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Peter Harrington CHRISTMAS 2020 london Subject Index Christmas 2020 opening hours: CHILDREN’S Fulham Road 1, 7, 18–19, 31–5, 42–3, 59, 64, 86–7, 97–9, 107–8, 110, 120–1, 140, 144, 148, 168, 173–4, 207, 216, 227–8, 243, 246, 255, 257, 261–4, 267 Mon 23 Nov – Wed 23 Dec COOKERY Mon, Fri, & Sat: 10am–6pm 26, 149, 186, 194, 232 Tue–Thu: 10am–7pm DETECTIVE FICTION & CRIME Sun: closed 14, 21–2, 118, 172, 223–4, 238 Thu 24 Dec: 10am–2pm ECONOMICS Fri 25 Dec – Mon 28 Dec: closed 29, 53, 61, 70–1, 83–4, 89, 94–5, 119, 125, 133, 145, 156, 162, 233, Tue 29 Dec & Wed 30 Dec: 10am–6pm 237, 247, 249, 266 Thu 31 Dec: 10am–2pm FANTASY & SCIENCE FICTION Fri 1 Jan – Sun 3 Jan 2021: closed 8, 80, 96, 105, 143–4, 166, 215 FINE BINDINGS Mon 4 Jan 2021: Normal business 20, 77, 93, 103, 109, 130–1, 154, 161, 203 hours resume LITERATURE 2–4, 10, 17, 30, 39–41, 44, 56–8, 62, 66–8, 72–3, 76, 81–2, 90, 101, 103, 122, 126, 137, 139, 142, 147, 154, 157, 158–9, 160, 163–4, 167, Dover Street 175–6, 180, 187–191, 193, 195, 197, 200–1, 203, 209–10, 212, 214, 220–2, 225, 230–1, 241–2, 244, 250–1, 254, 267, 270, 272, 280, 282 Mon 23 Nov – Wed 23 Dec PHILOSOPHY Mon–Fri: 10am–7pm 5, 15, 78–9, 91–2, 123, 252–3, 278 Sat: 10am–6pm Sun: closed POLITICS 23–5, 48–9, 69, 71, 92, 169, 178–9 Thu 24 Dec: 10am–2pm POETRY Fri 25 Dec – Sun 3 Jan 2021: closed 13, 16, 36, 38, 51, 65, 105, 109, 135, 161, 170–1, 182–3, 192, 199, 208, 213, 217, 236, 239–40, 245, 269, 276 Mon 4 Jan 2021: Normal business PLAYS hours resume 22, 52, 74, 77, 129–31, 151, 153, 181, 258–9, 265, 279 Opening hours are subject to government guidelines PRIVATE PRESS Please see our website for details 11, 51, 103–5, 122, 182, 192, 286 SCIENCE & TECHNOLOGY 27, 155, 185, 202, 206, 211, 273 TRAVEL 10, 46, 106, 132, 138, 177, 226, 234, 284 WARTIME/MILITARY 11, 13, 23–5, 47, 84, 179, 198, 219, 235, 245, 257, 260, 276 WORKS BY WOMEN 26, 28, 30, 45, 101–2, 117, 136, 138, 140, 148, 156–60, 163–4, 166, 175, 182–4, 186, 196–7, 199, 206, 209–10, 217, 227–8, 230, 232, 234, 241–4, 246, 250–1, 254, 264, 277, 281–4, 286 VAT no. gb 701 5578 50 Front cover illustration by François-Louis Schmied for Oscar Wilde’s Deux Contes, Peter Harrington Limited. Registered office: item 154; illustration opposite from Maria Montessori’s Metodo della pedagogia scientifica, WSM Services Limited, Connect House, 133–137 item 102; rear cover illustration from Charles Dickens’s Christmas Carol, item 40. Alexandra Road, Wimbledon, London SW19 7JY. Design: Nigel Bents. Photography: Ruth Segarra. Registered in England and Wales No: 3609982 CBP003316 Peter Harrington london CHRISTMAS 2020 catalogue 167 Main Catalogue: items 1–159 Gift Selection: items 160–286 all items from this catalogue are on display at dover street mayfair chelsea 43 doveR stReet 100 Fulham Road london w1s 4FF london sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 usa 011 44 20 7591 0220 www.peterharrington.co.uk 1 2 1 First illustrated edition, signed limited issue, num- First collected edition, in contemporary calf ber 16 of 250 specially bound copies signed by both ADAMS, Richard. Watership Down. Illus- 3 the author and illustrator. This copy has an original trated by John Lawrence. Harmondsworth: The watercolour depicting Pipkin, drawn and initialled AUSTEN, Jane. Sense and Sensibility; Pride Paradine Press, 1976 by the illustrator, on the first blank. and Prejudice; Emma; Mansfield Park; Nort- Large octavo. Original dark green crushed morocco by hanger Abbey and Persuasion. London: Rich- Sangorski & Sutcliffe, raised bands forming compartments £5,250 [141188] to spine, titles direct to second and third in gilt, fleurons ard Bentley, 1833 to first and fifth and rabbit motifs to fourth and sixth in 2 5 volumes, octavo (166 × 101 mm). Contemporary black half gilt, rabbit vignette to front cover in gilt, green and yellow calf, marbled boards (matching designs for Emma, MP, and endbands, edges and turn-ins gilt, marbled endpapers. In ANDERSON, Erasmus B. (ed.) Norrœna NA; similar, but possibly slightly later decorations and mar- the marbled slipcase as issued. Original watercolour to the Anglo-Saxon Classics. London: Norrœna Soci- bling for P&P and S&S), red calf spine labels, gilt decorated first blank. Colour frontispiece, numerous illustrations to ety, 1905–07 spine compartments, marbled edges to three vols. Engraved the text in colour and black and white, folding colour map vignette titles and frontispieces by William Greatbach after tipped-in at rear. Spine just a trifle darkened, otherwise 15 volumes, octavo. Publisher’s deluxe red, blue, or green Ferdinand Pickering. Bound without the half-titles and pub- fine, fresh copy in the original slipcase. cloth, spine lettered in gilt, elaborate pictorial devices to lisher’s advertisements; Note from the Editor of the Standard spine and front panels in gilt, rear panel blocked in blind, Novels series present in S&S. Early inked signature (“Eliza- top edges gilt, others uncut. Colour frontispieces, illustrat- beth Roberts”) to each vol., armorial bookplate of Phineas ed half title, 51 plates with tissue guards, 3 folding maps, il- Riall in all vols. except NA, ticket of Dublin bookseller Grant lustrations to text. An excellent set, all sound and attractive, & Bolton to S&S and P&P. Boards slightly rubbed, a few mi- gilt only somewhat dulled from spines. nor scuffs, lightly wear to tips, hinges occasionally starting A very attractive set of the Memorial Edition, num- and a couple of leaves loosening, pp. 187–204 in S&S a trifle ber 88 of 350 copies only, privately printed for mem- cropped, long closed tear to inner margin of p. 401 in Emma, bers of the Norrœna Society. The set comprises Saxo scattered foxing. An excellent, attractive set. Grammaticus, Teutonic mythology, the Volsunga First collected edition, and the first illustrated Eng- Saga, the Heimskringla, Burnt Njal, the Eddas, epics lish edition, this copy in an attractive contemporary and romances, a collection of popular tales, Arthu- binding and with appealing evidence of early female rian tales, and the Norse discovery of America. readership. Each volume has the ownership signature of Elizabeth Roberts, who, in a serendipitous nod to £1,750 [142367] Pride and Prejudice, was one of five daughters, of whom the eldest was named Jane. 1 2 CHRISTMAS 2020 4 These are also the first English editions to be il- lustrated. The very first Austen illustration appeared in a French translation of Persuasion (entitled La Famille Elliot) with a frontispiece by Delvaux after Chasselat (Paris: A. Bertrand, 1821). The Bentley illustrations, by Ferdinand Pickering, played an integral part in the reception of Austen’s novels. According to one Austen scholar, they “promoted a sense that her novels were best understood as familial, female focused, and sensational. For decades, these illustrations would have served to steer readers away from the conclusion that Austen’s fiction ought to be understood as social, comic, or didactic” (Looser, p. 20). 3 Gilson D1–5; Sadleir 3735a. Davoney Looser, The Making of Jane Austen, 2017. For Elizabeth Roberts, see Kent v. Roberts in Irish Eq- uity Reports, vol. 3, Dublin: Hodges and Smith, 1841. Upon the death of their father in 1826, the Rob- Roberts had appointed Jane as the sole executrix of erts sisters became co-heiresses to his estate, the his will and devised his estates so as to permit her £15,000 [142405] fortunate opposite to the situation of the five Bennet to receive the rents of the family lands in Shanga- sisters in Pride and Prejudice, who were unable to in- nagh, Dublin, during her lifetime. These books 4 herit their father’s entailed estate. Their father John subsequently passed from Elizabeth to her nephew AUSTEN, Jane. The Novels. London: Richard Phineas Riall (1803–1884), the eldest son of her sister Anne and her husband Charles Riall, and have his Bentley & Son, 1882 armorial bookplate. 6 volumes, octavo (199 × 140 mm). Mid 20th-century red In 1832–33 Richard Bentley bought the copy- half morocco, spines lettered in gilt, red cloth sides, light right of Pride and Prejudice from the executors of pink endpapers, top edges gilt, others untrimmed. Mono- chrome frontispiece to each volume. Spines lightly sunned, Thomas Egerton and that of the remaining novels bindings in nice condition without wear, occasional run- from Henry and Cassandra Austen. Austen’s novels ning foxing yet generally clean. An excellent set. had not been reissued since 1818 so these print- The Steventon edition. In 1867 Richard Bentley (see ings – published by Bentley in his Standard Novels note to previous item) relinquished management of series – constitute early editions: Sense and Sensibility, his company to his son, who produced this elegant third edition (pre-dating the first American by a few edition of an author whose stock had risen since the months); Pride and Prejudice, fourth edition; Mansfield firm’s first publications. Park, third edition; Emma, second edition (omitting the dedication to the Prince Regent of the first edi- Gilson D13. 3 tion); Northanger Abbey and Persuasion, second edition. £3,750 [141269] All items are fully described and photographed at peterharrington.co.uk 3 5 7 Full of passionate iconoclasm written shortly after the abolishment of the English Board in 1828, Babbage condemns the Board for its 5 nepotistic appointments and the Royal Society’s mo- AYER, Alfred J.
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  • The Ferocious Reticence of Georgette Heyern (Sunday Her Daughter Eustachia (Who Nq&.Es), and the Events Which Spring from Times Magazine [London], 5 October 1975, Pp

    The Ferocious Reticence of Georgette Heyern (Sunday Her Daughter Eustachia (Who Nq&.Es), and the Events Which Spring from Times Magazine [London], 5 October 1975, Pp

    I GEQRGMTE HEYER: A CRITICAL RETROSPECTIVE , I I Dragonmede, a selection this past spring of the American Literary Guild, muttered by the narrator are totally out of keeping with her supposed is an example. It is peculiarly undistinguished, mwkd only by a certain station, time and education, although they do add a certain spice to the imitative crispness. The plot has everything, including insanity, almost unimaginable blancmange that is the texture of the book. fratricide, and significant, deliberate, plotted coincidences, as well as I The real interest of this slight work is in the indisputable fact that it judicious doses of the 'purple heart throbs": i will have so many readers. And this in spite of the fact that unlike the I best romantic thrillers or romantic novels Dragonmede neither delights With one swift movement I was off the couch, us with facts or technical descriptions of specialized groups in society, restoring order to my disarranged skirts, smoothing nor interests us in the development and conflict of characters. Its only my hair, turning my back upon him as I drew my tom virtue is that it is smoothly and grammatically written, seldom a feature bodice over my breasts and hid from him the teqs of the present-day romantic novel. The lowest common denominators of which disillusion brought. the genre will interest future social and cultural historians; the authors' assumptions about what women really want to read, at least, are accurate It is an ingredient of such novels that 9e characters, unlike those of enough. It is Janet and John with sex thrown in, and if the results read as Mi% Heyer, exist in a vacuum, the subject of the novel being only their though they were written by committee or computer, it is this which own domestic needs and emotions.