the artist Sir Wil- peter “paradoxically rejected the Marxian diagno- SASSOON, Siegfried. The Old Hunts- liam Rothenstein (1872–1945), champion of many sis of the imminent breakdown of capitalism and, man and other poems. London: William notable Modernist artists such as Augustus John, at the same time, predicted the almost inevitable Heinemann, 1917 Paul Nash, Wyndham Lewis and Henry Moore. arrival of socialism as a result of the betrayal of Octavo. Original grey paper boards, printed paper label Rothenstein had been an official War Artist, and capitalist values by the intellectuals of the western to spine. With the dust jacket. Slight sunning at head and executed a portrait of Siegfried Sassoon in 1921. world” (Great Economists Before Keynes, p. 216). foot of spine and top edge of the boards, light foxing to This copy has Rutherston’s later collector’s book- Swedberg S.011. plate, but was originally inscribed to him as a edges of text block; very good in the jacket, spine ends a £3,750 [118401] little chipped, splitting at the joint of the front panel and Christmas gift in the year of publication by his par- spine, professionally repaired with archival tissue. ents, “To our very dear Charles, Marion & Albert, first edition of one of the author’s key collec- Xmas 1919 with their love”. Much of Rutherston’s 190 tions of war poetry, uncommon in the jacket. collection was donated to the National Gallery SEUSS, Dr. Fox in Socks. New York: Ran- Keynes A15a. and British Museum. dom House, 1965 £500 [118905] £1,500 [119569] Octavo. Original pictorial paper-covered boards, titles to spine and front board in grey and red, pictorial endpa- 188 189 pers. With the dust jacket. Illustrated throughout by the author. Extremities a little rubbed; an excellent copy in SASSOON, Siegfried. Picture Show. Cam- SCHUMPETER, Joseph A. Capitalism, the bright jacket. bridge: Printed for the author by J. B. Pearce at Socialism and Democracy. New York: first edition, with “195/195” on the front flap, the University Press, June 1919 Harper & Brothers, 1942 and the correct list of titles to the rear panel of the dust jacket. Octavo. Original brown boards, title label to front board Octavo. Original black cloth, spine lettered and ruled in and spine. Covers generally a little rubbed, a few minor gilt. Spine ends and corners bumped, extremities worn, Younger & Hirsch 24. spine lettering faded, hinges cracked but holding, con- marks, spine chipping at the head, internally sound and £675 [118670] clean, very good condition. tents evenly browned and a little foxed, a very good copy. first edition, very scarce, one of 200 copies first edition of Schumpeter’s most important of this privately printed selection of war poems, and controversial book, a philosophical analysis including the first appearance of the stirring Ar- of economics and history in which he coined the mistice poem “Everyone Sang”. This is the copy term “creative destruction”. Blaug, who calls this

86 Summer miscellany: Peter Harrington 190 191

191 and numerous engravings throughout. Bookplate to front pastedowns, some occasional light foxing, an ex- SHAKESPEARE, William. The Plays. Ed- cellent set. ited by Howard Staunton. The illustra- first staunton edition. A handsomely bound tions by John Gilbert. Engraved by the set. brothers Dalziel. London: George Routledge £1,250 [118067] & Co., 1858 3 volumes, octavo (251 × 164 mm). Contemporary red 192 pebble-grain morocco, titles and decoration to spines (SLAVERY.) Report from the Select gilt separated by raised bands, college crest to boards gilt surrounded by gilt panelling, inner dentelles gilt, Committee on the West Coast of Africa; marbled endpapers, gilt edges. Engraved frontispieces Together with the minutes of evidence, 192 appendix, and index. Part I.—Report and Evidence [. . . Part II.—Appendix and In- first editions of these British government documents on a range of subjects relating to the illicit dex.] London: Ordered, by The House of Com- slave trade, bound as volumes 7 and 8 of a 10-vol- mons, to be Printed, 5 August 1842 ume library series, Reports from Committees: 1842. 2 volumes, folio (322 × 210 mm). Twentieth-century red The volumes are a valuable source of contempo- library buckram, spines lettered and ruled in gilt, blue rary information regarding the economics of the endpapers, top edge gilt. 3 coloured folding maps to slave trade and the British government’s efforts to vol. I. Bookplates of Public Record Office to front past- abolish it, and draw extensively from the colonial edowns, pages neatly separately paginated in ink and a administrator Richard Robert Madden’s accounts. few annotations to contents. Spines slightly rolled, mi- Madden was sent to West Africa in 1841 “as a com- nor rubbing to extremities and corners gently bumped, missioner of inquiry into the administration of a few scratches to boards, hinges strengthened, 2 long British coastal settlements, where he exposed the tears to folding map of Gambia, a few minor nicks to upper edge of leaf B1 and fore edge of DD2, vol. I, overall a ‘pawn system’, which was a disguised form of slav- very good set. ery” (ODNB). The large folding plates are maps of Sierra Leone, Gambia, and the Gold Coast.

191 £2,750 [118654]

All items are fully described and photographed at peterharrington.co.uk 87 193 194 195

193 Lectures of 1762–3” (D. P. O’Brien, The Classical pieces, edges speckled red. Armorial bookplates of Clan Economists, 1975, p. 29). Cumming to front pastedowns. Extremities rubbed with SMITH, Adam. The Theory of Moral a few small spots of wear, corners a little bumped, boards Sentiments or, An Essay Towards an The sixth edition of the Theory, which appeared a lightly marked, hinges gently cracked but holding, a few few months before Smith’s death, evinced a num- spill-burns to upper edge of vol. 2, a very good set. Analysis of the Principles by which Men ber of broad developments in his later thought, fifth edition, one of 1,500 copies printed, the Naturally Judge Concerning the Conduct as well as his last views on many specific points. last edition to be published in Smith’s lifetime, the Smith at least in part made extensive revisions so and Character, first of their Neighbours, text taken from the third edition (1784). “Where that he might bequeath a refreshment of copyright and afterwards of themselves. To Which the political aspects of human rights had taken to his publisher, in which he was successful. This is Added, A Dissertation on the Origin two centuries to explore, Smith’s achievement seventh edition, printed in 1,000 copies, has some was to bring the study of economic aspects to the of Languages. The Seventh Edition. In minor changes over the sixth. two Volumes. London: for A. Strahan; and T. same point in a single work. The Wealth of Nations Alston III, 828; Goldsmiths’ 15514; Jessop, p. 170; Kress is not a system, but as a provisional analysis it is B.2411; Tribe 44; Vanderblue, p. 38. See the editors’ Cadell in the Strand; and W. Creech, and J. Bell completely convincing. The certainty of its criti- & Co. at Edinburgh, 1792 introduction to the Glasgow edition (Oxford, 1976), pp. 15–20; Ross, Life, pp. 381–5, 391–5, and Richard Sher’s cism and its grasp of human nature have made it 2 volumes, octavo (210 × 130 mm). Rebound in modern account of the early editions of Adam Smith’s books in the first and greatest classic of modern economic speckled half calf, red morocco labels to spines, com- Britain and Ireland in Tribe (ed.), A Critical Bibliography of thought” (PMM). partments ruled and decorated in gilt, marbled boards, Adam Smith. Goldsmiths’ 13794; Kress B.1722; Tribe 33. See Printing edges speckled green. Small ownership inscription to and the Mind of Man 221. title page. Contents lightly browned with some creasing £1,850 [118194] and infrequent spotting, overall an excellent set. £4,750 [118023] seventh edition, a good set of Adam Smith’s 194 first book, the work that established his reputa- SMITH, Adam. An Inquiry into the Na- 195 tion as a philosopher both in London and on the SOROS, George. Soros on Soros. Staying Continent. “One of Adam Smith’s major claims ture and Causes of the Wealth of Nations. to fame, in some ways his greatest, is his develop- In Three Volumes. The Fifth Edition. Lon- Ahead of the Curve. New York: John Wiley & ment of a unified concept of an economic system don: printed for A. Strahan; and T. Cadell, 1789 Sons, Inc., 1995 with mutually interdependent parts. His develop- 3 volumes, octavo (213 × 125 mm). Contemporary pol- Octavo. Original black cloth, spine lettered in gilt. With ment of this came well before the Wealth of Nations; ished speckled calf, raised bands ruled in gilt, red the dust jacket. A fine copy. it is in the Theory of Moral Sentiments of 1759 and the morocco lettering-pieces, green morocco numbering-

88 Summer miscellany: Peter Harrington first edition, presentation copy inscribed by the author to Denis and Edna Healey on the front free endpaper, dated 25 August 1995. In this book, which comprises a series of expanded inter- views with the influential investor and business magnate, Soros discusses his political and philosophical approaches to business and his philan- thropic work with the Open Society Foundations. It is possible that the Healeys – he, the former British Labour Party Chancellor, and she, the writer and film-maker – met Soros through the elite Bilderberg Group, of which Denis was a founder and Steering Committee member. It is widely accepted, though not confirmed, that Soros is a member; others who have been associated with the Bilderberg Group include Bill Clinton, Angela Merkel, Rupert Murdoch, and David Rockefeller. 196 £2,500 [119499] ly influence me much. And it comes at a time when 196 I needed something of the sort to help me with the 197 STAPLEDON, Olaf. The Opening of the final stage of my own, very different book”. Eyes. Edited by Agnes Z. Stapledon. With The second letter is from Agnes Stapledon, dated another, contemporary, to head of half-title. Spine rolled a preface by E. V. Rieu [together with two 22 November 1950, breaking the news of Olaf ’s and faded, light soiling to boards, light wear to tips, foxing to edges; a very good copy. autograph letters]. London: Methuen & Co. death to Frick. In it she discusses the letter from 3 September: “it was one of the last letters he wrote. first edition, with the following points: “dead Ltd, 1954 Someday, if I may, I would very much like to read man’s chest” not capitalised on pages 2 or 7; the Octavo. Original green boards, gilt titles to spine. Spine that letter”. She also tells Frick of her intention to first letter of “vain” broken in the last line, page lightly faded; an excellent copy. publish Stapledon’s unfinished work. “I feel it is 40; the “a” not present in line 6, page 63; the “7” first edition, presentation copy, inscribed the most important thing I still have to do in my overstamped in the pagination on page 127; the by Agnes Stapledon, “Edward Frick, from Agnes life to bring it to the publisher and to his public. It full stop not present following “opportunity” in Z. Stapledon, in memory of Olaf. January 1954”. will be a long time I expect because I must search line 20, page 178; with “worse” in line 3, page 197; Edward Frick was an American architect based in in his notebooks for all that remains”. and the first state October advertisements, coded Paris whom the Stapledons had visited in Paris, in Bleiler pp. 470–1. 5R-1083 (some copies have July and November ad- August 1950, less than a month before Stapledon’s £1,250 [118812] vertisements, both of which were likely used later death. Stapledon was at the time in the process by the binder). of writing The Opening of the Eyes, a partly autobio- 197 Treasure Island was originally written as an adjunct graphical philosophical testament, which was left to the now-famous treasure map the author had incomplete on his death from a heart attack on 6 STEVENSON, Robert Louis. Treasure Is- drawn to entertain his young stepson “on a rainy September 1950. land. London: Cassell & Company, Limited, 1883 day in the Scottish Highlands” (Grolier), and was serialized in Young Folks magazine from October This copy has two related letters with it. The first Octavo. Original red cloth (one of several colours in 1881 to January 1882 under the pseudonym “Cap- from Olaf Stapledon to Frick is dated 3 September which the book was first issued), gilt titles to spine, cov- 1950, three days before his death, and discusses at ers blocked in blind with a single line border, black coat- tain George North”. It was only with the appear- length Hubert Benoit’s Métaphysique et psychanalyse ed endpapers. Frontispiece map with captions printed in ance of this first edition in book form, however, (1949), a copy of which Frick had given to Staple- red, brown and blue, with tissue-guard. 1901 catalogue that it received any kind of critical attention, and don in Paris. Stapledon wrote to thank Frick, writ- details tipped-in to head of front free endpaper verso, “was immediately hailed by critics as a classic”. ing that it “is by far the most stimulating that I near-contemporary bookplate to the front pastedown, Grolier 48. and ownership inscription to front free endpaper verso, have come across for many months. It will certain- £6,500 [117506]

All items are fully described and photographed at peterharrington.co.uk 89 198 199 200

198 Norman, Paul Rosenfeld & Harold Rugg. if it gives Stieglitz to you in even more manifesta- With 120 illustrations. New York: The Liter- tions than at 1710. Dorothy Norman”. (Stieglitz’s STEVENSON, Robert Louis. Strange gallery, An American Place, was at Room 1710, 509 Case of Dr Jekyll and Mr Hyde. London: ary Guild, 1934 Madison Avenue.) It is uncommon to encounter Longmans, Green, and Co, 1886 Octavo. Original black criss-cross grain cloth, titles re- this work with a double inscription; three signed versed out of silver ground to spine, monogram blocked Octavo. Original pink cloth, gilt titles to spine, titles copies have been traced at auction, all bearing in blind to front cover, top edge black. With the dust and publisher’s device to front cover in black, blue flo- Stieglitz’s signature only. jacket. With 120 black and white illustrations. Slight ral endpapers. Housed in a custom black cloth solander bumps to spine ends, wear to extremities, a very good £5,500 [118494] box. Slight rubbing to extremities, top edge lightly dust copy in the expertly restored price clipped jacket with toned, an excellent, bright copy. creasing, and chipping with minor loss to extremities. 200 first uk edition, the case-bound issue first edition, doubly inscribed presenta- STOWE, Harriet Beecher. Uncle Tom’s published a week after the wrappered issue. The tion copy, inscribed firstly by the photographer American edition was published four days before on the front free endpaper, “For Jack McTurner, Cabin; with twenty-seven illustrations by the London edition on 5 January 1886. Longmans in appreciation of all his kindness to us. Alfred George Cruikshank. London: John Cassell, had intended to publish in December 1885, but de- Stieglitz, An American Place, Nov. 15 – 1940”; ad- 1852 layed publication until January, as they feared the ditionally inscribed by one of the contributors, 13 parts in 11 as issued, octavo (203 × 132 mm). Original book would be overlooked by readers during the and Stieglitz’s lover, Dorothy Norman: “I am glad Christmas rush. Stevenson “achieved world-wide yellow paper wrappers printed in black, including the that you are to have this best ‘of Stieglitz’ – as I am 2-page advertisement for Parr’s Life-Pills to the rear of success with his ‘shilling shocker’ Strange Case of Dr glad that it exists in the world. I will be glad too Jekyll and Mr Hyde, a moral allegory about the divid- part 6, which is often lacking. Housed in a custom-made red quarter morocco solander box. Portrait frontispiece ed self and the problem of evil, the main incidents and vignette title page to part 13, and 27 full-page wood of which came to him in a dream” (ODNB). engraved plates. Ownership signature of S. Stewart £2,750 [118929] Taunton to front wrappers of part 4. Wrappers browned and a little soiled and chipped, contents very occasionally foxed, overall in extremely good condition which 199 is rare for this edition as the wrappers were printed on STIEGLITZ, Alfred. America & Alfred poor quality paper. Stieglitz. A Collective Portrait. Edited by first uk and first cruikshank edition Waldo Frank, Lewis Mumford, Dorothy of Stowe’s sensational abolitionist novel in the 199 original weekly parts, one of the scarcest forms of

90 Summer miscellany: Peter Harrington 201 201

200 of the earliest English text . . . New York: full morocco to a design by Tice, and 750 copies The Bennett Libraries Inc., 1927 in quarter cloth, with uncoloured plates. The only the story, published in the same year as both the other copy of this special issue that we can trace at conclusion of the serialized story in the American Octavo. Publisher’s deluxe red morocco, titles and deco- auction did not have the original hand-illustration abolitionist newspaper The National Era and its first ration to spine gilt in compartments, covers blocked by Tice present in this copy. US publication in book form. Cassell’s choice of with elaborate gilt design, Tice nude tan calf onlay to artist for his edition was well-calculated, for at the front cover, top edge gilt, others untrimmed, full green Clara Tice (1888–1973) was a notorious New York time Cruikshank was a world-famous artist whose and red morocco doublures decorated in gilt, green silk bohemian artist, known as “the Queen of Green- influence ensured that Stowe’s work circulated in moiré endpapers, red silk page marker. Frontispiece wich Village”. She was, according to the New York and 9 other plates in 2 states (10 on japon, 10 on Panne- Times, the first woman in New York to bob her hair, the most fashionable illustrated book markets. koek paper) with captioned tissue-guards, an additional This illustrated edition was “one of the most pop- in 1908. She began exhibiting her art from 1910 and hand-coloured etching on japon, and an original signed in 1915 her fame skyrocketed when the Society for ular and long-lived. [Cruikshank’s] twenty-seven drawing in coloured pencils by Tice. Titles printed in red the Prevention of Vice attempted to confiscate her whole-page designs, reproduced as wood-engrav- and black. Spine lightly browned, slight rubbing to head ings, concentrated upon the scenes which were to of spine, a little offsetting to endpapers, page marker works at the bohemian restaurant Polly’s. “Tice provide the basic matrix for the majority of subse- loose, partly unopened; an excellent copy. was apparently so highly regarded and so instantly recognizable as one of those ‘queer artists’ that her quent illustrated editions”, and ensured that Uncle first tice edition, one of three copies role in the first Greenwich Village Follies was sim- Tom’s Cabin became known as a visual icon as well extra-illustrated with 11 hand-coloured ply to play herself. As ‘Clara,’ she stepped out onto as a literary phenomenon (Wood, p. 152). etchings on japon, from a total edition of 1,000 the stage at the appointed time, outfitted in one Cohn 777. See Printing and the Mind of Man 332; Marcus copies, this copy also with a signed full page of her typically bizarre bohemian ensembles, and Wood, Blind Memory: Visual Representations of Slavery in original sketch in coloured pencils by Tice on the conducted a ‘quick chalk talk of nudes, bees and England and America, 1780–1865. Manchester: Manchester half-title. This special limitation is presented as a butterflies’” (Sawelsan-Gorse). Throughout the University Press, 2000. manuscript slip, itself signed and hand-illustrated 1920s she illustrated for Vanity Fair amongst other by Tice, laid down to the limitation page with the £7,500 [119023] magazines, and illustrated several books with her justification “One of three copies with Original softly erotic drawings. Etchings”. These original etchings thus present all 201 ten original plates in two states, and add an ad- Naomi Sawelson-Gorse, Women in Dada: Essays on Sex, (TICE, Clara.) VOLTAIRE. Candide, ditional illustration (facing p. 30) not given in the Gender and Identity, pp. 429–30. or All for the Best. Translated from the normal issue. The rest of the edition consists of £4,250 [118763] French. With 10 etchings. Exact reprint 247 copies printed on Pannekoek paper, with colour plates and bound in less elaborately decorated

All items are fully described and photographed at peterharrington.co.uk 91 202 203 204

202 Octavo. Original pale grey boards, spine and front board first edition, inscribed by the artist on lettered in green. With the dust jacket. Photographic the title page, “For Eve Arnold, In Admiration, Pe- TOLKIEN, J. R. R. [Lord of the Rings:] portrait frontispiece and 6 plates. Spine cocked, very oc- ter Blake. Feb 15th 1990”. Eve Arnold was one of The Fellowship of the Ring; The Two casional foxing to contents, jacket spine browned and the most important photojournalists of the 20th extremities a little chipped, overall an excellent copy in Towers; The Return of the King. London: the scarce jacket. century. George Allen and Unwin, 1954–5 first edition of this biography and memorial £375 [117953] 3 volumes, octavo. Recent burgundy morocco, black mo- volume written by the mother of the great com- rocco labels, gilt rule to bands, marbled endpapers, top puter science pioneer. Uncommon, especially so 205 edges gilt. Each volume has a map illustrated by the au- in the jacket, and apparently issued in an edition VERNE, Jules. Twenty Thousand Leagues thor. An excellent set. of as little as 500 copies, it is an interesting work first editions. The Lord of the Rings trilogy is which strives to establish Turing’s credentials under the Seas. Translated from the one of the most influential literary works of the without reference to his then still-classified war French. London: Sampson, Low, Marston, century. Its first reception was mixed: favourable work. Mrs Turing maintained that her son’s death Low & Searle, 1873 and perceptive reviews from C. S. Lewis and from was an accident, the result of careless handling of W. H. Auden, who had attended Tolkien’s Oxford Octavo (203 × 134 mm). Period style green straight-grain chemicals when preparing “non-poisonous weed- half morocco, burgundy morocco label, centre tool to lectures, were countered by others who were hos- killer, and sink-cleaner” at home. spine gilt, raised bands, marbled boards, plain brown tile, sometimes bitterly so. But the trilogy went on £1,500 [119493] endpapers. With 112 illustrations. An excellent copy. to astonishing sales and forged a major change in first edition in english. This printing is the public literary taste. “Heroic fantasy” has since first English language issue of one of the 19th cen- become one of the most commercially success- 204 tury’s best loved and most renowned adventure ful literary genres, having a transforming impact VAIZEY, Marina. Peter Blake. London: stories in all literature, preceding the US edition upon the entertainment industry, from electronic Weidenfeld and Nicolson, 1986 which was published in the same year. games to movies. Small quarto. Original grey laminated boards, titles to £5,000 [117770] £6,750 [117775] spine and front cover black and white, illustrated endpapers. With 30 colour and 30 monochrome illustrations. 203 Price sticker to rear cover. Spine lightly toned; an excellent copy. (TURING, Alan.) TURING, Sara. Alan M. Turing. Cambridge: W. Heffer & Sons, Ltd, 1959

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206 VONNEGUT, Kurt. Player Piano. New York: Charles Scribner’s Sons, 1952 Octavo. Original green boards, titles to spine silver. With the dust jacket. Spine gently rolled, an excellent, fresh copy in the jacket with browned spine, light toning to edges and slight nicks to extremities. first edition, signed by the author on the front free endpaper, dated 17 May 1993. £2,500 [117853]

207

207 hibition Andy Warhol: A Print Retrospective 1963–1981, this hand printed screenprint, a miniature version WARHOL, Andy. Marilyn Monroe. New of Andy Warhol’s famous Pink Marilyn, is com- York: Leo Castelli Graphics, 1981 monly known as the “Marilyn Monroe Castelli Screenprint on smooth wove card. Sheet size: 30.4 × 30.4 Graphic Invitation”. cm. Light crease to upper right corner. Presented in a Feldman & Schellmann II.31. white wooden box frame. £15,000 [117348] Edition of approx. 250. Signed by Warhol right of image. Published as an announcement for the ex-

205

All items are fully described and photographed at peterharrington.co.uk 93 208 208

208 first edition of this magnificent work, one of Stevens of King St, Covent Garden. It was in their the great orchid books of the 19th century; bibliog- sale room that, after an epic battle with a fellow WARNER, Robert; Benjamin Samuel raphies call for 528 plates but overlook the fact that enthusiast, Sir Trevor Lawrence, a contemporary Williams; Thomas Moore. The Orchid the only folding plate (which appears in volume I) of Day’s, acquired the one single plant of Aerides Album, comprising coloured figures and is double-numbered as 9–10 – this is a complete lawrenciae imported by Frederick Sander from the descriptions of new, rare, and beautiful set and includes the four-page obituary for Benja- Philippines” (in review of A Very Victorian Passion: orchidaceous plants. The coloured fig- min Samuel Williams in volume IX. The Orchid Paintings of John Day, Independent, 29 May 2004). ures by John Nugent Fitch. London: B. S. The Orchid Album was published at the height of Williams at the Victoria and Paradise Nurseries, the “Orchidelirium” which had been building in The stunning plates are the work of John Nugent Britain for some decades, but which seized the im- Fitch (1840–1927), nephew of Walter Hood Fitch: 1882–97 aginations of late Victorian horticulturists in the “Fitch’s work was more flamboyant than that of 11 volumes, quarto. Original brown fine diagonal-ribbed same way that the tulip craze inflamed the minds such predecessors as Ehret, Redouté, or the Bau- cloth, gilt lettered spines and front covers, spines and of collectors in Golden Age Holland. Anna Pavord er brothers, combining botanical accuracy with front covers with floriate panelling in blind & black (back writes: “Some of the grander Victorian growers, a flair for page design. In Britain and Europe he covers stamped in blind), untrimmed, endpapers yel- such as the Duke of Devonshire at Chatsworth in had little competition, being rivalled only by the low coated or with a pale grey or brown floriate pattern. Derbyshire and the Duke of Northumberland at Frenchman Alfred Riocreux” (ODNB). 527 fine hand-coloured lithograph or chromolithograph Syon House in Middlesex, employed their own col- plates (with tissue guards) by John Nugent Fitch (one Nissen 2107; not in Plesch or Pritzel. lectors, but orchid fanciers like John Day acquired double-numbered folding plate in volume I), some with £16,000 [119040] tinted backgrounds; chromolithograph plate (Cypripedi- their best treasures at auction. Nurserymen such um Charlesworthii) from another work inserted in volume as James Veitch, Conrad Loddiges, and Benjamin X. Bookseller’s ticket of David Bryce & Son, Glasgow. Rear Samuel Williams of the Victoria and Paradise joint of volume I split at foot but sound, scattered foxing to Nurseries in Upper Holloway, regularly sent con- letterpress, plates clean and fresh. A very good set. signments of orchids to be auctioned by Messrs

94 Summer miscellany: Peter Harrington 209 210

209 10 volumes, large octavo (237 × 168 mm). Contemporary Octavo. Original skiver-covered wrappers, titles to front red morocco, titles to spines gilt, single rule to boards wrapper in green. Housed in navy morocco backed book- WHITMAN, Walt. The Complete Writ- gilt, twin rule to turn-ins gilt, marbled endpapers, top form slipcase and chemise. Front joint just starting and ings. New York and London: G. P. Putnam’s edges gilt, others untrimmed. Colour frontispieces and spine just beginning to separate at head, otherwise only 3 additional plates with printed tissues in red to each vol- light rubbing to extremities and some mild dust soiling, Sons and The Knickerbocker Press, 1902 ume. Bookplate to front pastedowns, some occasional internally sound and fresh, very good overall. mild foxing throughout, spines a little darkened and first and only edition, one of 750 copies boards a little marked, an excellent set. printed, of this Oxford play satirising Oscar Wil- the paumanok edition, limited to 300 sets de. “The motive of this production . . . is an hon- printed on Ruisdael handmade paper and signed est dislike for ‘Dorian Gray,’ ‘Salome,’ the ‘Yellow by the publisher; this particular set from a series Book,’ and the whole of the erotic, lack-a-daisical, with a star sticker affixed to the number line. With opium-cigarette literature of the day”, the student- an inlaid hand-written post card from Whitman authors write in their preface, though they confess addressed to Melville Phillips: “Don’t fail to let me “We have never met the philosopher in question see proofs beforehand -- send two impressions. personally, or seen anything more of him than a Walt Whitman the bundle of presses came right – distant back-view, and even that obscured by a thanks,” dated February 8, [18]90. With a loosely throng of admiring Adonises.” 209 inserted bookplate “From the library of Sylvester The play is considered a significant adjunct to Wil- Stallone.” dean studies, and as such is represented strongly £9,750 [117980] in institutions: four copies are recorded in UK institutions, thirty-five in the United States, and 210 one in Dublin. However, no doubt because many of the surviving copies of this relatively ephemeral (WILDE, Oscar.) [AMERY, Leopold production have been assumed into special collec- C. M. S.; Francis W. Hirst; Henry A. A. tions, it is rare in the trade: the last copy to appear Cruso.] Aristophanes at Oxford. O.W. by at auction was in 1982. Y.T.O. Oxford: J. Vincent; Simpkin, Marshall, £1,750 [117754] 209 Hamilton, Kent & Co., London [1894]

All items are fully described and photographed at peterharrington.co.uk 95 211

211 ner of front pastedown, mild toning to leaves, but nonetheless an excellent copy with the jacket chipped at the (WILDE, Oscar.) The Trial of Oscar Wil- ends and corners and with splits along the fore-edge (but de. From the Shorthand Reports. Paris: intact), notably bright in tone. Privately printed, 1906 first edition, first printing (Scribner’s “A”), a 212 rare presentation copy, inscribed to American Octavo. Near-contemporary green morocco-backed impressionist painter Roy Charles Gamble (1887– green cloth boards by Sangorski & Sutcliffe/Zaehnsdorf, The American literary critic, journalist, and editor gilt titles to spine, in compartments, top edge gilt, mar- 1972), who had been Wilson’s friend and comrade Edmund Wilson (1895–1972) presented this copy bled endpapers. Title page printed red and black, 6 pages in the First World War. The inscription on the front to the artist Roy Charles Gamble, who was born of publisher’s advertisements, printed red and black, at free endpaper reads, “To Roy Gamble with the best in Detroit and studied at the Detroit School of Fine the rear. Small hole to pp. 9–10, pencil correction to pp. regards of Edmund Wilson, February 1931”. Art. He spent the early part of his career in Paris, 7–8 noting the correct university of Lord Alfred Douglas, Axel’s Castle, which is included in Connolly’s 100 books Douglas’s name inked out to pp. 111, 127 and 129; an ex- however, where he exhibited at the Paris Salon and cellent copy. of The Modern Movement, was an influential study on associated with Left Bank artists such as Picasso the roots of Modernism in the Symbolist movement, and Matisse, as well as writers such as Gertrude first edition, limited issue, number 259 of with chapters on W. B. Yeats, Paul Valéry, T. S. Eliot, Stein, making this a particularly appropriate as- 500 copies on handmade paper (there were also Proust, James Joyce, Gertrude Stein, and Rimbaud. sociation. He later returned to Detroit and was 50 on japon), all issued for private circulation only. The title relates to the symbolist masterpiece Axel by a member of the Scarab Club alongside the likes Mason 688. Auguste Villiers de l’Isle Adam (1838–1889). As the of Norman Rockwell and Diego Rivera. Wilson £500 [117650] jacket explains: “Count Axel of Auersberg, in Villiers first met Gamble in 1917 when they served in the de l’Isle Adam’s Axel, published in 1890, is a young same unit during the First World War – Wilson as a 212 man of ‘an admirable virile beauty,’ with ‘a pale- translator, Gamble a painter. Wilson and Gamble ness almost radiant’ and ‘an expression mysterious both worked on the unit’s newspaper Reveille, as re- WILSON, Edmund. Axel’s Castle. A from thought.’ He inhabits, in an atmosphere half- vealed in a letter Wilson wrote home to his mother Study in the Imaginative Literature of Wagnerian, half-romantic-Gothic, an ancient and from aboard ship, 4–7 November 1917: “Rabette, a 1870–1930. New York and London: Charles isolated castle in the depths of the Black Forest. It is Harvard man, is managing editor: he and I and a Scribner’s Sons, 1931 because such a person, placed in such a setting, both man named Roy Gamble do most of the work on conceived in the dark labyrinths of the unconscious it. I like Gamble especially. He is an artist and a Octavo. Original blue cloth, printed paper label to spine. mind, suggests the essential quality of the literature very simple sort of fellow, with little education ex- With the dust jacket. Spine label faintly tanned, some about which Mr Wilson speaks, that this conception cept artistic education. He hates the military life very minor marks to cloth, small damp stain to top cor- was selected for the title.”

96 Summer miscellany: Peter Harrington 213 214 215 and spends a good deal of time sketching the gulls 214 Octavo. Publisher’s deluxe blue full leather, titles and and the men. They put him on fatigue duty the decoration gilt to spine and front, marbled endpapers, other day (sweeping decks and other disagreeable (WYETH, N. C., illus.) FOX, John, Jr. The gilt edges. Portrait frontispiece by Augustus John. Ink work) for being late to some formation and it put Little Shepherd of Kingdom Come. A ownership inscription to half title. Spine a little sunned, ends and corners lightly rubbed, a lovely copy in excel- him out so that we had to cajole him into making limited edition. With pictures. New York: lent condition. us a woodcut for the title of the paper.” Charles Scribner’s Sons, 1931 first uk edition, in the rare deluxe leath- The book is scarce enough in the jacket, but Large octavo. Original japon-backed blue and yellow er binding. The UK edition is preceded by, but is signed or inscribed copies are rare – we have never check cloth, gilt titles to spine, top edge gilt, others much scarcer than, the US edition of the same year. handled another and can only trace one at auction untrimmed, blue endpapers. With the glassine jacket. This was the first edition to collect the breadth of (and that with a later inscription). To have one Housed in the blue box, japon label to lid, numbered in Yeats’s poetic output in one separately published manuscript. Colour frontispiece, title page and 14 plates with such a compelling association inscribed at volume since the Poems of 1895, which had repre- the time of publication is superb. tipped-in with tissue-guards. Contemporary Christmas ownership inscription to inside cover of box lid. An ex- sented only “Crossways”, “The Rose”, and “The Connolly, Modern Movement 71. cellent copy, partly unopened, in the lightly yellowed Wanderings of Oisin”, which are included here, £3,750 [118803] glassine jacket with slight loss to foot of front flap. In the and also two plays no longer included. To these lightly browned box, slight wear to extremities. are added here “The Wind Among the Reeds”, “In 213 signed limited edition, number 323 of 500 cop- the Seven Woods”, “The Green Helmet”, “Respon- ies signed by the illustrator (12 copies were reserved sibilities”, “The Wild Swans at Coole”, “Michael WOOLF, Virginia. The Years. London: for presentation). The trade issue was published Robartes and the Dancer”, “The Tower”, “The Leonard and Virginia Woolf at The Hogarth the same year. Fox’s classic Civil War tale was origi- Winding Stair”, “Words for Music Perhaps”, and Press, 1937 nally published by Scribner’s Sons in 1903, with il- “A Woman Young and Old”, as well as his longer lustrations by F. C. Yohn. A handsomely illustrated narrative and dramatic works, “The Old Age of Octavo. Original green cloth, gilt titles to spine. With the Queen Maeve”, “Baile and Ailinn”, “The Shadowy dust jacket designed by Vanessa Bell. Spine slightly fad- copy, with the uncommon glassine jacket. Waters”, “The Two Kings”, and “The Gift of Harun ed, extremities a little rubbed, faintly foxed endpapers. £1,250 [118697] An excellent copy in the slightly foxed jacket. Al-Rashid”. Yeats also included 16 pages of revealing notes on his poems. first edition. 215 £750 [117289] Kirkpatrick A22a; Woolmer 423. YEATS, W. B. The Collected Poems. Lon- £1,500 [118645] don: Macmillan & Co., Limited, 1933

All items are fully described and photographed at peterharrington.co.uk 97 Peter Harrington london mayfair where rare books live chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London98 w1s 4ff Summerwww.peterharrington.co.uk miscellany: Peter Harrington London sw3 6hs