Modern Literature

Peter Harrington london This is the first modern literature scribed to his old friend Ezra Pound We are exhibiting at these fairs catalogue that Peter Harrington has (51). From Eliot, the Faber director issued in almost two years. Acquisi- wreathed in Nobel laurels, to Pound, 8–11 March 2018 tions have not ceased in the mean- incarcerated as a madman and trai- new york time, so we have plenty of exciting tor, still producing his Cantos (162). Park Avenue Armory 643 Park Avenue, New York new material to showcase. We hope We have not restricted our selec- www.nyantiquarianbookfair.com the result is an inspiring gathering – tion to the English language. Apol- the giants of 20th-century literature linaire, Borges, Brecht, Bulgakov, Ca- 23–25 March represented by some of the best (and, pek, Genet, Grass, Harbou, Neruda, tokyo in a few cases, the only) copies on Pasternak, Rilke, and Robbe-Grillet Tokyo Traffic Hall the market. all speak in their own tongue. www.abaj.gr.jp Recently we have sensed a ground- There are also several rare runs of no- swell of enthusiasm for George table literary magazines from around 25 April – 1 May Orwell. We’re proud to be able to the world: the beat Big Table (10), the abu dhabi offer a phalanx of all but one of his surrealist Bifur (168), Caetani’s Bot- Abu Dhabi International Book Fair full-length books in their scarce and teghe Oscure (29), the English Personal National Exhibition Centre striking dust jackets (items 147–55; Landscape produced in Cairo (47), and Abu Dhabi, UAE pictured opposite). Graves & Riding’s Focus series private- www.adbookfair.com Uncovering associations is one ly printed in Majorca (82). of the chief delights in collecting As for personal favourites, watch 24–26 May rare books. This catalogue is alive out for Joni Mitchell (139) and what london with such connections. We have Syl- may be the definitive H. P. Lovecraft The ABA Rare Book Fair via Beach inscribing Joyce’s Exagmina- autograph letter (127). In the last Battersea Evolution tion to a Lost Generation pianist (9), months of his life, Lovecraft pours Queenstown Road, London SW11 Beckett inscribing Endgame for David out his philosophy of life, his theory www.rarebookfairlondon.com Mamet (15), and Joyce inscribing of horror, and a comprehensive read- Portrait to a model for Leopold Bloom ing list. 28 June – 4 July (109). We discover Ginsberg and This is a personal selection from our masterpiece Cassady reading Céline (77). H. G. shelves, so if there are authors or ti- The Royal Hospital Chelsea Wells sketches a caveman for Henry tles you seek that do not appear here, London SW3 James (197), and Zukofsky teaches please contact me at: www.masterpiecefair.com Ferlinghetti a thing or two about po- [email protected]. etry (215). VAT no. gb 701 5578 50 Peter Harrington Limited. Registered office: WSM Above all, what a complex thrill to Services Limited, Connect House, 133–137 Alexandra handle a book that T. S. Eliot has in- Road, Wimbledon, London SW19 7JY. Registered in England and Wales No: 3609982

Front cover illustration from a drawing by Evelyn Waugh in Love Among the Ruins, copy no. III (item 195). Design: Nigel Bents; Photography: Ruth Segarra. Peter Harrington london

catalogue 143

Modern Literature

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

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1 (then flushed with fame after the publication of The Waste ALDINGTON, Richard. The Berkshire Kennet. London: Land) as an occasional companion. Aldington’s biographer Charles Doyle described the pastoral poem as “a one man printed for Holbrook Jackson by the Curwen Press, 1923 rear-guard action against Modernism . . . symptomatic of Pamphlet, small octavo, pp. 6, [1]. Original patterned wrappers, the fact that Aldington was uncertain of his position in title label to front. Fine. relation to the new poetic” (Richard Aldington: A Biography). first edition, first impression, number 28 of 50 copies printed on handmade paper, this copy additionally in- £500 [120718] scribed on the limitation page, “Donald Friede from Rich- ard Aldington”. Donald S. Friede (1901–1965) was a signifi- 2 cant American publisher of literary modernists. The son of ANDERSON, Sherwood. Dark Laughter. New York: a Russian immigrant who had represented Ford Motors in Boni & Liveright, 1925 tsarist Russia, Friede was expelled from three universities Octavo. Original black cloth, titles to spine and front board in yel- (Harvard, Yale, and Princeton) before finding his first foot- low, decoration to spine in blind, pictorial endpapers. With the ing in the book world as a stock clerk for Alfred A. Knopf. He pictorial dust jacket. Housed in a black cloth slipcase with match- had only just joined Boni & Liveright in 1923, the year of this ing chemise. Byron Price bookplate to front pastedown, Frank Ho- book’s publication. He soon rose to become its vice-pres- gan book label to front free endpaper verso. Spine gently rolled, ident in 1925, and in 1928 co-founded Covici–Friede, Inc, rear hinge starting, half-title partially tanned, internally clean. publishing the likes of John Steinbeck, Ezra Pound, T. S. El- A near-fine copy in the notably bright jacket, a little rubbed and iot, and E. E. Cummings. He later worked as a literary agent nicked, with short closed tear. and senior editor at Prentice-Hall and Doubleday, working first trade edition, first printing. the dedica- with Ernest Hemingway and Theodore Dreiser. The Library tion copy, inscribed by the author to Jane W. Prall, the of Congress holds his papers. This is an excellent associa- mother of his third wife, Elizabeth Prall, on the half-title, tion for one of the British modernist’s rarest publications, “To Jane W Prall, With Love, Sherwood Anderson”. In- of which we can trace only one inscribed copy ever having spired by his time in New Orleans, Dark Laughter was An- appeared at auction, in 1992. derson’s best-selling work in his lifetime. Aldington’s long poem (which had appeared in To-Day, £4,500 [124274] September 1923, and also appeared the same year in the collection The Exile and Other Poems) communicates the spiritual salve of walks along the River Kennet in Berkshire, where he was recovering in Malthouse Cottage from the shock of his trench experiences, with his friend T. S. Eliot 2

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3 4 APOLLINAIRE, Guillaume. Le Bestiaire ou cortège ARDIZZONE, Edward, & Maurice Gorham. The d’Orphée. Illustré par Raoul Dufy. Paris: Éditions de La Local. London: Cassell & Co, Ltd, 1939 Sirène, 1919 Octavo. Original grey paper-backed boards, titles to spine and Square octavo. Original yellow wrappers, black lettered spine front cover in red and black. With the original glassine dust jack- and front cover. With the original glassine wrapper. 30 full-page et with paper flaps, as issued. With 15 four-colour lithographic wood-engravings, head- and tailpiece by Raoul Dufy. Ownership plates, 1 of which is double-page, by Edward Ardizzone. Gift inscription on front free endpaper of art historian Churchill Lath- inscription to front free endpaper. Spine very slightly faded rop (1901–1996), Paris, August 1937; neat bookplate of John Lewis and bumped at ends, tiny markings to covers, endpapers a little (1912–1996), printer and notable collector of printed ephemera. A foxed. An excellent copy in the glassine dust jacket, front panel few nicks to glassine wrapper, a hint of light foxing, else a fine copy. chipped at foot, paper flaps a little creased. second edition, number 1,057 of 1,250 copies, and the first edition, sole impression. “Ardizonne’s illus- only realistically procurable edition of one of the great il- trations are generally concerned with contemporary life lustrated books of the 20th century, first issued in 1911 in untouched by political, religious or ideological conflicts. a tiny print run of 122 copies. Copac records only two cop- His approach is not satiric or moralistic but autobiograph- ies of this edition in British and Irish institutional libraries ical, and his drawings are representational and humorous (Tate Britain; King’s College London), OCLC adding only and demonstrate his affection for people” (The Dictionary two more (BnF; Mediatheque de Montpellier). of 20th Century British Book Illustrators). The book’s scarcity is explained by Maurice Gorham in his Foreword to their “Apollinaire conceived of the idea of an illustrated bestiary follow-up book Back to the Local (1949): “[The Local’s] career in verse after seeing wood engravings of animals made by ended when unsold copies, sheets, and plates of the draw- Picasso in 1906. He later turned to Dufy for depictions of ings went up together in the burning of Cassells’ premises Orpheus and his accompanying creatures. The combination in Belle Sauvage Yard [during the Blitz]”. The book is in of his witty and idiosyncratic poems and Dufy’s thirty bold, remarkable condition; this is the best copy which we have large-scale designs makes this one of the most delightful handled. of livres de peintres” (Ray). Apollinaire, seriously wounded in 1916, succumbed to the influenza pandemic in 1918. To this £1,750 [123388] edition his collaborator Dufy contributes a brief, touching, prefatory note, commenting on the rarity of the first edition and mentioning “la mort soudaine” of the poet. Ray 392 (and listed as one of his “100 Outstanding French Illustrated Books”). £1,250 [122253]

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5 its poets. His memoir I Remember (1970) is a cult classic, ASHBERY, John, & Joe Brainard (illus.) The Vermont praised by Paul Auster as “one of the few totally original books I have ever read.” Notebook. Los Angeles: Black Sparrow Press, 1975 Octavo. Original patterned cloth-backed boards, title label to £2,750 [122652] spine, white paper over boards with title and illustration to front, brown endpapers. With the original acetate wrapper. 47 full page 6 black and white illustrations by Brainard. With an original Brain- ard pen-and-ink drawing, signed “Brainard – 74”, bound in as is- BALDWIN, James. Go Tell It on the Mountain. New sued. A fine copy, with the acetate wrapper chipped at the head. York: Alfred A. Knopf, 1953 first edition, deluxe issue, number B of 26 lettered Octavo. Original red pictorial wrappers. Spine slightly faded, ex- copies signed by both poet and artist, bound by Earle Gray, tremities a little rubbed; a near-fine copy. and with an original signed ink drawing by Brainard dat- advance reading copy, signed by the author on the ed 1974 bound in; this copy additionally a presentation front free endpaper. A notable rarity: the wrappers of this copy, inscribed by Ashbery in the year of publication to copy are noteworthy in that they feature artwork to which his friend the artist R. B. Kitaj: “for R. B. Kitaj, love, John Baldwin objected, and were redesigned completely for the Ashbery, London, April 18 1975”. There were a further 250 first edition. This was Baldwin’s first novel, a semi-autobi- copies signed by Ashbery and Brainard, also hardbound ographical work that was ranked by both The Modern Li- (though not so handsomely) by Gray and without an orig- brary and Time Magazine as one of the best hundred novels inal drawing. in English of the 20th century. Kitaj (1932–2007) and Ashbery were close friends and col- £2,750 [124276] laborators: Kitaj had painted the work used as the cover for Ashbery’s Houseboat Days (1957) and Ashbery published 7 many laudatory appraisals of Kitaj’s work, culminating in BARNEY, Natalie Clifford. The One Who Is Legion, his book Kitaj: Paintings, Drawings, Pastels (Thames & Hud- or A.D.’s After-Life. With Two Illustrations by son, 1983). Ashbery’s Pulitzer prize-winning poem “Self Portrait in a Convex Mirror”, inspired by Parmigiano and Romaine Brooks. London: Privately Subscribed by Eric written in 1974, was issued by the Arion Press in 1984 with Partridge Ltd, 1930 illustrations by a small selection of his artist friends in- Octavo. Original green buckram, titles gilt to spine, top edge gilt. cluding Kitaj. In 1997 Kitaj executed an etched portrait of With the dust jacket. Frontispiece and plate from illustrations by the poet. The illustrator Joe Brainard was an artist of the Brooks. Minor rubbing to ends and corners, slight tanning along New York school and notable for his collaborations with board edges, internally sound and clean, just occasional light foxing, an excellent copy in the dust jacket only faintly dust soiled

4 Peter Harrington 143 7 8 and with a few faint marks, a little very light rubbing and ruffling This is one of 525 trade copies, from a total edition of 560. at ends and corners. It is a scarce book already, very much so in the jacket, and first edition, first impression, presentation rare indeed with a contemporary presentation inscription. copy, fulsomely inscribed on the half-title, “To John New- £2,750 [117159] bold, . . . and may he find treasures enough to justify a dip into these troubled and frigid pages. His old and most ap- 8 preciative friend, Natalie Clifford Barney. Philadelphian Paris, 1930. P.S. Perhaps read the note at the end of the BEACH, Sylvia. Les Années vingt. Les écrivains book and even the last chapter first for enlightenment – américains à Paris et leurs amis 1920–1930. Paris: and then go backwards at your own risk and peril! Twice Centre Culturel Américain, 1959 warned by – N.” Octavo. Original pictorial wrappers, titles to spine and front cov- The One Who Is Legion, a spiritual novel about suicide and er brown. Housed in a custom marbled slipcase. With 32 plates. Partial transcription to rear free endpaper of the famous Vladimir reincarnation as a hermaphrodite, is the second book in Dixon letter to James Joyce. Wrappers a little creased, some rub- English and only novel of Natalie Barney (1876–1872), an bing and light wear to edges of wrappers, internally fresh. A near- American expatriate known as the “Amazon” of Paris, who fine copy. was one of the most influential lesbian and feminist writ- first edition, first printing, presentation copy, ers of the period. Her life inspired Radclyffe Hall’s The Well inscribed by Sylvia Beach on the front free endpaper, “Sou- of Loneliness. Her Paris salon at 20 rue Jacob was for 60 years venir of Playboy for Mrs Cummins, from Sylvia Beach”. The the crucible of Left Bank culture: guests included Colette, book was created as a companion to an exhibition held be- Pierre Louÿs, Mata Hari, Auguste Rodin, Ezra Pound, Jean tween 11 March and 25 April 1959 on the “Lost Generation” Cocteau, T. S. Eliot, F. Scott Fitzgerald, Rainer Maria Rilke, of expatriate American writers and artists who gathered at Rabindranath Tagore, Nancy Cunard, Peggy Guggenheim, Sylvia Beach’s legendary bookshop, Shakespeare and Com- Caresse and Harry Crosby, Sylvia Beach, and Isadora Dun- pany in Paris. The French writer Andre Chamson wrote, can, to name but a few. Barney promoted women’s writing “Sylvia carried pollen like a bee. She cross-fertilized these and formed an Académie des femmes in response to the writers . . . She did more to link England, the United States, all-male Académie française, while also supporting and Ireland, and France than four great ambassadors combined. inspiring male writers from Remy de Gourmont to Tru- It was not merely for the pleasure of friendship that Joyce, man Capote. She had numerous female lovers, including Hemingway, Bryher, and so many others often took the path the illustrator of this book. to Shakespeare and Company in the heart of Paris.” £750 [108144]

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9 10 (BEACH, Sylvia.) BECKETT, Samuel, & others. (BEAT LITERATURE.) Big Table. Volumes 1–5. Our Exagmination Round His Factification For Chicago: 1959–60 Incamination of Work in Progress. With letters of 5 issues, octavo. Original pictorial card wrappers. Black and white protest by G. V. L. Slingsby and Vladimir Dixon. Paris: plates, one folding. Vol. II with small ownership signature to front Shakespeare and Company, 1929 wrapper and toning to contents, wrappers a little rubbed and with the occasional faint stain but overall bright. An excellent set. Octavo. Original white wrappers printed in black. Spine toned with some minor wear to ends, wrappers lightly marked, fore the complete run of this short-lived but high- edge of front wrapper nicked with a couple of very minor chips. ly influential literary magazine, signed by seven A near-fine copy. of the contributors, mostly at their chapter headings: John first edition, first printing, a superb association Ashbery (twice), Lawrence Ferlinghetti, Philip Lamantia, copy, inscribed by sylvia beach on the title page, “For Michael McClure, David Meltzer, John Updike, and in- Allen Tanner, Sylvia Beach”. Allen C. Tanner (1898–1987), scribed by Robert Creeley, “For Eric – still walking! With an Illinois-born pianist, had met Sylvia Beach following his my best, Bob, 6/5/96”. (For Ferlinghetti, see also item 215.) move to Paris in 1924 with Russian artist Pavel Tchelitche. The magazine was founded by Paul Carroll and Irving There, the couple became friends with Gertrude Stein and Rosenthal, editors of the student publication The Chica- Edith Sitwell and joined the “Lost Generation” of expatri- go Review, when the winter 1959 issue was censored by the ate American writers and artists who gathered at Beach’s University of Chicago for containing excerpts from William legendary bookshop. This early critique of Joyce’s final Burrough’s Naked Lunch. Kerouac gave the new magazine its work was published by Shakespeare and Company some title, “as if here was a table big enough to hold every variety ten years prior to the publication of the finished novel; part of manuscript” (Varner). The first issue, Big Table One, was of the incentive to publish was apparently to raise funds published in March 1959 and contained the complete con- for the perennially impecunious Joyce. The publishers lat- tents of the suppressed Chicago Review issue, including the er sold sheets of this edition to Faber & Faber in London extracts of Naked Lunch, and portions of Kerouac’s Old Angel and New Directions in New York, who reissued them with Midnight. Big Table One was itself also the subject of a ban on inserted title pages. (For Beach, see also item 112.) the grounds of obscenity, and was impounded by the US Slocum & Cahoon B10. £3,750 [113605]

6 Peter Harrington 143 10 11 12

Post Office – a decision later overruled in court. With the Paris on the night he was stabbed and severely injured, giving publisher’s subscription card loosely inserted. him immediate aid and calling an ambulance. Varner, Historical Dictionary of the Beat Movement, pp. 25–6. Presentation copies of Beckett’s first masterpiece are rare, £750 [100502] and we know of just three others to have been on the market in the past 25 years: the Queneau copy, the Reavey-Ros- Presentation copy from Dublin in 1945 set copy, and a copy signed late but not inscribed. This copy is in the first binding of smooth green cloth with gilt 11 lettering, and is one of no more than 718 copies thus. BECKETT, Samuel. Murphy. London: George Routledge Federman & Fletcher 25. & Sons, Ltd, 1938 £12,500 [106594] Octavo. Original green cloth, titles to spine gilt. Housed in a green quarter morocco solander box. Some minor spotting, spine 12 gently rolled, small mark to rear board. A particularly bright and unusually fresh copy. BECKETT, Samuel. Comment c’est. Paris: Les Editions first edition, first issue, presentation copy, with de Minuit, 1961 Beckett’s notably personal inscription to the half-title, Octavo. Original white wrappers printed in black and blue. “Alan from Sam. Dublin, May 1945”. Housed in a black cloth solander box by the Chelsea Bindery. Spine a trifle sunned, else a fine copy. Beckett returned briefly to Dublin at the end of the Second first and limited edition, number 4 of 10 copies World War, essentially in order to regroup and process what hors de commerce, inscribed by the author on the ti- was apparently a particularly difficult war – he had been work- tle page, “pour Alan Clodd, Samuel Beckett. Nov. 72”. Alan ing for a Paris-based cell of British SOE, liaising between the Clodd (1918–2002) was a noted Irish publisher, book col- British Secret Service and the French Resistance. Beckett nev- lector, and dealer. er made any overt public statement about his wartime activities but the changes they brought about in his personality, £1,500 [124190] and most of all his writing, are glaring and stark. The Alan to whom the book was inscribed is most likely to have been his close friend Alan Duncan, a fellow Dubliner and former soldier who had also returned precisely at this time to his home city. In January 1938, shortly after Murphy was accepted for publication, Alan and his wife Belinda were with Beckett in

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13 15 BECKETT, Samuel, & Georges Duthuit. Proust; [and] Three Dialogues. London: John Calder, 1965 15 Octavo. Original white calf-backed green cloth, spine and front BECKETT, Samuel. Endgame. A Play in one Act cover lettered in gilt, gilt facsimile signature to front cover, gilt edges. Housed in the green cloth slipcase. Spine very lightly followed by Act Without Words, A Mime for one sunned, tiny markings to covers, rear of slipcase bumped. An Player. Translated from the original French by the excellent copy. author. London: Faber and Faber, 1979 signed limited edition, number 28 of 100 copies Octavo. Original photographic paper wrappers, titles to spine signed by Beckett and specially bound. Proust, Beckett’s black on white, to front cover white. Slight creasing to spine, epistemological and aesthetic manifesto, was first pub- light toning to margins; an excellent copy. lished in 1930. Three Dialogues, a series of letters between superb presentation copy inscribed to david ma- Beckett and Duthuit concerning contemporary art, was met by the author on the title page, “for David, with all first published in the literary journal transition in 1949. good wishes, Sam Beckett”. Federman & Fletcher 7.2. This copy, a reprint of the second edition, also has Mamet’s £1,250 [123408] card laid in, inscribed “Greetings and love from Copenha- gen. September 1977, D.M.” This book first came to market 14 after Mamet’s divorce from his first wife the actress Lind- say Crouse in 1990, and a subsequent library sale through BECKETT, Samuel. The Collected Works. New York: Strand, New York. This card was inscribed, presumably to Grove Press, 1970 her, in the year of their marriage, and evidently found its 16 volumes, octavo. Original black cloth, gilt titles to spines and way back into this copy. front covers, blue marbled endpapers. Spines slightly faded, front free endpaper of Malone Dies slightly creased. An excellent set. This is an excellent theatrical association for Beckett, and notably early in Mamet’s career. The Pulitzer Prize-win- signed limited edition, number 89 of 200 copies ning author of Lakeboat (1970) said in 1977, “Beckett and signed by the author on the limitation leaf in the front of Pinter – of course I’m influenced by them”. Buning adds, Waiting For Godot. This was the first collected set of Beck- “Mamet is influenced by Beckett, because, as it were, he ett’s works, issued in both a trade edition and this present can’t help it”. signed edition; neither is common complete. Marius Buning, Beckett in the 1990s, p. 77; Federman & Fletcher 376.11. £8,500 [122831] £3,750 [117516]

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16 17 BEHAN, Brendan. The Quare Fellow. A Comedy- BIRABEAU, André. Revelation. Translated by Una Drama. London: Methuen & Co. Ltd, 1956 Lady Troubridge. London: Victor Gollancz Ltd, 1930 Octavo. Original black boards, titles to spine gilt. With the dust Octavo. Original black cloth, spine lettered in green. With the jacket. Portrait frontispiece. Spine a little rolled but otherwise an dust jacket. Publisher’s file copy, with their pencilled mark to excellent copy of the book, with the good jacket rubbed at the front panel of jacket. A little foxing to edges, an excellent copy in extremities and chipped to ends and corners. the jacket with a couple of shallow chips to extremities. first edition, first impression, presentation first edition in english, first impression. First copy to Italian film actor and director Marcello Pagliero published in Paris under the title La Débauche in 1924, it is (1907–1980), inscribed by the author in Irish on the half-ti- considered to be the first novel about a homosexual man tle, “Breandán ó Beacáin, do Marcello Pagliero”, dated 8 from the mother’s point of view. The translator Una Trou- June 1957. bridge was the lover of Marguerite Radclyffe Hall. Behan was probably hoping to interest Pagliero, perhaps provenance: from the publisher’s archive of Victor best known for starring in Roberto Rossellini’s Rome, Gollancz (1893–1967), one of the revolutionary figures Open City (1945), in a film adaptation of his play. However, of 20th-century publishing. Everything about Gollancz Pagliero subsequently passed the copy on to fellow Par- was distinctive, from his business practices – he flouted is-based screenwriter Jacqueline Sundstrom, whose own- convention, backed newcomers extravagantly, and held ership inscription appears on the front free endpaper. It unique sway over the Book Society choices – to the appear- was Sundstrom who adapted the play, with Arthur Drei- ance of his books. The famous yellow jackets, a collabora- fuss, for the 1962 film starring Patrick McGoohan. (Sund- tive design between Gollancz himself and the typographer strom also attended Behan’s funeral.) Throughout the text Stanley Morison, bristle with blurbs, recommendations, are several pencil annotations marking Behan’s more ob- and reviews in black and magenta. Prior to its acquisition scure colloquialisms. by Peter Harrington, the archive was shelved together from first publication, though occasionally moved from The Quare Fellow is the author’s first book and his key play, warehouse to warehouse over the decades. The copies and is uncommon inscribed, especially with such interest- were retained by Gollancz as “archive” or “file” copies and ing associations. Set in Mountjoy Prison, Dublin, it is also most are stamped in ink with rubber stamps, usually on the origin of the song “The Auld Triangle”, now a staple of the front panel of the dust jacket, the front free endpaper, traditional Irish music, though many are unaware that it and the title page. was composed by Behan for the play. £1,250 [124232] £1,650 [118025]

All items are fully described and photographed at peterharrington.co.uk 9 18 19

18 name. The index is marked with single lines against a num- BISHOP, Elizabeth. North & South. Boston: Houghton ber of poems, with “New England 1967” inscribed at the head of p. 336. This paperback issue is the seventh edition Mifflin Company, 1946 overall, issued in the Obras completas of Borges. Octavo. Original blue cloth, spine and front board lettered in silver. With the dust jacket. Title printed in blue and black. Spine £1,350 [123916] slightly toned, extremities lightly rubbed. An excellent copy in the nicked dust jacket, spine abraded in spots, with loss to ends. 20 first edition, first printing, of the author’s first BOULLE, Pierre. La Planète des singes. Roman. book, of which 1,000 copies were published. This copy [Paris:] Editions René Julliard, 1963 has the ink stamp on the front free endpaper of James L. Dickey III, US poet laureate from 1966 to 1968; Bishop had Octavo. Original green cloth, titles to spine and front board gilt, tree design to front board in blind, yellow endpapers. Small mark herself been poet laureate from 1949 to 1950. to spine, otherwise a fine copy. £1,650 [122108] first edition, first impression, number 126 from an unspecified limited edition. This copy has a contemporary 19 publisher’s four-page pamphlet advertising the book laid BORGES, Jorge Luis. Obra poética 1923–1967. Buenos in. This novel by Boulle, also well remembered for Le Pont Aires: Emecé Editores, 1967 de la rivière Kwaï, was the inspiration for the Planet of the Apes film series. Octavo. Original white wrappers, lettered in black, blue, and red. Spine creased and faded, foxing to wrappers, text block toned. A £675 [115243] very good copy. presentation copy, inscribed by the author to his 21 translator on the series half-title, “A Norman Thomas, BOWLES, Jane. In the Summer House. New York: un[?] Juan Muraño, con afecto y nostalgia, Jorge Luis Borg- Random House, 1954 es”. Di Giovanni met Borges during the latter’s lectureship at Harvard in late 1967, beginning a period of several years’ Octavo. Original tan cloth, spine lettered in blue and gold, photographic vignette mounted on front board with blue and gold friendship and close collaboration. Di Giovanni moved to frame. With the dust jacket. Illustrated with photographs from the Buenos Aires with Borges in the spring of 1968 and the pair original production. An excellent copy in the tanned and lightly set about translating Borges’s works into English. The in- marked dust jacket with some very minor loss at spine ends. scription seems to suggest that Borges is calling his transla- first edition, first printing, presentation copy, tor a knife-throwing thug, as in his early short story of that inscribed by the author on the front free endpaper, “I love

10 Peter Harrington 143 22 23 you very much – and you are very very bright – I wish that first u.s. edition, first printing, inscribed by the I was like you Janie”. From the library of the academic and author on the half-title, “Paul Bowles. Tangier, April teacher Dr William (“Woods”) Shelton Gray, Jr (1926–1993) 1985.” American-born Bowles moved to Tangier in 1947, who was born in Shreveport, Louisiana, and received his where he lived until his death in 1999. Tangier was the set- PhD from the University of Exeter. He established a corre- ting of this, his first novel, a key title in the development of Beat literature. It was first published in September 1949 in the UK, after Doubleday rejected the manuscript; the first US edition followed a month later. Uncommon inscribed, with just two copies appearing at auction. Andrew Calcutt and Richard Shephard, Cult Fiction: A Reader’s Guide, Chi- cago, 1999, p. 26. £3,850 [114488]

21 In the fire-proof binding 23 spondence with T. S. Eliot, W. H. Auden (who dedicated his poem “The Aliens” to him), and a number of other English BRADBURY, Ray. Fahrenheit 451. New York: Ballantine and American writers and poets. His most intimate cor- Books, Inc., 1953 respondent appears to have been Paul Bowles, whom he Octavo. Original white Johns-Manville Quinterra boards, titles to visited a number of times in Tangier. Presentation copies spine and front board in red. Housed in a red quarter morocco of this author’s works are uncommon. solander box. Not issued in dust jacket. Illustrations by Joe Mug- naini. Faint line of residue to board edges, otherwise fresh and £1,250 [124248] clean. A remarkably well-preserved copy of this distinctly vulnerable production. 22 first edition, signed limited issue, number 145 of BOWLES, Paul. The Sheltering Sky. New York: New 200 copies signed by the author and specially bound in a Directions, 1949 chrysolite asbestos material that is theoretically fire resistant, in honour of the eponymous ignition temperature at Octavo. Original buff cloth, title to spine in black on blue ground. which paper spontaneously combusts. With the dust jacket. Faint mark to fore edge; an near-fine copy in the jacket with minor loss to head of spine, short closed tear to £15,000 [123393] centre of spine panel, nick and short closed tear to foot of spine.

All items are fully described and photographed at peterharrington.co.uk 11 Oblong leaf bound album, 24 leaves in plain buff cloth, 90 original gelatin silver photographs pasted in with carbon copy typescript notes tipped in describing the images and action represented. Housed in a black morocco-backed solander box by the Chelsea Bindery. Some minor wear to the binding, a few creases to the odd page but excellent. A model book (Modellbüch) containing photographic doc- umentation and directorial notes for the Berliner Ensem- ble production of Bertolt Brecht’s last major play (and one of the most frequently performed plays of the second half of the 20th century), The Caucasian Chalk Circle. The play was written in 1944 while Brecht was living in the United States. Translated into English by Brecht’s friend and admirer Eric Bentley, it was intended for Broadway but its world premiere was a student production at Carleton College, Northfield, Minnesota, in 1948. Shortly after his appearance before the House Un-American Activities Committee (HUAC) in September 1947, Brecht returned to Europe. Attracted by 24 an offer of his own theatre (completed in 1954) and theatre company (the Berliner Ensemble), he returned to commu- 24 nist East Berlin in 1949. On 7 October 1954 he directed the BRAUTIGAN, Richard. Revenge of the Lawn. Stories Berliner Ensemble in the German premiere of Der Kaukasische 1962–1970. New York: Simon and Schuster, 1971 Kreidekreis at the Theater am Schiffbauerdamm. Octavo. Original printed light card wrappers. Light crease to Model books were produced by the Berliner Ensemble to upper outer corner of wrapper front panel, faint spotting to fore document several of Brecht’s plays. They consist of pho- edge and front free endpaper. A very good copy. tographs together with an explanatory text and commen- first edition, wrappered issue, inscribed by the tary by Brecht and his assistants. Their main intended author on the title page: “This Copy is for Dink. ‘Again: purpose was to assist with the dissemination of ideas re- thank you.’ Richard Brautigan, April 13, 1974, Key West”. garding Brecht’s post-1945 methods of staging Epic The- The recipient was Benjamin “Dink” Bruce, whose father atre. Brecht’s plays were written to be performed in a very Telly Otto Bruce (“Toby”) arrived in Key West at the behest particular way, and the model books were intended to act of Ernest Hemingway in 1935, serving the author in a vague as a guide for subsequent directors who wished to stage capacity of general fixer for some 30 years and notably de- productions of his work. Brecht put considerable pressure signing the jacket of For Whom the Bell Tolls. His son became on both outside directors and members of the Berliner En- a local cult figure in his own right: “Bruce seemed to cross semble dramaturgical team to consult the model books, paths with every celebrity who came through Key West. He though he insisted that they were not viewed as being a didn’t seek them out; they found him. In Key West, Dink blueprint for staging a production and cautioned against Bruce was royalty” (McKeen, Mile Marker Zero: The Moveable mindless copying, instead suggesting that they be used to Feast of Key West, p. 90). Among these was Brautigan, whom encourage reflective and corrective imitation. he at first found to be “sort of subdued” in the tropical heat, The photographs are presented in narrative sequence, and though eventually warmed to him “when he offered to assist were generally chosen to variously depict instances of ges- in repairing a used Saks Fifth Avenue panel delivery truck tus, movements, entries and exits, turning points in the Bruce had converted into a camper” (Hjortsberg, Jubilee narrative, and whether or not set-up changes are appropri- Hitchhiker: The Life and Times of Richard Brautigan, p. 454). ate, as well as specific details within a scene. Brecht gave £475 [107731] strict instructions on what needed to be photographed be- forehand, often insisting they match key words or prompts A model book for The Caucasian Chalk Circle that were to figure in the commentary. 25 This production of The Caucasian Chalk Circle toured Paris the following year, and two weeks after Brecht’s death in BRECHT, Bertolt. Model book for Der kaukasische 1956 was performed in London. It is now considered to be Kreidekreis (The Caucasian Chalk Circle). Taken from the one of his most celebrated plays, his last masterpiece, and Berliner Ensemble’s original production. [Berlin:] “represents Brecht at the height of his powers as a director Berliner Ensemble, [1954] of a first-rate ensemble” (Fuegi, p. 199).

12 Peter Harrington 143 25

Goedhart, G., Bertolt Brecht Porträts, Zurich 1964; Goedhart, G., & Hurwicz, his career began to suffer from criticism that he was too A., Brecht inszeniert Der kaukasische Kreidekreis, Hannover 1964; Brecht, B., & anti-Soviet. By 1929 his career was ruined: government Willet, J., Brecht on Theatre: The Development of an Aesthetic, London 1964; Willett, J., The Theatre of Bertolt Brecht: A Study from Eight Aspect, 3rd ed. Lon- censorship prevented publication of any of his work and don 1967; Lyon, J. K., Bertolt Brecht in America, Princeton 1980; Fuegi, J., Ber- staging of any of his plays, and Stalin personally forbade tolt Brecht: Chaos, According to Plan, Cambridge 1987; Thomson, P., & Sacks, him to emigrate. This first printing of his best known work G. (eds.), The Cambridge Companion to Brecht, Cambridge 1994; Imbrigotta, is a censored version of the text, eliminating much of the K., “Framing Brecht: Photography and Experiment in the Modellbücher, Arbeitsjournale, and Kriegsfibel”, University of Wisconsin-Madison 2013; anti-Soviet satire, yet it still caused an immediate sensa- Kuhn, T., Silberman, M., Giles, S. (eds.), Brecht on Performance: Messingkauf tion on publication. The first edition in book form was and Modelbooks, London 2015; Barnett, D., The History of the Berliner Ensem- published by the YMCA Press in Paris in 1967, also with the ble, Cambridge 2015. censored version of the Russian text. The full text was first £12,500 [124224] published in English later in 1967 (there are two different English translations, one of the censored text and one of 26 the full text). The first appearance of the full text in Rus- sian was published in Frankfurt in 1969. BULGAKOV, Mikhail. [The Master and Margarita, in] Moskva. Moscow: 1966–67 £5,750 [123556] 3 parts (1966, pt. 11 and 12; 1967, pt. 1), octavo. Original pale tan cloth with titles blocked to spine and front cover in blue. Housed in a custom blue half morocco solander case with marbled sides. With coloured plates. Slight creasing to spines, “Printed in the Soviet Union” stamp to rear cover of second issue, covers of third issue a little marked with a slight split to head and foot of front spine fold, very light creasing to corners of some pages. Overall an excellent set. The first appearance in print in any format of The Master and Margarita, serialized in two issues of the journal Moskva in November 1966 and January 1967. The intervening Decem- ber issue, which did not contain any of the novel, is also included in this set. Although the novel had been completed in 1938, in common with most of Bulgakov’s prose it was not published until long after his death in 1940. During his life, Bulgakov was best known for the plays he contributed to Konstantin Stanislavsky’s and Nemirovich-Danchenko’s Moscow Art Theatre. He published a number of novels and stories through the early and mid–1920s, but by 1927 26

All items are fully described and photographed at peterharrington.co.uk 13 27

27 black card slipcase. With 52 full-page illustrations in black and white by the authors. A fine copy in a faintly rubbed slipcase. BURGESS, Anthony. Time for a Tiger; [with:] The Enemy in the Blanket; [and:] Beds in the East. London: William Heinemann Ltd, 1956–9 3 works, octavo. Original blue boards, title to spines in gilt or silver. With the dust jackets. Ownership signature to front free endpaper of Time for a Tiger. A very good set, with a little foxing to edges, in the slightly toned jackets, with a few shallow chips or 28 nicks and a couple of short closed tears. signed limited edition, presentation copy, in- first editions, first impressions, signed by the au- scribed by haring to william burroughs on behalf thor on the title page of each volume in both English and of himself and Brion Gysin who died just before the sheets Jawi (the Malay language written in Arab script), and addi- were ready for signing: “For William with love – Keith & tionally inscribed by him on the dedication page of Time Brion 86†”. This is number 11 of 200 copies signed by Har- for a Tiger, transcribing the printed Jawi dediction into ing and with the posthumous stamped signature of Gysin. Romanized form and translating it into English: “Kepada sahabat-sahabat saya di Tanah Melayu: to my friends in £3,750 [124279] Malaya”. Burgess became fluent in Jawi while stationed in Malaya. While there he published these, his first three novels, which became known as the Malayan Trilogy. From the library of the Irish book collector Dr Philip Murray, though unmarked as such. £2,500 [113496]

28 (BURROUGHS, William.) HARING, Keith, & Brion Gysin. Fault Lines. Munich & New York: Edition Schellmann, 1986 Oblong quarto. Original red cloth, spine and front board lettered and decorated in gilt, fore edge untrimmed. With the publisher’s

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and editor for the Italian section of the magazine, sought to support both established and unknown authors and published contributions by the likes of W. H. Auden, André Frénaud, Giuseppe di Lampedusa, Guglielmo Petroni, Nel- 29 ly Sachs, Edith Sitwell, Dylan Thomas, and William Carlos Williams, among others. 29 CAETANI, Marguerite (ed.) Botteghe oscure. Rome: £2,250 [113365] [De Luca Editore,] 1948–60 30 25 volumes, octavo. Original printed buff wrappers. 8 volumes (IX–XVI) with wraparound bands; 9 volumes (XVII–XXV) with CALVINO, Italo. Comicomics; [together with:] dust jackets. A few unopened volumes. Wrappers and jackets Invisible Cities. Translated from the Italian by slightly toned with lightly creased and nicked extremities, text William Weaver. New York: Harcourt, Brace, and World, blocks lightly toned. An excellent set. Inc.; Harcourt, Brace, Jovanovich, 1968 & 1974 Complete collection of the semi-annual literary journal Bot- 2 works, octavo. Comicomics: original blue cloth, spine lettered in teghe oscure, with the 1949 Rome issue of Volume I (Volume red, black endpapers, top edge blue. With the dust jacket. Invisible I was first published in 1948 in Naples). Founded by Mar- Cities: original grey cloth-backed black boards, spine lettered in guerite Caetani in Rome in 1948 and named after the street silver, front board decorated in blind, grey endpapers, top edge on which the editorial office was located, Botteghe oscure was blue. With the dust jacket. Housed in a black solander box. Spine an explicitly international literary magazine, both in scope of Comicomics slightly faded, top edges a little foxed. An excellent and distribution. “In twelve years it published writers from set in the lightly rubbed jackets with a few nicks to extremities. thirty countries in five languages: English, Italian, French, first editions in english, first printings, pres- German, and Spanish. Most contributions appeared in the entation copies, inscribed by the author to American original, with no translation; the only exceptions were made novelist Mary McCarthy on the half-title: “For Mary Mc- for texts written in less common languages like Greek, Ko- Carthy, and James West, from Italo Calvino. Fri, December rean, or Dutch, which were translated into English . . . Cae- 1974”, and “For Mary, on a very happy Friday 13th (Santa Lu- tani wanted to create something different from the publica- cia), Italo Calvino. December 74.” James West was McCar- tions that populated the Italian literary scene in the 1940s, thy’s fourth husband. The books were originally published which she described as ‘historical, critical, political, dry as in Italy under the titles Le cosmicomiche (1965) and Le città in- dust’ in a letter to her half sister, poet Katherine Biddle” (Lu- visibili (1972). camante, Elsa Morante’s Politics of Writing, p. 106). Caetani, to- £3,250 [124250] gether with Giorgio Bassani, her one constant collaborator

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The first robots in print With the Newts. It is hard to imagine our language without the word “robot”, which was based on the Czech term for a 31 drudge or serf, robota, and found its first English-language CAPEK, Karel. Rossum’s Universal Robots: usage in the title of this publication. The play was enor- kolektivni drama o vstupni komedii a trech aktech. mously successful and influential, premiering in Prague Prague: Vydalo Aventinum, 1920 on 25 January 1921 and quickly followed by stagings in Octavo. Original purple wrappers, title to front cover in pink. New York (1922) and London (1923). The dystopian sto- Housed in a purple folding case. Fading to edges of wrappers, a ry, relating the dehumanising perils of technology, owes little loss to spine ends. An excellent copy. much to the legend of the Golem, which partly originated in Prague. first edition, rare presentation copy of Čapek’s classic science-fiction play which introduced the word It was published by the progressive Prague publishing “robot” to the sci-fi genre and the English language. This house of Aventinum, established by Otakar Štorch-Marien: copy has been inscribed by the author on the half-title, “high-quality artistic layout, from covers to illustrations to “To Miss Hedvice Scheinplfugová from Karel Čapek 18 III typographics, was a hallmark of Aventinum books, even if 1921” (translated from the Czech). The recipient was evi- they were mostly affordable paperbacks (Derek Sayer, The dently a kinswoman of Čapek’s wife, the actress and writer Coasts of Bohemia: A Czech History, Princeton UP 1998, p. 206). Olga Scheinpflugová (her father, Karel Scheinpflug, was Rossum’s Universal Robots is a scarce book (only 2,000 copies a prominent journalist and chairman of the Syndicate of were printed, and representation in institutional libraries is Czech Writers). The inscription dates to the time when decidedly thin: Copac lists British Library only, and OCLC Čapek was introduced to the Scheinpflug family and was locates just 12 copies internationally), and especially so in- editing, with his brother Josef, the newspaper Národní listy scribed by the author, who died on the eve of the Second (The National Newspaper). World War. It was Josef whom Karel credited with suggesting the word £22,500 [124529] “robot”. He was murdered in 1945 in Bergen-Belsen, a fate that would also have awaited Karel, who lampooned the Nazis nowhere more effectively than in his 1936 satire War

16 Peter Harrington 143 33 34

32 33 (CAPEK, Karel.) BERGER, Oscar. Caricature portrait CAPOTE, Truman. Breakfast at Tiffany’s. A Short of Karel Capek. 1925 Novel and Three Stories. New York: Random House, 1958 Window-mounted and framed in an ebonized wood Czech Cub- Octavo. Original yellow cloth, titles to spine against black ground, ist-style frame, UV-resistant glass. Pencil on wove paper. Sheet top edge blue. With the dust jacket. Spine tips ever so slightly size: 29 × 17.3 cm. Signs of previous crumpling, old soft creases, bumped and some minor rubbing to black ground, in the bright slight soiling, occasional scuffing of surface, a few short edge- jacket with a couple of nicks to the foot of the spine panel and a splits at top, overall very good. small tear to the top and bottom front panel. An excellent copy. signed by both sitter and artist, this is a wonderful first edition, first printing. The three short stories portrait from life of the great Czechoslovakian writer by accompanying Capote’s novella, his most famous and en- that portmanteau nation’s finest caricaturist. Commonly during work, are “House of Flowers”, “A Diamond Guitar”, characterized as a writer of science fiction, Capek’s most and “A Christmas Memory”. famous work is probably The War with the Newts, described by influential critic Darko Suvin as “the pioneer of all an- £1,500 [123145] ti-fascist and anti-militarist SF” (Smith, Twentieth-century Science Fiction Writers). But his writing is ill-served by such The first modern spy novel pigeonholing. Arthur Miller, a youthful enthusiast, at- 34 tempted to sum up Capek’s unique appeal: “There was no writer like him . . . prophetic assurance mixed with surre- CHILDERS, Erskine. The Riddle of the Sands. A alistic humour and hard-edged social satire: a unique com- Record of Secret Service Recently Achieved. London: bination . . . he is a joy to read” (ibid.). Smith, Elder & Co., 1903 Octavo. Original black cloth, decoration to front board and titles The artist, Oscar Berger, was trained at the Berlin School to spine in white. Folding map frontispiece. Faintly erased gift of Art, but fled Germany when Hitler came to power, set- inscription to front free endpaper. Spine slightly faded, lettering tling in London where he worked for a number of newspa- trifle rubbed, light foxing to edges. An unusually nice copy of a pers and magazines including the Daily Telegraph, the News book often encountered in poor condition. of the World, and Lilliput. After the war he emigrated to the first edition, first impression, of this highly influ- US where he became noted for his “kindly rather than crit- ential and early spy thriller, and Childers’s only novel. Cop- ical” caricatures. A wonderful evocation of one of Czecho- ies of the first impression are very uncommon and exam- slovakia’s cultural Golden Ages. ples such as this in collector’s condition are rare. £1,250 [124286] £7,500 [115027]

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35 COETZEE, J. M. His Man and He. Nobel Lecture December 7, 2003. London: Rees & O’Neill, 2004 Duodecimo. Original orange-brown full morocco, title to spine in gilt, initials “JMC” to front cover in gilt. Housed in the slip- 37 case. A fine copy. first and signed limited edition, first impression, servations on the life of the writer, part childhood autobi- number 11 of 12 copies bound in Nigerian goatskin, in- ography, part astute assessment of the precocity forced on scribed by the author “How are they to be figured, this man English children by public schools. It is given unity by its and he? As master and slave? As brothers, twin brothers? As enquiry into how ‘to write a book that will hold good for comrades in arms? Or as enemies, foes?”. It is rare to find ten years afterwards’. It is almost universally recognized a work signed by the notoriously media-shy novelist, who as having anatomized this complex subject brilliantly” did not appear to collect either of his Booker Prizes. Coetzee (ODNB). read out this story, told through the character of Robinson £500 [106756] Crusoe, as his acceptance speech for the 2003 Nobel Prize for Literature. A further 75 copies were bound in cloth. 37 £1,500 [122589] CONRAD, Joseph. Victory. An Island Tale. London: Methuen & Co. Ltd, 1915 36 Octavo. Original red cloth, gilt titles to spine. With the dust jack- CONNOLLY, Cyril. Enemies of Promise. London: et. A very good copy in the jacket, just a little chipped at spine George Routledge & Sons, Ltd., 1938 ends, and with no loss to the striking front panel. Octavo. Original black cloth, gilt lettered spine. With the dust first edition, first impression, first state with com- jacket. Bottom corners of boards slightly discoloured, faint spot- ma after “Essex Street” on title page imprint. A striking ting to endpapers and endleaves. An excellent copy in a jacket copy in the very scarce dust jacket, which marks a sea with toned spine panel and tiny closed tear with tape repair to change in British publishers’ practices in using jackets as the verso. marketing tools. Earlier Methuen jackets typically con- first edition, first impression, uncommon in the sisted of lettering and an illustrative design based on the dust jacket. “Connolly made a surer reputation [than with blocking of the binding. Only two years earlier, the 1913 his debut novel The Rock Pool (1936)] with Enemies of Promise Methuen edition of John Oxenham’s Bees in Amber bore the (1938). This work is part literary criticism, part general ob- jingle: “This outer wrap is only meant / To keep my coat

18 Peter Harrington 143 39

39 CORNFORD, Frances. Poems. Hampstead: The Priory Press, and Bowes & Bowes, Cambridge, [1910] Small quarto. Original cloth backing grey paper boards, lettered 38 in black on spine and front cover, grey endpapers. Spine tanned, some minor marks to covers, extremities a little rubbed, a few from detriment. / Please take it off, and let me show / The spots within but on the whole very fresh, a very good copy. better one I wear below.” But in 1915 Methuen issued Con- first edition, first impression, presentation copy, rad’s Victory in a jacket with a specially commissioned front large paper issue on handmade paper, inscribed “EMD panel illustration which was based neither on the underly- from FCC, March 1910” on the first blank, mostly likely to a ing cover nor on an illustration in the book itself, a signifi- member of the sprawling Darwin family. Frances Cornford cant moment in the history of the dust jacket. (1886–1960, née Frances Crofts Darwin – granddaughter of £4,250 [124280] Charles, married the poet Francis Cornford in 1909) was a close friend of Brooke, and an aspiring poet in her own 38 right. This publication, Cornford’s second book, following the rare Holtbury Idyll (1908), and first poetry collection, in- (CONRAD, Joseph.) KASTOS, Robert. Original cludes her poem “Youth”, later titled “On Rupert Brooke” portrait, ink on paper. Signed by the artist and (”A young Apollo, golden-haired, / Stands dreaming on the inscribed by Conrad with a line from Victory. [Paris: verge of strife, / Magnificently unprepared / For the long lit- early 1920s] tleness of life”), as well as the notorious “To a Fat Lady Seen Pen and ink portrait (270 × 229 mm). Mounted, glazed, and from a Train”, which became a much anthologized (and par- framed. In excellent condition. odied) piece. An original pen-and-ink portrait of Conrad, signed by the Large paper issue not in Anderson. artist and inscribed by Conrad with a quotation from Vic- £800 [122333] tory: “‘. . . and incompleteness of any sort leads to trouble.’ from ‘Victory’” (p. 30). £4,250 [60138]

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40 York City. Frontispiece and 22 black and white plates. A fine copy in the dust jacket with paper flaps intact as issued. COWARD, Noël. Terribly Intimate Portraits. New York: Boni and Liveright, 1922 first edition, first impression, with the acetate jacket complete and in exceptional condition. First performed Octavo. Original yellow cloth-backed brown paper boards, 13 October 1931, this play served as the basis for the classic spine lettered in black. With the dust jacket. With 16 reproductions from Old Master paintings by Lorn Macnaughton. Later 1933 film, which won three Academy Awards. bookplate to pastedown. Very occasional light foxing, pp. 11–12 £1,250 [121613] unopened, else a very good copy in the dust jacket, very lightly soiled, spine panel slightly darkened with tiny chip at head, chip to rear panel at foot slightly affecting text, short closed tear to 42 head of front panel, tips a little nicked. CROMPTON, Richmal. Journeying Wave. London: first edition, first printing, in an exceptional Macmillan and Co., 1938 example of the very scarce jacket, inscribed by Octavo. Original red cloth, spine lettered in gilt. With the dust the author on the front free endpaper, “Noël Coward jacket. Spine of jacket lightly toned, back panel a little soiled and 1928” and again “for Dennis Wheatley”, with Wheatley’s lightly foxed. A very good copy. bookplate to pastedown. The present book, a collection of first edition, first impression, presentation sketches satirising archetypes of the English upper class- copy, inscribed from the author to her sister on es, is one of Coward’s earliest productions. The book was the front free endpaper: “Guen, with much love Ray (Rich- likely purchased by a young Wheatley (who was, after all, mal Crompton)”. Richmal Crompton (1890–1969) is best a collector was well as a novelist) already signed, and lat- known for the William series, but her real ambition was to er re-inscribed by Coward when the two men became ac- write adult novels such as this (ODNB). Books inscribed by quainted in the war years. her are uncommon. £975 [124135] £2,250 [124253]

41 43 COWARD, Noël. Cavalcade. London: William CROSBY, Harry. The Collected Poems. [Chariot of Heinemann Ltd, 1932 the Sun; Sleeping Together; Torchbearer; Transit Octavo. Original yellow cloth, multi-coloured lettering printed of Venus]. Introductions and notes to the volumes on spine and boards (black, red and blue). With the clear acetate contributed by D. H. Lawrence, T. S. Eliot, Stuart jacket. Housed in a custom brown quarter morocco slipcase with raised bands and a chemise, both by James MacDonald of New Gilbert, and Ezra Pound. Paris: The Black Sun Press, 1931

20 Peter Harrington 143 42 44 45

4 volumes, large octavo. Original card wrappers, title in red and 44 black to spines and front covers. With the glassine wrappers. Housed in the original red cloth slipcase. Frontispiece with tis- DICK, Philip K. A Handful of Darkness. London: Rich sue guard, plate with tissue guard. Slight sunning to spines with & Cowan, 1955 small chip to glassine of 1 volume. An excellent set. Octavo. Original blue boards, titles to spine in silver. With the first collected edition, first printing, one of 500 dust jacket priced 10/6. Partial tanning to endpapers. An excel- complete sets. Harry Crosby (1898–1929) was born the heir lent copy in the very gently rubbed jacket with faint soiling to the rear panel, and price-clipped. to one of Boston’s wealthiest banking families, but after serving as an ambulance driver during the First World War first edition, first impression, first issue binding, he abandoned his wealth to live as an author in Paris with of the author’s first short story collection, a scarce review copy his wife Caresse Crosby. They embedded themselves in the in exceptional condition. With a review slip from the publish- avant-garde cultural scene, befriending the likes of Dali, er laid in, giving the price as 10/6 and the publication date as Hemingway and Cartier-Bresson, founded the Black Sun 15 August 1955, also including a sticker giving notice of Rich & Press which helped to publish the early works of Joyce, Eliot, Cowan’s new address at Stratford Place, W1. The British pub- Pound and Hart Crane, and lived a life of utter dissolution lisher Rich & Cowan had approached Dick through his liter- off Harry’s inheritance which, when it ran out, had to be ary agent Scott Meredith with the idea of a collection of short supplemented by telegrams to his banker father such as the stories in late 1953; A Handful of Darkness was not published in infamous, “please sell $10,000 worth of stock. we the US until the Gregg Press edition of 1978. have decided to live a mad and extravagant life”, Stephens 19a. (to which the father, reluctantly but nonetheless amazingly, assented). Following Crosby’s tragic death in 1929 (he was £1,750 [124285] found shot dead in the same bed as Josephine, “The Fire Princess”, one of his many lovers), the Black Sun Press is- 45 sued several posthumous works, including this boxed set of DONLEAVY, J. P. The Ginger Man. Paris: The Olympia his poems, which constituted Crosby’s first collected works. Press, [1955] Minkoff A42. Octavo. Original green and white wrappers printed in black. Some mild foxing to edges but internally fresh, overall an excellent copy. £1,750 [121589] first edition, first impression. Published in the same year as the most famous of all Olympia publications, Nabokov’s Lolita, Donleavy’s debut novel was issued, to the author’s horror, as a pornographic novel (designated “special volume”) in the Traveller’s Companion Series, with fellow titles such as School for Sin, White Thighs, The Whip Angels, and Rape advertised at the back. £1,000 [124261]

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lyrical premium on personal experience during wartime”, 46 keeping alive the concept of the private individual, in contrast to other soldier-poets who wrote patriotic poems in 46 the tradition of Kipling, and who endeavoured, “in Rog- DOYLE, Arthur Conan. The Hound of the er Bowen’s words, ‘to memorialize the soldier as amateur Baskervilles. Another Adventure of Sherlock Holmes. poet and oral historian’”. From the library of Anthony Hob- London: George Newnes, Limited, 1902 son, with his bookplate to the inner cover of the solander box; Hobson (1921–2014) was the director of Sotheby’s and Octavo. Original red cloth, titles and art nouveau decoration to spine after a design by Alfred Garth Jones, enlarged on front board a noted bibliophile. incorporating silhouette of hound stamped in black. Frontispiece Hirsch, A Poet’s Glossary, 2014, p. 85; Fraser & Thomas, pp. 235–6. and 15 plates after Sidney Paget. Contemporary ownership inscription to front free endpaper. Spine ends slightly bumped, very slight £1,750 [104203] marking to bottom edge. An excellent, bright copy. first edition in book form, first impression. The 48 Hound of the Baskervilles was Sherlock Holmes’s comeback af- DURRELL, Lawrence. [The Alexandria Quartet:] ter his shocking demise on the Reichenbach Falls stunned Justine; Balthazar; Mountolive; Clea. London: Faber his loyal Victorian readership. When first serialized in the and Faber, 1957–60 Strand Magazine in 1901 it was a great success, with queues 4 volumes, octavo. Original cloth, spines lettered in gilt on at the publisher’s office and throughout the country. coloured grounds. With the dust jackets. Spine ends and corners Green & Gibson A26. lightly bumped, occasional spotting to pages, dust jacket extremities a little worn. Justine: spine faded with a few shallow chips £5,000 [122551] to ends, spotting to panels, small pieces of tape to jacket verso. Balthazar: spine and rear panel toned. Overall a very good set. 47 first editions, first impressions, of Durrell’s endur- DURRELL, Lawrence, & others. Personal Landscape. ing masterpiece. Perhaps his greatest success, the Quar- Cairo: Press of the French Institute of Oriental Archaeology, tet is a study of love and political intrigue in Alexandria, 1942–5 Egypt before and during World War II. “The four novels emerged in rapid succession from 1957 to 1960 and elicited 8 parts, quarto. Original wrappers. Housed in a black quarter morocco solander box. A couple of nicks to edges of wrappers, a wildly divergent but generally favourable reviews, praising little toning to contents. An excellent, fresh set. or attacking Durrell’s luxuriant prose, his highly romantic recreation of Alexandria, and his self-proclaimed use of first editions, a complete set. Personal Landscape is Einstein. Only with the Quartet sales did Durrell begin to perhaps the best-known product of the literary flower- live from his writing” (ODNB). ing in wartime Egypt. Durrell and Fedden were part of a group of poets that “sought an apolitical poetry that put a £2,250 [124263]

22 Peter Harrington 143 48 49 50

49 first uk collected edition, first impression, ELIOT, T. S. Ara Vos Prec. London: The Ovid Press, 1920 presentation copy, signed by the author on the title page, and accompanied by a typed and signed presenta- Quarto. Original yellow cloth-backed black boards, black coat- tion letter from the author to his long-time friend P. T. R. ed endpapers, white paper title label to spine printed in black, edges untrimmed. Housed in a black quarter morocco solander Gillett. Eliot had been a colleague of Gillett’s during the box by the Chelsea Bindery. Initials by Edward Wadsworth. Cor- poet’s eight-year career as a clerk with Lloyd’s Bank from ners bumped, a few pale markings to boards, spine label rather 1917 onwards. Eliot presented numerous copies of his rubbed, edges toned, inner hinges cracked. A very good copy. books to Gillett over the years. first edition, first impression, out-of-series copy The presentational letter for this book is typed on Faber and from a print-run of 264, this copy signed by the author on Faber stationary and reads thus: “Dear Mr. Gillett, I should the title page, with his manuscript correction substitut- have written before this, but for a spell of influenza, to apol- ing “Vos” for “Vus” in the title. Explaining the error, Eliot ogise personally for the mistake about your copy of the Quar- wrote to Gallup that “The correct title of the book is Ara Vos tets. I trust that you duly received the second copy that was Prec. It only happened to be Vus on the title page because sent: as for the first, there is no possibility of retrieving it. I don’t know Provençal, and I was quoting from an Ital- It was sent by an odd mistake to a man I know slightly, and ian edition of Dante the editor of which apparently did not though no doubt he was surprised at receiving a signed copy know Italian either”; the mistake was noticed in time for of my book, I think he might be rather hurt by being told the correct title to be printed on the spine label. that it was not intended for him! Yours sincerely, T. S. Eliot”. His third book of verse, copies of Ara Vos Prec are becoming Gallup A43b. increasingly difficult to find, particularly in this unusual state, the only other copy we have handled having been £6,750 [120672] one of 220 numbered copies signed by the author. Gallup A4a. £4,500 [104782]

50 ELIOT, T. S. Four Quartets. London: Faber and Faber, 1944 Octavo. Original tan cloth, spine lettered in gilt. With the dust jacket. Spine rolled and covers bowed, leaves cockled, grey mark to top corner of pp. 38–40. A very good copy in the dust jacket, spine panel slightly faded, slight soiling to rear panel and small brown mark to front panel. 50

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Presentation copy to Ezra Pound held in St Elizabeth’s Hospital, Washington DC, working on the Cantos and his translations of Sophocles. In the 51 judgment of his lover Olga Rudge he still harboured “bats ELIOT, T. S. The Cocktail Party. A Comedy. London: in the belfry”. What Pound’s sentiments must have been Faber and Faber Ltd, 1950 on receipt of this play can only be guessed at, but Rudge, Octavo. Original green cloth, titles to spine gilt. With the dust who attended a matinee of The Cocktail Party in London, jacket. Housed in red quarter morocco solander box by the Chel- wrote to Pound urging him to “encourage His friend, the sea Bindery. Spine a little cocked, minor fading to cloth along Possum, who does love Him, she feels it.’” edges of boards, an excellent copy in a very good jacket, tanned to spine panel, lightly nicked at the extremities with a small closed In July 1946 Eliot had visited Pound at St Elizabeth’s, con- tear at top of front joint and a small chip from the top of front sidering his situation “very grim”, and petitioned for him panel just affecting titles. to be moved to better quarters. Subsequently, Eliot sought to help Pound, notably by having Faber and Faber publish first edition, first impression, a major associ- the UK edition of the Pisan Cantos in 1949, and also by ma- ation copy presented by eliot to ezra pound, noeuvring to have Pound awarded the inaugural Bollingen with his affectionate inscription, “Ez from O. Possum, Prize, outraging the sensitivities of many in Cold War 6.iii.50” to the front free endpaper, dated three days before America that an incarcerated fascist sympathiser could be publication. granted thousands of dollars by the Library of Congress. Eliot of course owed an eternal debt of gratitude to Pound This presentation copy could have been sent to St Eliza- – “il miglior fabbro” – for his editorial shaping of The Waste beth’s either via Rudge or the post. From the provenance Land. At the time of this inscription Pound was still being

24 Peter Harrington 143 121954 Thomson

52 52 of the copy, we know that it was passed by Pound (though you will like these poems, but I admire some of them very without inscription) to Eileen Lane Kinney. Kinney was a much. A small addition to the library.” Above the mounted member of the inner circle of modernist artists and writers card is his sister’s inscription of receipt: “To Charlotte El- based in Paris in the 1920s and 30s. She had been Brancu- iot Smith, from her brother T.S.E.” Smith (1874–1926) was si’s lover before returning to America just as the Second Eliot’s older sister, with whom – along with other mem- World War loomed. She settled in Washington DC and bers of his family – Eliot shared his literary enthusiasms. worked on a number of translations of political studies Eliot acknowledged Thomson as a poet “whose work im- from French into English. When in 1946 Pound was moved pressed me deeply in my formative years between the ages to St Elizabeth’s, she spared little time in contacting him of sixteen and twenty,” and indeed much has been written and arranging visits. Pound inscribed a copy of Pisan Cantos about Thomson’s influence on Eliot, and in particular the to her in 1958, just before his departure for Italy, and we connections between The City of Dreadful Night, a nightmare suspect that this remarkable Eliot presentation may also poem in which the speaker wanders through a bleak Lon- have been given to her at this time. don cityscape, and The Waste Land. “When Eliot comes to (For Pound, see also item 162.) write of London in the poem he goes to the very cantos of the Inferno which Thomson had used fifty years before Gallup A55a; Anne Conover, Olga Rudge & Ezra Pound: “What Thou Lovest in his own vision of that city . . . Thomson also provided Well . . . ”, p. 196. examples of the squalid urban settings which Eliot was to £45,000 [124275] use in The Waste Land and showed how apparently unpoetic urban sights could be made to communicate powerfully 52 a sense of horror . . . Nor did Eliot’s reading of Thomson (ELIOT, T. S.) THOMSON, James. The City of affect only The Waste Land. Prufrock is very much . . . an ironic view of the type of figure found inInsomnia , a Thomson Dreadful Night. Portland: Thomas B. Mosher, 1903 poem written less than thirty years earlier” (Robert Craw- Small octavo. Original japon wrappers. Partly unopened. Minor ford, “James Thomson and T. S. Eliot,” Victorian Poetry, vol. smudging to T. S. Eliot’s inscription. Slight browning to spine 23, no. 1, 1985, pp. 23–41). but an excellent copy. first mosher edition, an outstanding associa- £4,750 [121954] tion copy presented by t. s. eliot to his sister, of this handsome edition of Thomson’s City of Dreadful Night, which provided a model for The Waste Land. This copy contains the gift inscription from Eliot on his calling card, mounted to the front free endpaper, “I don’t know whether

All items are fully described and photographed at peterharrington.co.uk 25 53 54

53 54 ERNST, Max, & Paul Eluard. Misfortunes of the EWERS, Hanns Heinz. Alraune. Translated from Immortals. Translated by Hugh Chisholm. New York: the German by S. Guy Endore. Illustrated by Mahlon The Black Sun Press, 1943 Blaine. New York: The John Day Company, 1929 Quarto. Original pale pink boards, spine and front cover lettered Octavo. Original black cloth, spine lettered in gilt with red or- in black, large design by Ernst printed on plastic backed by yel- nament, gilt, red and black illustration to front cover, pictorial low paper set into front cover. Housed in a custom yellow cloth endpapers, top edge red. With the dust jacket. Original illustra- solander box. Illustrated throughout, printed on both yellow and tion, frontispiece and 11 full-page black and white illustrations by pink wove paper. Wear to extremities, joints cracked, spine lack- Mahlon Blaine. Spine ends and top edge lightly bumped. An ex- ing bottom 5 cm, two marks to rear panel; a very good copy. cellent copy in the dust jacket, slightly soiled, a few short closed first edition with text in english, signed lim- tears, spine panel faded, spot of abrasion and chip to rear cover, slightly chipped at extremities. ited issue, number 10 of 110 copies signed by the artist, printed on Strathmore Rag Paper and in special covers; a first edition in english, presentation copy, in- further 500 trade copies were issued in green boards. This scribed by the illustrator with an original signed drawing is a presentation copy, inscribed by the artist on the title in pencil and green pen to the second half-title, signed page, “To Kenneth MacPherson, qui m’a aidé à travers- “for Dunninger Mahlon Blaine 1936”, depicting a demon er l’Atlantique à la nage. Très cordialement. Max Ernst” pulling a mandrake-like woman from a hat. The recipi- (“To Kenneth MacPherson, who helped me swim across ent, Joseph Dunninger (1892–1975), was one of the fore- the Atlantic. Very cordially. Max Ernst”). MacPherson, a most magicians and mentalists of the time, an excellent film maker, “had offered an affidavit at the request of Al- association given the book’s occultist subject matter. The fred Barr’s wife that had helped enable Max Ernst to get translator, S. Guy Endore, was the author of the 1933 nov- into the United States in 1941”. They later collaborated on el The Werewolf in Paris, perhaps the most influential piece Dreams That Money Can Buy, an experimental film, in 1947. of werewolf fiction. The novel was originally published in Originally published as Les malheurs des immortels in Paris, Germany in 1911. 1922, it is one of the key works of surrealism. This Black £2,250 [123320] Sun edition adds three illustrations by Ernst (printed on pink paper) not found in the original. Minkoff,Black Sun, A48; Mary V. Dearborn, Mistress of Modernism: The Life of Peggy Guggenheim, p. 211. £2,500 [117899]

26 Peter Harrington 143 55 56

To the daughter of his prize-giving professor Faulkner, 1989, pp. 140, 153). Presentation copies of Sartoris are extremely rare. 55 Massey 289; Peterson A5.1. FAULKNER, William. Sartoris. New York: Harcourt Brace, 1929 £32,500 [124319] Octavo. Original black cloth. With the Arthur Hawkins dust jacket. In a black quarter morocco slipcase and chemise. Prov- 56 enance: Edith M. Brown (presentation inscription, signature on FAULKNER, William. Light in August. New York: front free endpaper, dated 1929 at foot); Louis Daniel Brodsky, Harrison Smith & Robert Haas, 1932 American poet and Faulkner scholar (then deaccessioned from the Brodsky-Faulkner collection at Southeast Missouri State Uni- Octavo. Original grey cloth, spine lettered in blue and front board versity); Roger Rechler (his sale, Christie’s New York, 11 October in orange, top edge orange, fore edge uncut. With the dust jacket 2002, lot 77). Cloth a little rubbed, front hinge weak. An excellent and glassine wrapper. With a contemporary newspaper review copy n the dust jacket with a few minor nicks. pasted to verso of dust jacket. A superb copy with some extremely minor foxing, in the particularly bright dust jacket and glassine first edition, first printing, presentation copy, wrapper with some nicks and closed tears to extremities, the rear inscribed by the author to his close childhood friend on panel of the jacket cockled and the glassine a little creased. the front free endpaper: “To my good friend, Edith, from first edition, first printing, well-preserved in ex- Bill,” and signed by Edith M. Brown beneath the inscrip- ceptionally bright condition under the glassine. “Few tion; additionally signed by Faulkner on the title, “William American novels are so lavish in dramatic incident, so Faulkner 28 May 1929.” Brown was one of three children infused with images of sensation, so precisely fixed in of Calvin S. Brown, Faulkner’s romance language profes- place and weather” (Irving Howe, William Faulkner: A Critical sor at “Ole Miss” in the late teens. According to Frederick Study, 1957, pp. 200–14). Karl, Brown was perhaps the most distinguished faculty member at the university, a Renaissance man who taught £4,250 [124264] languages, archaeology, and geology, and collected sleigh bells and pestles and mortars. He awarded Faulkner with a prize for a poem at the end of school (See Karl, William

All items are fully described and photographed at peterharrington.co.uk 27 57

Presentation copy from the author and one of his 58 characters 58 57 FAULKNER, William. “To the voters of Oxford” [The FAULKNER, William. Pylon. New York: Harrison Smith Beer Broadside. Oxford, Mississippi: Oxford Eagle, 1950] and Robert Haas, Inc., 1935 Single leaf broadside, printed on recto only. In fine condition. Octavo. Original blue cloth, titles to spine and front board gilt on black ground, top edge black. With the dust jacket. Housed Faulkner’s infamous and extremely uncommon “beer in a blue cloth folding case. Gilt titles chipped, lightly rubbed at broadside” was distributed in his home town of Oxford pri- extremities, mark to edge of rear board. A very good copy in the or to a referendum on the repeal of a local ban on the sale rubbed and chipped jacket. of beer, implemented in 1944. Faulkner refuted four of the first edition, first printing, presentation copy, claims made by clergymen in favour of the ban, after they inscribed by the author and the woman who inspired one of had printed an advertisement in the local paper, the Oxford the characters in the novel on the front free endpaper, “To Eagle, “proclaiming the evils of drinking and the potency a little ‘big girl’ in the south from Phoebe Omlie [signed in of four percent beer” (Blotner, p. 521). The Eagle refused to her own hand] and William Faulkner. Miss Stella Aiken. Ox- publish Faulkner’s response to the clergymen, but agreed ford, Miss, April 29, 1935”. Phoebe Omlie was a female avi- to print his broadside for circulation. It went on to be pub- ation pioneer, celebrated in the national press for her aerial lished in The New Yorker, and was described by editors as stunts, and was the first woman appointed to the Bureau “the clearest and most concise prose” that Faulkner had of Aeronautics. Her husband Vernon taught Faulkner to fly ever written. However, to Faulkner’s dismay, the ban was in 1933, and two months after he received his license, the not overturned after Oxford voted 480–313 to renew it. In a two flew to New Orleans to see the Pan-American air races. follow-up letter to the editors of the Eagle, which they did Faulkner began work on what would become Pylon as soon publish, Faulkner wrote “I notice that your paper has listed as he returned from the trip, and it reflects “all the enthu- me among the proponents of legal beer. I resent that. I am siasm and fascination for aeronautica of the newly-fledged every inch as much an enemy of liberty and enlightenment pilot” (Harrison, p. 153). Faulkner drew upon the Omlies and progress as any voting or drinking dry either in Oxford for the characters of race-pilot Roger Shumann and his wife . . . I object to ministers of God violating the canons and Laverne in the novel. Presentation copies of the trade edi- ethics of their sacred and holy avocation by using, either tion are very scarce indeed, and this is a superb association. openly or underhand, the weight and power of their office to try to influence a civil election” (Moreland, p. 414). The Harrison, Aviation Lore in Faulkner, 1985. ban was partially overturned in 1972: the sale of beer was £9,750 [124226]

28 Peter Harrington 143 59 allowed, but could not be refrigerated, or sold on a Sunday. first edition, first printing, presentation copy, The remaining restrictions were overturned in 2013. inscribed by the author on the title page, “To Ruth Ford Petersen D15a; Blotner, Faulkner: A Biography; Moreland, A Companion to from Bill Faulkner (See what you can do with this) Oxford William Faulkner. 9 October 1959”. Ford was an actress and model who had been a long-time family friend of Faulkner. She said of £2,250 [118387] him, “one of the nicest people in Hollywood is William Faulkner, who I had known in Mississippi when I was Presentation to the beautiful salonnière of the Dakota getting my Masters Degree in Philosophy at the Univer- 59 sity there.” After her acting career was over, she was well known for the literary and artistic salon she created at her FAULKNER, William. The Town. New York: Random Dakota Building apartment in New York, frequented by House, 1957 Faulkner, Cecil Beaton, Truman Capote, Stephen Sond- Octavo. Original orange cloth, titles to front board and spine in heim, Andy Warhol, and others. Her brother was the bo- black, top edge green. With the dust jacket. Housed in a burgun- hemian surrealist Charles Henri Ford. dy quarter morocco solander box by the Chelsea Bindery. Endpa- pers partially browned, top stain a little faded. Very good in the £15,000 [124320] somewhat rubbed and tanned dust jacket.

All items are fully described and photographed at peterharrington.co.uk 29 first edition, first impression, of firbank’s first novel, one of 500 copies. Having published his first book as a schoolboy under his Christian name of Arthur, Firbank asked to be styled A. A. R. Firbank, feeling “sure that copies will sell better that way as one’s acquaintance will recognise them sooner”. But his name only appears in that form on the front panel and spine of the jacket. On the rear panel, both flaps, and the title page, he is styled Ronald Firbank “for the first time, signalling the emergence of the mature writer. Like all his books until Prancing Nigger (1924), it was published at his own expense and to negligible acclaim. An unorthodox social comedy set in an English cathedral town, it was also the most experimental modernist novel yet published in England, and its ab- struseness was found additionally baffling in the context of the war” (ONDB). Benkovitz A2. £950 [123503]

60 62 FITZGERALD, F. Scott. Programme for Fie! Fie! 60 Fi–Fi! A Musical Comedy in Two Acts. Presented by FERBER, Edna. Giant. Garden City, NY: Doubleday & the Princeton University Triangle Club, season of Company, Inc., 1952 1914–1915. Philadelphia: E. A. Wright Bank Note Co., 1914; Octavo. Original black cloth, titles to spine in silver, red endpa- [together with] Fie! Fie! Fi-Fi! A facsimile of the 1914 pers, top edge red. With the dust jacket. A superb, fresh copy in acting script and the musical score. (Number 130 of the jacket that is only very lightly rubbed at the extremities with a few tiny nicks and short splits. 500 copies.) Columbia: University of South Carolina Press, first edition, first printing, presentation copy 1996 to harriet monroe, laudatorily inscribed by the author Small quarto. Original paper wrappers, black, orange and white on the front blank, “When Harriet Monroe founded Poetry decoration to front cover designed by I. E. Swart, stitched with white string as issued. Floorplan of theatre to last page. Very Magazine she broke new ground, in her own way, with cour- slight crease to centre, else an excellent copy. age & foresight to match, the pioneers of an earlier day. Edna Ferber. New York, October, 1956”. An interesting as- A remarkable survival of the original programme from sociation: Monroe founded Poetry Magazine in 1912 to “print the first tour of Fitzgerald’s two-act musical comedy, pre- the best English verse which is being written today regard- sented by the Princeton Triangle Club. After premiering at less of where, by whom, or under what theory of art it is Princeton on 19 December 1914, the Club went on a 3,500- written”. The magazine published important early work by mile Christmas tour, performing at Brooklyn, Baltimore, most of the greatest poets of the 20th century, including Cincinnati, Louisville, St. Louis, Chicago, Detroit, and Eliot, Joyce, and Pound, and is still being published. Giant Pittsburg between 21 and 31 December. A contemporary was the basis for the 1956 film of the same name starring ownership inscription to the front cover (“Dec. 30, 1914, Elizabeth Taylor, Rock Hudson, and James Dean. with Marion Willcox”) places this programme at the De- troit performance. Two further performances were held £1,250 [124225] the following year, in Newark and New York, on 20 Feb- ruary and 17 April 1915 respectively, bringing the tour to a 61 total of 14 performances. FIRBANK, Ronald. Vainglory. With a frontispiece by The programme is highly uncommon: institutionally Felicien Rops. London: Grand Richards Ltd, 1915 there are just two known copies (one at the University of Octavo. Original black cloth, spine and front cover lettered in South Carolina and Fitzgerald’s own annotated copy held gilt, top edge green. Spine ends a little worn, text block very by Princeton University Library). Fitzgerald’s copy of the slightly toned. A very good copy in the torn jacket, loss to spine programme reveals some of his frustration with the final ends, 30 mm tear to top of front joint, short closed tears to edges production: the programme credits Walker M. Ellis, the of panels, tape repairs to verso.

30 Peter Harrington 143 62 63

Triangle Club president who revised the dialogue, as the With an excellent Princeton association sole author of the book, which Fitzgerald corrected to read: “Book and lyrics by F. Scott Fitzgerald, 1917. Revision 63 by Walker Ellis, 1915”. Fitzgerald was also denied the op- FITZGERALD, F. Scott. This Side of Paradise. New portunity to act in his own play, since his low grades ren- York: Charles Scribner’s Sons, 1920 dered him ineligible for extracurricular activities – next to Octavo. Original green cloth, spine lettered in gilt and front the character Celeste in the cast list he wrote “My part – oh board in blind. Housed in a blue quarter morocco slipcase. Con- Hell!” Nonetheless, he later told his daughter Scottie that tents evenly tanned and slightly shaken, spine a little faded and musical comedy was “more ‘fun’ than anything else a liter- bruised at ends. Overall a very good copy with a few knocks to ary person can put their talents to”, and gave the Triangle the boards. Club (which he had cited as a major factor in his decision first edition, first printing, presentation copy, to enrol at Princeton) a brief part in This Side of Paradise. inscribed by the author on the front free endpaper, “Com- Accompanying the programme is the book published as pliments & luck to Whitney Darrow from F Scott Fitzgerald part of the Fitzgerald Centenary Celebration, containing April 2nd 1920 New York City”. The inscription is in two full reproductions of both the first edition of the musical parts, Fitzgerald having apparently signed and dated the score – issued on 17 December 1914, two days before the copy first, before adding the salutation to the recipient first performance, and thus constituting Fitzgerald’s first above. The recipient was the elder of the two Whitney Dar- published work – and the original privately printed act- rows (father and son) with each of whom Fitzgerald held ing script, taken from one of only two surviving copies. a long acquaintance. They were Princeton men and each Bruccoli writes that “the show was an undergraduate lark. played key roles in the literary establishment at the college. Apart from the bibliographical importance of the printed Darrow senior graduated in 1905 and was instrumental in acting script and the published musical score as Fitzger- establishing the Princeton University Press. He ran the ald’s first two books, the significance of the musical come- press from 1905 to 1917 in a kind of loose partnership with dy is that it documents Fitzgerald’s early professionalism. Scribner’s; upon giving up the Princeton job, he joined Before his eighteenth birthday he was mastering the word the latter firm in an advisory role. The Darrow connection trade” (Bruccoli, p. x). makes a fine association for Fitzgerald’s first novel, with its Princeton-educated protagonist. Matthew Bruccoli, introduction to Fie! Fie! Fi-Fi! A facsimile of the 1914 acting script and the musical score; Bruccoli A2 for published musical score; Saturday Bruccoli A5.1.a Evening Post, 18 September 1920. £27,500 [124266] £2,250 [122923]

All items are fully described and photographed at peterharrington.co.uk 31 64 65

The most eloquent jacket in American literature written it into the book.” Though artistically superb, the jacket included a misprint on the back panel that required 64 hand-correction and it was left a little taller than the book FITZGERALD, F. Scott. The Great Gatsby. New York: itself. As a consequence almost all of the small number of Charles Scribner’s Sons, 1925 examples that do survive have wear of some description at Octavo. Original dark green linen-grain cloth, titles to spine gilt, the edges. to front board in blind. With the original dust jacket. Spine very Bruccoli A11.1.a. slightly rolled; an excellent copy in bright cloth, in the jacket with some loss to foot of spine extending into panels, rear panel with £100,000 [123685] additional 1 inch loss to lower left corner, a couple of shallow chips to head of front panel and spine, extremities rubbed and An exceptional copy in the first issue jacket nicked, light mark to rear panel, nonetheless the iconic front panel presenting nicely. 65 first edition, first printing, first state of the FITZGERALD, F. Scott. Tender is the Night. A text, first issue dust jacket. The copy is the correct Romance. Decorations by Edward Shenton. New York: first printing, with “chatter” on p. 60, line 16, “northern” Charles Scribner’s Sons, 1934 on p. 119, line 22, “it’s” on p. 165, line 16, “away” on p. 165, Octavo. Original green cloth, spine lettered in gilt. With the dust line 29, “sick in tired” on p. 205, lines 9–10, and “Union jacket. Housed in a dark blue quarter morocco solander box. Il- Street station” on p. 211, lines 7–8; the jacket is the first lustrations in the text by Edward Shenton. Extremities very faint- printing, with lowercase “j” in “jay Gatsby” on the back at ly rubbed. An exceptionally bright copy in a slightly rubbed jacket line 14 hand-corrected in ink. with a few short closed tears and light chipping to tips of spine panel and flap folds; box with bibliographical inscription to in- The iconic jacket was designed by Francis Cugat (1893– side cover and slight rubbing to corners. 1981). Charles Scribner III (“Celestial Eyes – from Meta- morphosis to Masterpiece”) argues that not only is the first edition, first printing, in the first issue jacket recognised as the most eloquent in American liter- dust jacket with the T. S. Eliot review to the front flap. ary history, but that Cugat’s artwork demonstrably had an Tender is the Night was Fitzgerald’s fourth novel, appearing effect on Fitzgerald’s evolution of his literary masterpiece, some nine years afterThe Great Gatsby. Fitzgerald set out to as the author responded to sketches and artwork shown write an important and in many ways revolutionary work to him before the book was complete, a perhaps unique of fiction. Structurally complex, topically dangerous and occurrence in literary history. Fitzgerald wrote to his pub- personally challenging, the struggle of its inception was lisher sometime in August 1924 from France: “For Christ’s matched perhaps only by the scale of critical disdain. sake don’t give anyone that jacket you’re saving for me. I’ve Fitzgerald was so distressed by the antagonism from most

32 Peter Harrington 143 66 quarters that he agreed to allow later editions to be published with the narrative rearranged chronologically. Only years after his death was the text restored and the true bril- liance of this work recognised. Bruccoli A15.I.a.

£17,500 [124269] 67

In gratitude for his review of Tender is the Night always called her Amanda, thinking “Alice” too ordinary a name for her), and culminating in a ménage à trois between 66 him, Amanda, and his friend the American poet, John FITZGERALD, F. Scott. Typed letter signed (“Scott” Peale Bishop. in ink) to Gilbert Seldes. 1307 Park Avenue, Baltimore: 26 Not in the M. J. Bruccoli or A. Turnbull editions of Fitzgerald’s letters. April 1934 £8,750 [124321] 2⅛ pages (280 × 215 mm), double-spaced on three sheets of beige paper, with two postscripts comprising about half of the letter signed “S.” in ink, two small ink stains from corrections, a mar- The first James Bond novel, in the first issue jacket ginal note by Seldes on the first page. 67 Apparently unpublished, Fitzgerald wrote this letter to thank Gilbert Seldes after he gave Tender Is the Night a rave FLEMING, Ian. Casino Royale. London: Jonathan Cape, review in the New York Evening Journal on the day of publi- 1953 cation, 12 April 1934: Fitzgerald writes two weeks later Octavo. Original black boards, titles to spine in red, heart device to thank him: “. . . I never had any doubt after the weeks to front cover in red, bottom edge untrimmed. With the illus- and months of half-sleepless work on the thing that it had trated dust jacket. Housed in a custom black quarter morocco solander box. Spine very gently rolled, a little foxing to edges some special merit and value but it is so nice to see an ap- and endpapers. An excellent copy in the bright, unclipped jacket, preciation of it so early embodied – especially at the pres- with very mildly toned spine, nicks and a tiny bit of rubbing to ent moment when it can do so much good. On the whole extremities. the press has been very good except for one blank, in the first edition, first impression, in the first issue case of the New York Times by some student who didn’t seem dust jacket (without the Sunday Times review to the front to know what the thing was all about, so they carried it in flap). “According to the Cape archives, 4,760 sets of sheets a small block on the third page – the only tragedy of that to of the first printing were delivered, but only 4,728 copies me is that it is the reference journal of the old maid librar- were bound up. Many of these went to public libraries and ians of the Great West. However, your review, more than we believe that less than half of the first printing was sold any other, has given me the most satisfaction . . . As ever, to the public. The jacket is genuinely rare in fresh condi- venomously, and even subtly, Scott.” tion” (Biondi & Pickard, 40). Fitzgerald adds a double postscript, containing a vignette Gilbert A1a (1.1). concocted in a rococo style of an alternate reality, in which Gilbert has died and Fitzgerald married his wife, the £45,000 [122505] intellectual and bohemian Alice Wadhams Hall (Seldes

All items are fully described and photographed at peterharrington.co.uk 33 68 70

68 69 [FORD] HUEFFER, Ford Madox. Poems for Pictures FORSTER, E. M. Howards End. London: Edward And for Notes of Music. London: John Macqueen, 1900 Arnold, 1910 Octavo. Original cloth, titles to spine and front in black, floral- Octavo. Original dark red cloth, gilt titles on spine and front ly patterned endpapers. Spine tanned, ends and corners a little board. Lower fore-tip bumped, a little marginal foxing. A lovely rubbed, cloth somewhat marked and dust soiled, hinges a little copy in bright cloth. tender, some light tanning around endpapers but otherwise in- first edition, first impression, second issue with the ternally fresh, a very good copy. inserted eight pages of publisher’s advertisements. The first edition, sole impression, of this rare early po- novel was the basis for the 1992 Oscar-winning film of the etry collection by Ford Madox Hueffer (1873–1939, from same title, starring Emma Thompson, Helena Bonham 1919 known as Ford Madox Ford). We have never han- Carter, Vanessa Redgrave, and Anthony Hopkins. dled another, and can only trace one appearance at auc- Kirkpatrick A4a. tion, in 1938, when a copy inscribed by Ford to Theodore Watts-Dunton appeared in the Anderson Galleries sale of £1,750 [122964] The Modern Library of Robert Dunning Dripps. That copy was accompanied by a letter which quoted Ford himself “His finest achievement”, with the dust jacket having claimed that there were only 17 copies in existence. Institutional records show five copies in the UK and ten 70 in the USA, leaving, if Ford’s assessment of rarity is to be FORSTER, E. M. A Passage to India. London: Edward credited, precious few in private hands. The printed ded- Arnold & Co., 1924 ication is to Edward Garnett. A second series of Poems for Octavo. Original dark red cloth, black lettered spine and front Pictures was published in 1904, entitled The Face of the Night, cover. With the dust jacket. Housed in a burgundy quarter mo- which appears to be somewhat more common. rocco solander box by the Chelsea Bindery. Jacket spine toned, lettering faded, some closed tears, nicks and chips, touch of fox- £4,250 [122247] ing to fore edge of book block. first edition, first impression. Copies in the dust jacket are very scarce. “Up to the last moment [Forster] had been assailed by doubts and despairs about his novel, but its reception removed all his fears. The book suited the moment, and friends and reviewers alike called it a mas-

34 Peter Harrington 143 terpiece and his finest achievement” (P. N. Furbank, E. M. Forster: A Life, II, p. 123). Connolly, Modern Movement, 45; Kirkpatrick A10. £9,750 [100731]

71 FORSTER, E. M. The Eternal Moment and other Stories. London: Sidgwick & Jackson, Ltd, March 1928 Octavo. Original burgundy cloth, titles to spine and front board gilt. With the dust jacket. Trivial nicks to ends and corners only, otherwise a fine copy in the price-clipped dust jacket in excellent condition with faint toning to spine panel and small nicks to ends and corners. first edition, first impression, of this collection of Forster stories including his extraordinarily prescient “The Machine Stops” (1909), which imagines a blighted world in which the totality of the human race lives within a machine that functions not unlike an all-encompassing Facebook, immediately connecting, and at the same time irrevocably 72 separating, everyone. It has been described as “the first full-scale emergence of the twentieth-century anti-utopia” The poetry collection A Boy’s Will was the first published (Hillegas, The Future as Nightmare, pp. 82–94). book of Robert Frost. He was then nearing 40 and, al- £400 [116628] though he had written much, had not found a conducive publisher in America. He had moved to London in 1912, His first published book hoping to find a scene more receptive to new poetic voices, and, with the support of F. S. Flint and other sympathet- 72 ic Imagists such as Ezra Pound, managed to secure a deal FROST, Robert. A Boy’s Will. London: David Nutt, 1913 with David Nutt, who printed 1,000 copies of A Boy’s Will. Octavo. Original wrappers, titles in black to front (Crane’s bind- Only about 350 copies were issued by Nutt, who went banking D with four-petalled flowers and “Printed in Great Britain” rupt shortly after the war and sold the remainder stock to stamped on title verso). Housed in a beige cloth chemise. Wrap- Simpkin & Marshall. Frost in the meantime had returned pers pulling a little from text block spine inside front hinge, and to America at the outbreak of the war, and, bolstered by externally a few minor marks, but a very good copy. his London publication and its rave reviews penned by his first edition of Frost’s first published book, inscribed Imagist friends, achieved the American beginning of his by Frost on the blank facing the first printed poem with the meteoric poetic career with an edition of A Boy’s Will pub- then-unpublished 12-line poem “The Same Leaves” writ- lished by Henry Holt in 1915. The Nutt edition is however ten out, signed, and addressed “For Martha Shanner, July the true first printing. 1927”. Frost has also signed both the front cover and the The remainder, approximately 650 copies, were subse- title page, both retrospectively dated May 1913. The copy quently reissued in a variety of bindings, of which this is is accompanied by an autograph letter signed from Frost the earliest. It is the first American issue, sold by Dunster to Shanner (including the envelope, addressed in Frost’s House, Cambridge, MA, from 1923. hand to her in New York), written from South Shaftsbury, VT, 15 December, in which he writes, “Thanks for asking, Crane A2. but there’s no book of mine to be expected for some time £8,500 [122696] yet. The poem I wrote out for you hadn’t been published I believe when I wrote it. It has since appeared in The Lon- don Mercury. I mean The Same Leaves.” The poem was there retitled “In Hardwood Groves”, but had originally been intended by Frost for inclusion in A Boy’s Will. It didn’t appear in book form until his 1930 Collected Poems, and its pre-publication appearance here constitutes an interesting editorial intervention by the poet. 72

All items are fully described and photographed at peterharrington.co.uk 35 74

73 (GAY SUNSHINE PRESS.) Gay Sunshine Interviews. Volume I [Volume II]. Edited by Winston Leyland. San Francisco: Gay Sunshine Press, 1978 & 1982 2 volumes, octavo. Vol. I with original beige cloth, blue titles to spine and front, no jacket as issued, vol. II with original patterned cloth-backed boards, gilt title label to spine, white paper sides and gilt titles to front, with the original acetate wrapper. Photographic portraits. Fine. first edition, first printing, the publisher’s own copies of the rare deluxe signed limited issues of the Gay Sunshine Interviews. The first volume is number 3 of 5 hors commerce copies signed by Leyland and five of the inter- 74 viewees, namely Allen Ginsberg, Peter Orlovsky, John Giorno, Harold Norse, and Lou Harrison (with his en- with prominent gay writers of the era. Also included here try inscribed “Pleasure, cheers, & love to Winston, from are William Burroughs, Charles Henri Ford, Jean Genet, Lou”). This copy is additionally confirmed “Winston Ley- Christopher Isherwood, John Rechy, Gore Vidal, Tennes- land, his copy” on the front endpaper and signed by him see Williams, Taylor Mead, Edouard Roditi, Ned Rorem, on the title page. There were 500 cloth copies of the first John Wieners, among others. volume issued, of which 26 were lettered and signed by Gay Sunshine A9b and A25b. Leyland only. The second volume is letter Z of 26 specially bound copies signed by Leyland, and this copy addition- £1,500 [123221] ally signed by him on the title page. The limitation of the other clothbound copies for the second volume is not stat- Copy number 1, with Genet’s birthday card to a friend ed in the book or the bibliography. The wrappers issue for 74 both volumes is common, but the vast majority of the cloth issues of the Gay Sunshine Press were sold to libraries, and GENET, Jean. Journal du voleur. [Geneva:] aux dépens are consequently rare. d’un ami, [1949] Loose quarto quires held in the original card chemise, litho- Winston Leyland (b. 1940) was a leading figure in Amer- graphed chemise titles, half-title, title and dedication page. With ican LGBT publishing, and winner of the Stonewall Book the original grey card slipcase. Housed in a black quarter moroc- Award in 1980. He established the Gay Sunshine Press in co solander box by the Chelsea Bindery. Chemise faintly tanned, 1975, which was notable for its pioneering anthologies of tiny closed tear at head of spine, light spotting to lower margins; gay writing from other cultures, and his Gay Sunshine Jour- slipcase a little rubbed at extremities and with one tiny stain. A nal (1970–82) was particularly influential for its interviews bright and fresh copy in excellent condition.

36 Peter Harrington 143 75

very simple, very kind, and as I kiss you I only want to wish you happiness, your Plantagenet”) – recalls the interroga- tion scene in Miracle de la Rose (1946) in which the narrator’s name, “Genet”, is turned into “Plantagenet” by the interrogator. £13,500 [124273]

75 GINSBERG, Allen. Howl for Carl Solomon. San 74 Francisco: Grabhorn–Hoyem, 1971 signed limited edition, large paper issue, the ti- Quarto. Original beige cloth, colour and gilt illustrated covers af- rage de tête, number 1 of 10 copies numbered in roman ter a drawing by Robert La Vigne. Fine. Ownership inscription of Winston Leyland (see item 74 above). numerals, signed by Genet and printed on Vélin d’Arches paper, from a complete edition of 410. Laid in is an autograph first deluxe edition, one of 275 copies signed by Gins- note written by Genet, slipped inside a rice-paper birthday berg, printed by Robert & Grabhorn and Andrew Hoyem card with mawkish hand-painted decorations. The first on handmade paper from Goudy Modern type, with illus- part of the inscription, in a neat hand, satirizes the senti- trated cloth binding after a drawing by Robert La Vigne. mentality of the card with a string of asinine rhymes: “Ce- Ginsberg’s masterpiece was first published by City Lights tte carte se mange comme le pain des anges mon âme de la in 1956, in a much-reproduced wrappers format, but this is fange, tirée par vous ô Lange qui êtes sans mélange sauf de the first fine press edition. It includes a new note by Gins- fleurs et d’oranges, votre âme dans ses langes purifierait le berg about the presentation here of Howl for the first time Gange. Dans le ciel des mésanges on hurle vos louanges” in tandem with the poetic continuation The Names (writ- (“This card can be eaten like angel’s bread my soul of mire, ten 1957, published in the Paris Review 1966), his “autobio- pulled by you oh swaddling sheets, unadulterated except graphical chronicle of Howl’s same radiant persons living & for flowers and oranges, your swaddling soul would purify dead adored to specify Names & deeds in extended eulogy the Ganges. In the [blue] tits’ sky they howl your praise”). – an embodyment of Howl’s abstractions”. The publisher’s The second part, in a much looser hand – “Eh bien, ma advertisement is laid in. petite mon ange je suis très simple, très gentil, et je ne £1,350 [122992] vous souhaite en vous embrassant que du bonheur, votre Plantagenet” (“Well, my sweet little thing my angel I am

All items are fully described and photographed at peterharrington.co.uk 37 76 77

76 Octavo. Original grey cloth, titles to spine in dark blue. Spine a little toned, small white spot to front board, endpapers toned. GINSBERG, Allen. Photographs. Altadena: Twelvetree An excellent copy. Press, 1990 first edition in english, from the library of Allen Folio. Original grey cloth, titles to front cover and spine in blind, Ginsberg, with his ownership inscription to the front free black endpapers. With the dust jacket. 91 full-page photographs. endpaper, “Bought by AG & NC, 1954, San Jose. 1968 – Edges faintly lightly faded, a few tiny brown specks to fore edge of text block. An excellent copy in a lightly edge-rubbed jacket AG”. “NC” was, of course, Neal Cassady, the “secret hero” with one tiny closed tear to rear panel. of Ginsberg’s Howl (1956) and the basis for Kerouac’s Dean Moriarty, the unsecret hero of On the Road (1957). Cassady first edition, first printing, presentation copy, had met Ginsberg and the other Beats in New York in the inscribed by Ginsberg on the title page, “Allen Ginsberg 1940s and maintained close ties to them after settling in for Maud Hallin, 3/27/91 – City Lights”, with a sketch of California, with Ginsberg visiting on several occasions. a skull and a flower, the word “AH” written in its centre, This volume, purchased during one such visit only a few referring to the poem “Ah, Sunflower”, by William Blake years before Cassady’s death, is the first English language – one of Ginsberg’s favourites. Ginsberg’s fantastic collec- edition of Celine’s semi-autobiographical novel exploring tion of photographs includes portraits of his close friends, the life of a French soldier invalided during the First World Kerouac, Cassady, Burroughs, Orlovsky, Snyder, Corso and War and living among “thieves, pimps, prostitutes, fakers, Leary to name but a few; and some of luminaries such as junkies, cops, and cut-throats” in London (Commentary, Robert Frank, Basil Bunting, Lou Reed and Ken Kesey; all November 1954). It was not a success on its original publi- with revealing descriptive annotations in facsimile. From cation in France in 1944, but the novel’s outsider viewpoint an edition of 5,000 copies. and stream-of-consciousness style would certainly have Roth 101. appealed to the Beats, and it contains stylistic similarities £750 [106949] to Kerouac’s On the Road. A superb association. £3,750 [124316] 77 (GINSBERG, Allen.) CÉLINE, Louis-Ferdinand. 78 Guignol’s Band. Translated from the French by (GINSBERG, Allen.) CREELEY, Robert. Pieces. New Bernard Frechtman and Jack T. Nile. New York: New York: Charles Scribner’s Sons, 1969 Directions, 1954 Octavo. Original yellow cloth, title to spine in black, red endpapers. With the dust jacket. A fine copy.

38 Peter Harrington 143 78 first trade edition, first printing, presentation copy to allen ginsberg, inscribed by the author on the front free endpaper, “For Allen – with all love, Bob”; Ginsberg added his signature below and the date, Febru- ary 1970, and also made some ticks and marks against the text on several pages. There was a signed limited edition (1968), but presentation copies of the title are very scarce, and this is of course a superb association, linking the central poet of the Beat Movement with his counterpart in the Black Mountain circle and Review. £1,750 [119970]

79 79 (GOLLANCZ THEATRE.) Collection of plays collection comprises a complete run of the Famous Plays published by Gollancz. London: Victor Gollancz Ltd, series (1929–1937), which superbly encapsulates the stage 1928–44 culture of the 1930s London, as well as a hugely compre- 265 volumes (110 titles), octavo. Original cloth (with dust jackets hensive selection of the Gollancz plays published singly in unless stated) or wrappers, many wraparound bands. Generally slim volumes with grey dust jackets, and a number of the excellent condition, having been stored in the publisher’s file signature yellow-jacketed Gollancz publications also con- copy archive since their publication – most copies stamped “File taining plays (as well as musical and ballet texts). The vast Copy” or marked by hand as such. majority of these plays were performed in London thea- An extraordinarily comprehensive collection of first edi- tres in the 1920s, 30s and 40s, as attested by the numerous tions of plays and theatrical anthologies printed by British wraparound bands (rare survivals in themselves) advertis- publishing titan Victor Gollancz (founded 1927) from 1928 ing their “now being performed at” the likes of The Globe, to 1944. This entire collection (with the exception of two The Savoy, The Duke of York, The Criteron, etc. titles brought in to supplement a gap) derives from the A complete list of the titles is available on request. publisher’s own file copy archive, which accounts for the exceptional condition and completeness of this Gollancz £3,250 [113620] theatrical library, presenting many valuable first editions (a fine first of R. C. Sherriff ’sJourney’s End being a notable example), and many play texts that are hard to find. The

All items are fully described and photographed at peterharrington.co.uk 39 80 81

80 82 GORDIMER, Nadine. Face to Face. Short Stories. GRAVES, Robert, & Laura Riding. Focus. [Deyá, Johannesburg: Silver Leaf Books, 1949 Majorca:] Privately printed, 1935 Octavo. Original blue cloth, titles to spine in silver. With the dust 4 parts (all published), octavo. Original printed wrappers. Scat- jacket. Some light toning to the contents, a little fading at spine tered foxing (particularly to part III) and some pale dampstaining ends, but a very nice copy in the slightly chipped and tanned, to covers of parts III and IV, overall an excellent set. price-clipped dust jacket. first editions, first impressions, of this rare private- first edition, first printing, presentation copy, ly printed periodical issued between January and Decem- inscribed by the author on the front free endpaper, “For ber 1935; the only sets listed by Copac in British and Irish Henry Gibbs, a reminder that you promised to come back institutional libraries are at Leicester University (incom- and share another bottle of Nederburg with us some day plete, parts II and III only), Oxford, and the British Library – Nadine Gordimer”. The recipient was a contemporary (a presentation set from Graves); OCLC adds a further 15 South African writer whose 1951 book Twilight in South Af- in varying degrees of completeness. rica won the Anisfield Wolf book award, which Gordimer “Throughout 1935, when Robert Graves and Laura Riding herself won in 1988. While signed copies of this title do were almost wholly occupied with the lists of projects they appear in commerce, literary association copies are rare. envisioned being produced by the Seizin Press . . . they be- £2,250 [124219] gan a project they called Focus, which has been referred to as a “newsletter” of the circle of friends most closely as- 81 sociated with Riding and Graves, and who filtered in and GRASS, Günter. Die Blechtrommel. Darmstadt: Hermann Luchterhand Verlag, 1959 Octavo. Original grey cloth, titles to front board and spine in red. With the pictorial dust jacket. Spine a touch browned and gently rolled, a few stains to boards. A very good copy in the lightly tanned jacket with tape repair to verso and to head of spine. first edition, first printing, signed by the author on the title page; the author’s masterpiece, translated into English by Ralph Manheim and published in 1961 as The Tin Drum. £675 [123943] 82

40 Peter Harrington 143 84

84 GREENE, Graham. Our Man in Havana. London: William Heinemann Ltd, 1958 Octavo. Original blue cloth, spine lettered in gilt. With the jacket. 83 Spine cocked but a decent enough copy in a supplied dust jacket, price-clipped and with mildly toned spine. out of Deyá for regular visits . . . [it] contained some very first edition, first impression, a superb associa- interesting poetry, and contains many short essays” (John tion copy with the author’s signed presentation inscription Woodrow Presley, “Focus: An Extended Bibliographical to the front free endpaper, “Dear Oliver, I’m glad you like this. Description”, Robert Graves Critical Studies 273). Anyway it’s better than a pair of Old shoes! Yours ever, Gra- Higginson, Robert Graves, C290A-G. ham Greene”. The recipient was the son of his lover, Cathe- rine Walston, immortalized in The End of the Affair. Inscribed £1,500 [100400] copies of this major Greene “entertainment” are rare. One of Greene’s pre-war mystery novels in jacket £5,750 [100550] 83 GREENE, Graham. The Confidential Agent. London: William Heinemann Limited, 1939 Octavo. Original blue cloth, spine lettered in red, buff endpapers. With the dust jacket. Housed in a green quarter morocco solander box by the Chelsea Bindery. Contents lightly toned as usual, spine gently rolled but an excellent copy in the somewhat marked and frayed dust jacket with very small loss at the overlapping top edge. An excellent copy of a vulnerable late 1930s thriller. first edition, first impression. This is one of the author’s key pre-war mystery novels featuring an “intricate duel between good and evil”, written in only six weeks (ODNB). Uncommon in the dust jacket. Miller 19a. £27,500 [124277] 84

All items are fully described and photographed at peterharrington.co.uk 41 85 86

The preferred case-bound issue Presentation to Edmund Gosse 85 86 HARBOU, Thea von. Metropolis. Berlin: August Scherl, HARDY, Thomas. A Changed Man, The Waiting 1926 Supper and Other Tales concluding with The Octavo. Original green cloth, spine lettered in gilt on red ground, Romantic Adventures of a Milkmaid. London: front board lettered and ruled in gilt, top edge yellow. With the Macmillan and Co., Limited, 1913 dust jacket. Ownership ink stamp to rear pastedown. Spine slightly Octavo. Original dark green vertical-fine-ribbed cloth, spine rolled and faded, boards a little rubbed and marked. An excellent lettered in gilt, floral device incorporating the author’s initials copy in the dust jacket with spotting to spine and rear panel. stamped in gilt to front board, top edge gilt. Housed in a green first edition, first impression, the scarce and pre- morocco pull-off case, with chemise, by Sangorski & Sutcliffe. ferred cloth issue in an exceptional example of the rare Photogravure frontispiece, with tissue guard. From the collec- dust jacket illustrated by Willy Reimann. Based on the tion of Frederick B. Adams Jr, with his Rockwell Kent-designed original screenplay written by German director Fritz Lang bookplate. A trace of rubbing in places, but a near-fine copy, and his wife Thea von Harbou in 1924, this novelization bright, clean, and exceptionally fresh. was published before the release of the film version on 10 first edition, presentation copy, inscribed by the January 1927. The film Metropolis is a classic both of German author on the front free endpaper, “Edmund Gosse from expressionism and of silent-era science fiction; it remains Thomas Hardy. October: 1913”. An exceptional associa- the most expensive silent film ever made, costing approxi- tion, one of four presentations recorded by Purdy, of Har- mately 5 million Reichsmark. Influenced by the Soviet sci- dy’s last collection of stories in book form. Gosse was a ence fiction filmAelita by Yakov Protazanov (1924), which biographer and critic, now best remembered for his book was an adaptation of a novel by Alexei Tolstoy, Metropolis Father and Son (1907), which portrayed his difficult relation- advocates non-violent non-collaboration rather than the ship with his fundamentalist Christian father. The two Marxist ideal of “class struggle” promoted by Aelita. men first met in 1874, beginning a friendship that lasted for the rest of Hardy’s life. Although Hardy was nine years £8,750 [124278] Gosse’s senior, Gosse took a protective attitude to him, to

42 Peter Harrington 143 88

4 to 20 containing “The Dream” in holograph, 21 to 30 containing “Night Drive”, and 31 to 55 containing one of the other twelve poems. This copy has the poem “Undine”. This limited edition was published as part of Gilbertson’s 87 Manuscript Series, which also produced similar editions for poets such as Ted Hughes, Kathleen Raine, Tom the extent of calling him his “dear Child”, and defending Gunn, George Mackay Brown, and Peter Redgrove, though him from hostile reviews. It was Gosse who wrote a favour- Heaney’s Night Drive is today by far the most coveted. The able review of Jude the Obscure, one of the first to appear be- poems were selected from Heaney’s first two collections, fore the critical deluge, and Gosse who carried the coffin at Death of a Naturalist (1966) and Door into the Dark (1969), ex- Hardy’s public funeral in Westminster Abbey. cept the poem “Wedding Day”, which appears here for the provenance: Edmund Gosse, the sale of his library, Part first time. I, 30 July 1928, lot 70, to Bickers; Frederick B. Adams, Jr., £5,750 [123919] sale, Part II, Sotheby’s 7 November 2001, lot 548, £4,465 including buyer’s premium. 88 Purdy, pp. 151–6. HEINLEIN, Robert. Stranger in a Strange Land. New £17,500 [123376] York: G. P. Putnam’s Sons, 1961 Octavo. Original green cloth, gilt title to spine, top edge green, 87 fore edge untrimmed. With the dust jacket. Very slightly rolled, spine slightly bumped at head and foot, top corner of page 15 HEANEY, Seamus. Night Drive. Bow, Crediton: Richard creased, underlining in pen to a few pages with pen annotation Gilbertson, 1970 to pp. 208–9 and 408. Very good in the bright dust jacket, very Octavo. original green card wrappers stamped as “simulated slightly soiled, slight creasing to extremities, slight rubbing to pony-skin”, sewn at the fold, titles gilt to front. Partial toning to spine and front panel, short tear to fold of front flap. front wrapper, otherwise fine. first edition, first issue with C22 in the gutter on page first edition, sole impression, number 33 of 100 cop- 408 and with the correct date code and the uncancelled ies printed, and one of 55 with a poem inscribed in full in price of $4.50 on the dust jacket’s front flap. Stranger in a the author’s holograph facing the half-title, each signed Strange Land won the Hugo Award in 1962, and is one of the and dated on the colophon. The first three copies had all most important works of science fiction. the poems in holograph and were unbound, copies 4 to 55 £2,000 [121819] were bound as here in “simulated pony-skin”, with copies

All items are fully described and photographed at peterharrington.co.uk 43 89 HEINLEIN, Robert A. The Moon is a Harsh Mistress. New York G. P. Putnam’s Sons 1966 Octavo. Original reddish-brown cloth, titles to spine in black, initials to front board gilt. With the dust jacket. Spine cocked, light offsetting to pastedowns. An excellent copy in a slightly rubbed jacket reinforced with tape to verso. first edition, first printing, of Heinlein’s classic story of the revolt of the colony of Luna against Earth, the winner of the 1967 Hugo Award for best novel. Currey p. 233; Anatomy of Wonder (2004) II-512; Survey of Science Fiction Liter- ature III, pp. 1439–43. £1,500 [122344]

90 HELLER, Joseph. Catch-22. London: Jonathan Cape, 1962 Octavo. Original proof wrappers, review label affixed to front 91 wrapper. Four promotional postcards laid in. Spine sunned and a little cocked and creased, wrappers a little marked and dust soiled, very light rubbing to extremities, but a very good copy “You are all a lost generation” – Gertrude Stein overall, entirely sound. One of the postcards spotted. 91 scarce prepublication proof review copy of the first UK edition of Heller’s masterpiece, this copy from the HEMINGWAY, Ernest. The Sun Also Rises. New York: library (though without ownership inscription) of Sunday Charles Scribner’s Sons, 1926 Times reviewer Philip Oakes (1925–2008), who began his Octavo. Original black cloth, gold labels to spine and front journalistic career as a conscript in the Second World War, board. With the dust jacket. Housed in a black quarter moroc- working on the troop newsletter. It is offered with four co solander box by the Chelsea Bindery. Title-page vignette by scarce postcards produced by Cape to advertise the book, Cleonike Damianakes. Bookseller’s ticket to rear pastedown. A each giving a portrait sketch of one of the characters with a beautiful copy, spine a touch rolled, in the bright jacket, with a couple of small chips to spine ends, a few creases, nicks and pertinent quotation from the book. slight rubbing, front flap price-clipped. £1,250 [123116] first edition, first printing, the first issue with the misprints “stoppped” on p. 181, l. 26, “down-staris” on p. 169, line 34, and the third book being designated as “book three” instead of “book iii” (p. [235]), with the first is-

89 90 90

44 Peter Harrington 143 92 93 sue dust jacket, incorrectly citing Hemingway’s earlier title first edition, first printing, without the legal dis- as In Our Times. claimer on p. x. Hemingway’s second novel is a roman à clef, drawing on his Grissom A8.1.a. and Hadley’s tumultuous time in France in the 1920s. “The Sun £3,850 [121650] Also Rises did not rock the country, but it received a number of hat-in-the-air reviews and it soon became a handbook of 93 conduct for the new generation . . . how much of the novel seems as marvelously fresh as when it first appeared! Count HEMINGWAY, Ernest. For Whom the Bell Tolls. New Mippipopolous, his wound, and his champagne; the old cou- York: Charles Scribner’s Sons, 1940 ple from Montana on their first trip abroad; the busload of Octavo. Original buff cloth, spine lettered black on red ground, Basque peasants; the whole beautiful episode of the fishing facsimile signature to front board in black, top edge brown, trip in the mountains, in the harsh sunlight, with bright water fore edge untrimmed. With the dust jacket. Housed in a custom tumbling over the dam; then by contrast the dark streets of black half morocco solander box. Spine a little rubbed, a couple Pamplona crowded with riau-riau dancers, who formed a cir- of marks to front cover, hinges cracked but holding, text block sound. A very good copy in the jacket with repair to spine panel at cle round Brett as if she were a revered witch – as indeed she front fold, minor loss to spine spine ends, chips to tips, rubbing, was, and as Jake in a way was the impotent Fisher King ruling nicks and creasing to extremities. over a sterile land – in all this there is nothing that has gone first edition, first printing, inscribed by the au- bad and not a word to be changed after so many years. It is all thor on the front free endpaper, “To Julia Quesada, with all carved in stone, bigger and truer than life; and it is the work good wishes. Ernest Hemingway. June 18 1953. San Francis- of a man who, having ended his busy term of apprenticeship, co de Paula, Cuba.” Hemingway’s Cuban house, Finca Vigía, was already a master at twenty-six” (Cowley). is located in San Francisco de Paula, a suburb of Havana; it Grissom A.6.1.a; Hanneman 6A; Cowley, A Second Flowering, pp. 70–3. was there that he began work on For Whom the Bell Tolls and £65,000 [118495] he bought the property with some of the first royalties from the book. It became his primary residence after the Second 92 World War, until the changing political landscape prompt- ed him to leave for the last time in July 1960. With the rele- HEMINGWAY, Ernest. A Farewell to Arms. New York: vant issue points: the Scribner’s “A” to colophon and in the Charles Scribner’s Sons, 1929 first issue jacket without the photographer’s credit. Octavo. Original black cloth, printed gold labels to spine and front cover. With the dust jacket. Bookseller’s ticket to rear pastedown. A £12,500 [114331] little foxing to head of text block; an excellent, fresh copy in the jacket with slightly faded spine panel and a little rubbing to extremities.

All items are fully described and photographed at peterharrington.co.uk 45 94 95

Inscribed copy of the presentation binding dled a copy in which Scribner’s confirmed that the number of copies was in fact 24. 94 Grissom A22.1.d. HEMINGWAY, Ernest. Across the River and Into the Trees. New York: Charles Scribner’s Sons, 1950 £25,000 [124323] Octavo. Original blue buckram, facsimile signature to front board and titles to spine gilt. Containing several textual errors 95 which were corrected to the first trade edition. Housed in a black HEMINGWAY, Ernest. The Old Man and the Sea. quarter morocco solander box by the Chelsea Bindery. A superb New York: Charles Scribner’s Sons, 1952 copy. Octavo. Original light blue calico-grain cloth, spine lettered in first edition, first printing, one of 24 copies spe- silver, author’s name to front board in blind. With the pictorial cially bound for presentation, printed from the uncor- dust jacket. Spine slightly rolled, pages nice and clean. An ex- rected sheets. With the author’s presentation inscription cellent copy in the bright jacket, spine a little faded and ever so on the half-title, “To Alfred Rice with all good wishes and slightly nicked at tips. affection Ernest Hemingway”. Rice was a lawyer based in first edition, first printing (with Scribner’s “A” to New York, who specialised in copyright law, and handled colophon), in the first issue jacket, printed in brown and all of Hemingway’s literary, radio, television and motion making no mention of Hemingway’s Nobel Prize. Previ- picture properties. He began representing Hemingway in ously, much has been made of the colour tint on the rear 1944, often travelling to Cuba to meet with his client. panel portrait on the dust jacket as an issue point. How- After the first 24 copies had been run off, a number of er- ever, Grissom refutes Hanneman’s assertion that the blue rors were caught; these first sheets were not bound for sale tinted photograph on the rear flap predates the olive tint, but instead bound up in a different cloth to the first edition noting, “the identification of a first-printing jacket does and given to the author and the publisher for presentation not require identifying ambiguous rear-jacket colours: It is to friends. The bibliographer Grissom records an apocry- the brown printing on the flaps and rear panel that identify phal anecdote from David Randall, manager of Scribner’s the first-printing Scribner’s jacket”. Rare Books Division, who claimed that 25 copies were Grissom A24.1.a; Hanneman 24a. bound up from the discarded sheets of the entire first edition. Grissom noted that “it would be much more likely £1,875 [123225] that the presentation copies were printed, per usual, as advance copies from the flawed early plates”. We have han-

46 Peter Harrington 143 96 97 98

96 Presentation copy HENRY, O. The Gentle Grafter. New York: The McClure 98 Company, 1908 HODGSON, William Hope. The Ghost Pirates. Octavo. Original red cloth, titles to spine and front board gilt. With the dust jacket. Housed in a red quarter morocco slipcase London: Stanley Paul & Co., 1909 and chemise. Bookplate of Eugene C. & William D. Brumbaugh Octavo. Original red cloth, titles to spine and front board in gilt. to front pastedown; bookplate of Lawrence Solomon loosely in- Monochrome frontispiece. Spine rolled and slightly faded, spine serted. Near-contemporary ownership inscription to front past- ends rubbed, tips lightly bumped. An excellent copy. edown. Text block lightly toned, endpaper along rear inner hinge first edition, first impression, presentation partially split. An excellent copy in a lightly toned jacket with copy, inscribed by the author on the front free endpaper, front flap detached along fold, a couple of closed tears to rear “N. Rendall, Esq. from William Hope Hodgson – ‘May we panel, and chips to extremities affecting a few letters. be friends e’en though we disagree’. Sept. 21st ’09.” In the first edition, first printing, first issue with “of ” preface, Hodgson writes that the book completes “what misprint on line 2, p. 226, and with p. 1 indication present. may be termed a trilogy; for, though different in scope, Copies of this collection of conman tales in the dust jacket each of the three books deal with certain conceptions that are exceedingly rare. have an elemental kinship”. It follows The Boats of the “Glen Queen’s Quorum 40. Carrig” (1907) and The House on the Borderland (1908). £2,500 [112963] £7,500 [101607]

97 99 HIGHSMITH, Patricia. The Talented Mr Ripley. New HODGSON, William Hope. The House on the York: Coward-McCann, 1955 Borderland and other novels. Sauk City: Arkham House, Octavo. Original black cloth, titles to spine in green. With the 1946 dust jacket. Spine ends and corners slightly rubbed and bumped, Octavo. Original black cloth, title and decoration to spine in gilt. rear board gently bowed. An excellent copy in a bright jacket with With the dust jacket designed by Hannes Bok. Edges of text block lightly sunned spine panel and a few minor nicks. lightly toned. Otherwise, a near fine copy. first edition, first printing, of the first Ripley book. first collected edition, first printing. The vol- £2,500 [103849] ume comprises four of Hodgson’s novels, none of which had previously been published in the US in book form: “The House on the Borderland”, “The Boats of the ‘Glen Carrig’”, “The Ghost Pirates”, and “The Night Land”. £800 [123014]

All items are fully described and photographed at peterharrington.co.uk 47 100 101 102

100 Title label a little tanned, dust soiling to top edge, gutter somewhat cracked between signatures C and D, but an excellent copy, HOLMES, John Clellon. The Horn. New York: Random sound, clean and fresh. House, 1958 first edition, one of 750 copies printed, of which 50 Octavo. Original black cloth-backed green paper boards, titles were first given away prior to sale (it took until 1928 to sell to spine in white, blue and grey, top edge black. With the dust them all). Gerard Manley Hopkins (1844–1889) published jacket. An excellent copy in the bright jacket, extremities rubbed, creased and lightly nicked. very few poems in his lifetime and destroyed many of his early writings in a crisis of faith – he had been received into first edition, first printing. One of two dedica- the Roman Catholic faith by Cardinal Newman himself in tion copies, inscribed by the author to his wife on the 1866, and in 1868 made a bonfire of his juvenilia. It was front free endpaper, “July 11, 1958, for Shirley – because of only decades after his death that, collected and largely de- bright nights during a cold winter – in Le Downbeat, and signed by Hopkins’s friend and admirer Robert Bridges, this for her birthday and our love, John”. The printed dedica- “sensitive, handsome, and almost complete small edition” (ODNB) was published. Contemporary reviews were mixed though some were stridently positive, such as Theodore Maynard: “A shy mid-Victorian priest, writing while Ten- nyson, Swinburne and Patmore led their various schools, was more modern than the most freakish modern would dare to be . . . He is the last word in technical development.” Sales were slow and it had only just sold out by 1930, when 100 “a second edition was called for by the poetry public who were demanding new, difficult poetic voices. Advocated tion reads: “For Shirley, who listened and for Jack Kerouac, especially by I. A. Richards, F. R. Leavis, William Empson, who talked”. In a 1977 letter to his bibliographer about the and Michael Roberts, so that his poems appeared in gener- gestation of the novel, Holmes noted, “Shirley’s moist eyes al and modernistic anthologies, followed by university and when she finished the last chapter in manuscript made it school syllabuses, Hopkins had suddenly become a popular worth it”. The Horn is considered to be the definitive jazz modern poet.” Notwithstanding the long time coming, this novel of the Beat Generation. single volume now ranks as one of the most important and £2,250 [124217] influential poetry collections published in the century. Dunne A38. 101 £4,000 [117233] HOPKINS, Gerard Manley. Poems now first published. Edited with notes by Robert Bridges Poet- 102 Laureate. London: Humphrey Milford, 1918 HUGHES, Langston. One-Way Ticket. New York: Octavo. Original holland-backed boards, title label to spine. Alfred A. Knopf, 1949 Portrait plates, and facsimiles of manuscript and signatures.

48 Peter Harrington 143 103 104 105

Octavo. Original blue and yellow cloth, titles to spine in gilt and first edition, first impression, of the defining dysto- front cover in blind, top edge blue, fore edge untrimmed. With pian novel – a seminal work of fiction and a triumph of book the dust jacket. Illustrated by Jacob Lawrence. An excellent copy design, uncommon with the jacket in such nice condition. in the dust jacket, very slight marking to rear panel and a small nick to head of front panel, tips a little nicked. £7,500 [122527] first edition, first printing, presentation copy, inscribed by the author, “With all my regard to Eusebia 104 – sincerely, Langston / New York, March 31, 1949”. The JACKSON, Shirley. The Haunting of Hill House. New recipient, Eusebia Adriana Cosme (1911–1976) was a Cu- York: The Viking Press, 1959 ban-born actress and interpreter of Afro-Caribbean poetry Octavo. Original yellow and blue cloth boards, titles to spine in and literature. She gave recitals of poetry, with costumes black. With the dust jacket. A very attractive copy in the dust and scenery designed by herself, including the work of jacket with just a hint of fading to spine panel, trivial wear to Langston Hughes. During the 1940s she hosted a radio spine ends. first edition, first printing, of this classic horror story. Jackson’s penultimate novel, it was a finalist for the National Book Award of 1959. Stephen King noted that this title, along with The Turn of the Screw, “are the only two great novels of the supernatural in the last hundred years”. 102 £1,250 [124215] show on CBS’s Las Cadenas de las Américas, the first na- tionally syndicated radio show in Spanish in America. 105 £2,750 [123290] JAMES, Edward Frank Willis. Carmina Amico. Opus Quintum. Verona: Privately printed [Officina Bodoni], 1932 Bread and circuses for the modern age Octavo. Original quarter vellum, spine lettered in gilt, marbled 103 sides. In the marbled slipcase as issued. Very slight markings to vellum, initial and final leaves slightly foxed. An excellent copy. HUXLEY, Aldous. Brave New World. London: Chatto & first edition, number 97 of 100 copies. This is one of 50 cop- Windus, 1932 ies on Lafuma paper bound in quarter vellum; an additional 50 Octavo. Original pale blue cloth, title to spine in gilt, top edge copies were printed on Montval paper and bound in full vel- blue. With the dust jacket. Housed in a custom cloth chemise, lum. The book comprises a collection of homosexual love po- and blue quarter morocco slipcase. Bookplate to front paste- etry (in English, in spite of the Latin title) by the eccentric writ- down, bookseller’s ticket to rear pastedown. Endpapers lightly foxed, otherwise internally fresh. A superb copy in the unusually er and art-lover Edward Frank Willis James (1907–1984), known bright and entirely unrestored dust jacket, with very mildly toned for his long-term patronage of Salvador Dali and for launching spine panel and a little rubbing to tips. the career of ballet choreographer George Balanchine. £1,500 [122780]

All items are fully described and photographed at peterharrington.co.uk 49 call you as soon as we’ve begun to resemble normal human beings again”. £1,500 [124214]

Joyce’s second published work 107 JOYCE, James. The Holy Office. [Pola: late 1904 or early 1905] Broadside printed on white wove paper, watermark of a spread eagle, 96 lines in two columns signed in type “James A. Joyce” at the bottom of the second column. Light vertical and horizontal creasing, a couple of spots of light foxing. In excellent condition. first surviving printing. Together with an autograph letter signed from Thomas Koehler (sometimes Keller) to Joyce – a friend from his Dublin years – telling Joyce that

106

106 JOLAS, Eugene, & Robert Sage (eds.) Transition Stories. Twenty-three stories from “transition”. New 107 York: Walter V. McKee, 1929 Octavo. Original pictorial boards in black, white, and orange, he still has in his possession “a copy of The Holy Office put black cloth backstrip, titles to spine in orange. With the dust into my letter box long ago”. Koehler adopted the spell- jacket. Edges a little worn, a very good copy in the rubbed and ing Keller at some point in his life although his family nicked jacket with faded spine and tanned rear panel. persisted in the original spelling after his death. He had first edition, first printing, inscribed thrice met Joyce in the years preceding his departure for Europe by the two editors and jolas’s wife marie on the in 1904. The two had become close friends and when Joyce front free endpaper: “To Harriet & Perry Culley, shin- had The Holy Office distributed he specifically directed that ing members of that younger generation who eventually copies be given to Keller. Stanislaus reports this copy to be ‘Transition’. Good luck! Paris 1948, Marie Jolas”; “To Har- the first one he delivered. Keller became manager of the riet & Perry Culley with greetings from their friend Gene printing firm Hely’s, Leopold Bloom’s workplace. Jolas”; “To my good friends, Harriet & Perry Culley with best wishes always, Robert Sage. Paris, July 21, 1948”. The The publication date of this printing is not clearly estab- recipients were Perry Culley (1918–2006) and his first wife. lished and the pencil date on this copy is mentioned by Culley was a journalist, diplomat and foreign medical aid Slocum in the bibliography. Slocum notes that an earli- executive, who was assigned to the US Embassy in Paris er edition was reputed to have been printed in Dublin in as an information officer in 1945, three years before this summer 1904, though no copy is known to have survived. copy was inscribed. He relocated to England after his re- When the printer asked Joyce to pay for and collect the tirement in 1984. broadsheets he did not have the funds that month to do so. After receiving an “insolent” letter from the printers, Loosely inserted is an autographed letter signed from Kay Joyce later had it printed in Pola at his own expense. “Since Boyle, who contributed “Polar Bears and Others” to this no copies of the Dublin printing . . . seem to have survived, volume. It is addressed to Culley at the US Embassy, dat- the Pola printing may be considered the first edition”. ed 1 October 1947, and written from her new home in Le Slocum & Cahoon A2. Vésinet. In it, Boyle regretfully declines an invitation from Culley, writing “we’re just moving into a new house … I’ll £22,500 [120819]

50 Peter Harrington 143 107

108 JOYCE, James. Chamber Music. London: Elkin Mathews, 1907 Small octavo. Original green cloth, spine and front cover lettered in gilt. Illustrated title page. Spine faded, minor rubbing to extremities, faint mark to fore edge of front free endpaper, half-title, title page and A3, short closed tears to lower outer corners of pp. B4– C3, light foxing to endpapers; a very good, extremely bright copy. first edition, first impression, first issue, with laid paper endpapers with horizontal chain lines and correctly centred text of signature C. Elkin Mathews printed 509 copies of Chamber Music, Joyce’s first commercially published work, and pessimistically bound up only a small propor- tion of the sheets. Bernard Quaritch Ltd argued that only “fifty or a hundred” copies of the first variant were bound in 1907 (New Series: Bulletin 19, 1984). In the wake of Joyce’s later fame the remainder sheets were reissued in darker green cloth. This true first issue is uncommon. Slocum & Cahoon A3 (first variant). £5,000 [123911] 108

All items are fully described and photographed at peterharrington.co.uk 51 109

UK issue – early presentation copy to help several Jews escape to America, Ireland, and Aus- tralia. When in 1940 Joyce and his family were allowed 109 entry to neutral Switzerland, part of the exorbitant finan- JOYCE, James. A Portrait of the Artist as a Young cial guarantee demanded was deposited on his behalf by Man. London: Egoist Press, 1916 Brauchbar. Joyce’s first novel was published in America by Octavo. Original green cloth, recased with original spine laid Huebsch from whom Harriet Shaw Weaver, the proprietor down, titles in blind to front board and to spine gilt. Housed in of the Egoist Press, purchased “not more than 750” sets of a custom green cloth slipcase. A little wear to top edge of rear sheets, issuing them here a year before her own UK print- cover, hinges repaired, short closed tear to head of pp. 117-20. A ing of 1917. very good copy. Slocum & Cahoon A12. first edition, English issue from American sheets. A rare presentation copy with the exceptionally early au- £97,500 [124332] thorial inscription to the front free endpaper, “To Ed- mund Brauchbar James Joyce Zurich, Switzerland, 12/iii/ 110 [1]917”. A superb association: Edmund Brauchbar formed JOYCE, James. International Protest. Paris: 2 February, a long-lasting friendship with Joyce and has been pro- 1927 posed as a partial model for Leopold Bloom. He was one Folio, single leaf. With a custom black cloth folder, and housed of a number of assimilated Jews who became Joyce’s pain a matching chemise and black quarter morocco slipcase, titles trons in Zurich by taking English lessons with him, and to spine gilt and gilt decoration to front board. A lightly creased, from whom in turn Joyce sought information about Juda- clean sheet. ism. In 1939 Joyce tried to get Brauchbar’s cousin out of The English text of Joyce’s broadside protest against Sam- Nazi Europe into America, and there is evidence to sug- uel Roth’s piracy of Ulysses in New York journal Two Worlds gest that the publisher Benjamin Huebsch, Brauchbar, and Monthly. Uncommon: five copies traced at auction. Joyce Joyce were all involved in a kind of underground operation sought an injunction against the unauthorized seriali-

52 Peter Harrington 143 111

Deluxe issue of a triumph of 20th-century book production 111 JOYCE, James. Ulysses. London: John Lane, The Bodley Head, 1936 Quarto. Original white vellum, spine lettered in gilt with the Gill-designed Homeric bow device to boards in gilt, top edge gilt, others uncut. With the publisher’s slipcase. Pencilled ownership inscription of the endocrinologist and Joyce collector Alfred T. Cowie, 1951. Spine very slightly faded but a particularly nice copy in the somewhat rubbed and marked slipcase. 110 first uk edition, first impression, signed deluxe issue. Number 66 of 100 on handmade paper, bound in zation and had this protest drawn up to supplement the vellum and signed by the author, from a total of 1,000 cop- legal proceedings. More than 167 literary and intellectual ies. This issue of the Bodley Head Ulysses is one of the tri- figures added their names to the protest, including Wyn- umphs of 20th-century book production. It established the dham Lewis, E. M, Forster, Albert Einstein, Ernest Hem- text for the succeeding 25 years and printed as appendices ingway, W. B. Yeats, D. H. Lawrence, Virginia Woolf, and the International Letter of Protest against Samuel Roth’s T. S. Eliot. It was released to the press on 2 February 1927 piracy and the famous legal judgement by John M. Woolsey – Joyce’s birthday, and the fifth anniversary of the publica- lifting the ban in America on the publishing of the book. tion of Ulysses. Copies were sent to the signatories and it was later reprinted in the April 1927 issue of transition. The Slocum & Cahoon A23. broadside was also issued in French in the same format; £25,000 [124283] there appears to be no record of how many were printed, and no known priority between the two. The injunction which Joyce won against Roth on 28 De- cember 1928 only managed to put a temporary stop to his activities: the following year he published a piracy of the novel under the fictitious imprint of “Shakespeare and Company, Paris 1927”. This unauthorised edition, effectively the first American edition, was later used as a tem- plate by Random House for their 1934 edition, which remained the standard edition in the US until 1961. Not in Slocum & Cahoon. £6,500 [103396] 111

All items are fully described and photographed at peterharrington.co.uk 53 112 113

112 Octavo. Original blue cloth, spine lettered in dark blue. With the dust jacket. Publisher’s file copy, with their inkstamp to title (JOYCE, James, & Sylvia Beach.) James Joyce and page and front panel of jacket. Cloth darkened at edges, foxing to Shakespeare & Co. ephemera collection. Paris: edges and endmatter; a near-fine copy in the slightly creased and Shakespeare & Co.,/Adrienne Monnier,/J.-O. Fourcade, 1926–37 nicked jacket. 6 small pamphlets. All preserved in excellent condition. first edition in english, first impression. The trans- This small collection includes three pamphlets (one 10- lators, Edwin and Willa Muir, were instrumental in the pub- page, two 4-page) from 1929 advertising the first French lication of Kafka in English, which was first published in translation of Joyce’s Ulysses (published 1929 by Maison des German in 1925 as Der Process. It was at the Muirs’s suggestion Amis des Livres, translated by Auguste Morel and assisted that the publisher Martin Secker undertook The Castle in 1930. by Stuart Gilbert, reviewed by Valery Larbaud with the col- Secker went bankrupt in 1936 and it was Victor Gollancz who laboration of Joyce himself ), one of which bears a striking issued the Muirs’s version of the text that introduced the Kaf- amateur photograph of Joyce. Also included is an 8-page kaesque to the anglophone world. It is an uncommon book, pamphlet (published 1937) noting the proceedings of “Les with perhaps as few as 1,000 copies having been sold, and Amis de Shakespeare and Company” in the year 1936, with a rare in dust jacket – particularly so in such nice condition. 2-page piece by Jean Schlumberger, and the following min- provenance: Gollancz file copy, see item 17. utes (including a list of Les Amis) written by Adrienne Mon- nier. “A Catalogue of a Collection Containing Manuscript £5,750 [124258] & Rare Editions of James Joyce, a Few Manuscript of Walt Whitman, and two Drawings by William Blake” is also in- “Writing in red crayon in memory of the Red House” cluded (16-pages, undated but post-1927), these all belong- ing to Sylvia Beach and offered for sale at Shakespeare and 114 Company, representing the first major sale of Joyce mate- KEROUAC, Jack. On the Road. New York: The Viking rial. The catalogue is illustrated with four black and white Press, 1957 reproductions, one of a corrected Joyce proof, one Whitman Octavo. Original black boards, titles to spine and front board manuscript, and two superb Blake drawings. The final piece in white. With the dust jacket. Housed in a red quarter moroc- is a 12-page catalogue for Sylvia Beach’s Walt Whitman exhi- co box. Spine a little rolled but an excellent copy in the slightly bition, held at Shakespeare and Company 20 April – 20 June creased and lightly frayed dust jacket. 1926, which includes, laid in, an invitation card from Beach first edition, first printing, presentation copy to the private opening of the exhibition on 19 April. to Pieter W. Fosburgh and his wife Liza, inscribed by the author in red crayon, “To Peter [sic] and Liza Fosburgh, £2,500 [124272] Writing in red crayon in memory of the Red House, Jack Kérouac [sic] (Idiot) (St. Jack of the Germs)” [the last 113 five words in pencil]. This is a fascinating and thorough- KAFKA, Franz. The Trial. Translated by Edwin and ly characterful presentation. The “Red House” is likely to Willa Muir. London: Victor Gollancz Ltd, 1937 have been the large redbrick St Louis elementary school in the Centralville section of Lowell, Massachusetts, which

54 Peter Harrington 143 115, 116

spondent: & how he was present at the fall of Malaga: his arrest: weeks in prison under sentence of death.” provenance: Gollancz file copy, see item 17. 114 Ruth Dudley Edwards, Victor Gollancz: A Biography, 2012, p. 269. Kerouac attended from April 1929 through to the fourth £1,250 [124209] grade. Pieter Whitney Fosburgh (1915–1978), author of the proto-conservationist book, The Natural Thing: the Land 116 and its Citizens (New York: Macmillan, 1959), was editor of KRISHNAMURTI. The Song of Life. New York: Horace New York State’s Department of Conservation magazine. As his middle name indicates he was descended through Liveright, Inc., 1931 his mother from the socially prominent Whitney family of Octavo. Original boards, black cloth spine with orange title la- Massachusetts, and seems likely to have also attended the bel, patterned crepe paper sides. With the illustrated dust jacket. Slight rubbing and fading along board edges, partial toning “Red House” school. His brothers James and Hugh were to front endpapers only, an excellent copy of the book, with the also naturalists, art critics, writers, and artists, and his scarce dust jacket surviving but in poor condition with rear joint wife Liza wrote children’s books. split and chips to spine and corners, nonetheless the attractive £67,500 [124324] front panel presenting nicely, and not price-clipped. first edition, first printing, with the very scarce dust 115 jacket, a rare presentation copy inscribed by the author in the year of publication, “with love Krishna, Nov: 14th 31”, KOESTLER, Arthur. Spanish Testament. With an on the front free endpaper. The Song of Life is an early collec- Introduction by The Duchess of Atholl. London: Victor tion of mystical poems by Jiddu Krishnamurti (1895–1986), Gollancz Ltd, 1937 a Brahmin who as a child had been selected and groomed Octavo. Original black cloth, spine lettered in gilt. With the dust by Theosophists as the long-expected “World Teacher”, jacket. Publisher’s file copy, with their inkstamp to half-title and but soon rejected the mantle and spent his life travelling pencilled mark to front panel of jacket. A trace of foxing to edges; the world, teaching, and writing. Not unlike Rabindranath a superb copy in the jacket with mildly sunned spine, couple of Tagore, Krishnamurti became popular in the Western world spots and nicks to extremities. as a conduit for ancient Eastern wisdom. He gained interna- first edition, first impression, rare in the jacket. tional fame with The First and Last Freedom, published in 1954 Koestler’s personal narrative of his adventures as a jour- with a foreword by Aldous Huxley, whom he had befriend- nalist in the Spanish civil war was his first published book. ed in 1938 while living in California. Krishnamurti’s earlier “Of all the books on the Civil War published by the LBC books are scarce, and inscribed copies are remarkably rare. [Left Book Club], the most influential was . . . Spanish Tes- This copy has the ticket of a Hollywood bookshop appar- tament, which was came out in December 1937, and was ently dedicated to the guru, “Krishnamurti’s Writings: 2123 followed up in January by the author’s speaking tour to Beachwood Dr. Hollywood, California”. groups”. Victor Gollancz’s characteristically striking jacket advertises “his experiences as the News Chronicle corre- £1,500 [122219]

All items are fully described and photographed at peterharrington.co.uk 55 118 119 120

117 119 LAMPEDUSA, Giuseppe Tomasi di. The Leopard. LAWRENCE, D. H. The Trespasser. London: Duckworth Translated from the Italian by Archibald Colquhoun. & Co., 1912 London: Collins and Harvill Press, 1960 Octavo. Original blue cloth, titles to front board and spine gilt. Octavo. Original green cloth, spine lettered in gilt. With the dust Spine a little rolled, else a near-fine copy in bright cloth. jacket. Spine very slightly rolled, very occasional foxing internal- first edition, first impression, presentation ly, slight spotting to edges. Otherwise, a fine copy in the bright copy, inscribed by the author on the title page, “To Else jacket, head of spine very so slightly creased, short closed tear to from the Author”. The recipient was Lawrence’s sister- base of spine. in-law Else von Richthofen (1874–1973), sister of his new first edition in english, first printing. First printed wife Frieda, and one of the first female social scientists in in 1958 in Italian, The Leopard or Il Gattopardo became the Germany. Else and Lawrence first met in the early summer best-selling novel in Italian history. Lampedusa failed to of 1912, just as The Trespasser was reaching publication. She get his brilliant tragicomic satire of Sicilian aristocratic life had begun a career in teaching but, after obtaining a doc- during the Risorgimento published in his lifetime. When torate in economics at Heidelberg in 1901, she took up a it was published, it was immediately attacked from both position as labour inspector in Karlsruhe. Lawrence kept the Right, for his portrayal of aristocratic lassitude and up a regular correspondence with Else throughout the rest decadence, and the Left, for his ruthless send-up of Italian of his life. Presentation copies of Lawrence’s early books unification and his depiction of the Sicilian proletariat. are rare. £500 [122805] £5,750 [124265]

118 120 LARKIN, Philip. Jill. A novel. London: The Fortune LAWRENCE, D. H. Pansies. London: Privately printed Press, 1946 for Subscribers by P. R. Stephensen, 1929 Octavo. Original blue cloth, titles to spine gilt, top edge speck- Octavo. Original cream pigskin, titles and decoration to front led red, others uncut. With the dust jacket. Very minor partial board and spine in brown and blue, top edge gilt. Housed in a browning to the endpapers, spine rather dull as usual in this is- quarter morocco solander box. Minor wear to base of the spine sue, boards a little marked and with a very mild strip of fading and corners; a very good copy. to the rear. Very good in the exceptionally bright double price- clipped dust jacket with a spot to the rear panel and a few trivial first edition, first impression, private issue, one of nicks at the corners. 50 copies only on japon bound in leather. Presentation copy, inscribed by the author on the front free endpaper, “Aldous first edition, first impression, first issue binding. & Maria [Huxley] from D.H.L.”: a superb association copy Larkin’s first novel, from the library of Alan Clodd (1918– of this key title of Lawrence’s later period. Many of the po- 2002), the noted Irish publisher, book collector, and dealer. ems in Pansies were written during the winter of 1928–9, in £4,250 [124138] the immediate aftermath of the storm of criticism aroused by the publication of Lady Chatterley’s Lover. “A revived friendship with Aldous and Maria Huxley turned out to be one of

56 Peter Harrington 143 121 122 123 the sustaining elements in these difficult years” (ODNB). There were two prepublication issues: one set in Courier The book appeared in several formats, the present example typeface, announced the publication date on the front cov- being the fullest and most limited version. er the publication as “in July”, and with text on the front cover directed at booksellers; the present second issue has £6,750 [124270] a sheet overlaying the front cover in a more polished type- setting, specified the publication date as 11 July, and with 121 cover text aimed at general readers. LE CARRÉ, John. The Spy Who Came In From the £7,000 [114537] Cold. London: Victor Gollancz Ltd, 1963 Octavo. Original blue cloth, gilt lettered spine. With the dust 123 jacket. Very slight roll to spine, slight fading to the top extremity of covers. Very good in the bright dust jacket. LEE, Laurie. Cider with Rosie. With drawings by John first edition, first impression, signed by the au- Ward. London: The Hogarth Press, 1959 thor on the title page. The definitive Cold War novel, it Octavo. Original green boards, spine lettered in gilt. With the won Le Carré the 1964 Somerset Maugham Award and se- dust jacket and pink wraparound band. Frontispiece drawing and cured his reputation as a master of the spy thriller. illustrations to text by John Ward. A couple of marks to edges of text block; a lovely copy in the bright jacket with the scarce wrap- £2,500 [121800] around band. first edition, first impression, presentation copy, 122 inscribed by the author to the poet and anthologist Leonard LEE, Harper. To Kill a Mockingbird. Philadelphia & Clark (1905–1981) on the front free endpaper, “Inscribed for New York: J. B. Lippincott & Company, 1960 Leonard Clark who did surgery on it. With best wishes from Octavo. Original printed wrappers, pencil manuscript titles and Laurie Lee. February 1960”. With Clark’s bookplate to the mockingbird illustration added to spine. Housed in a burgundy front pastedown. Clark was the editor of The Saturday Book quarter morocco solander box by the Chelsea Bindery. Split to and a long-time fixture in English publishing – from the in- front wrapper, with discreet repair, covers otherwise a little worn scription he evidently had some hand in editing Lee’s most and stained, internally clean, very good condition. famous book, the memoir of his childhood. rare advance reading copy, reader’s issue. The front £2,750 [120813] wrapper advertises to the recipient: “We hope you will share our pleasure and sense of discovery in this fine first novel about, and from, the South. To be published July 11, 1960. Truman Capote has written: ‘Someone rare has written this very fine first novel, a writer with the liveliest sense of life, and the warmest, most authentic humor. A touching book, and so funny, so likeable.’ to kill a mocking bird is the choice of the Literary Guild for August, and will appear in the Summer Issue of Reader’s Digest Con- densed Books.” 123

All items are fully described and photographed at peterharrington.co.uk 57 124 125 126

124 my books; but you can see she is a wife in a thousand.” One LEWIS, Wyndham. Time and Western Man. London: of 1,000 copies printed. Chatto and Windus, 1927 Morrow & Lafourcade A20. Octavo. Original red cloth, spine lettered gilt, top edge red. With £2,250 [111659] the dust jacket. 2 vignette illustrations. Very slight rubbing to the ends and corners, some minor spotting, a sound copy in excellent 126 condition, the jacket very good, a little spine-tanned, chipped at the ends and corners, with some small tape repair to verso. LOOS, Anita. Gentlemen Prefer Blondes. The first edition, first impression, presentation Illuminating Diary of a Professional Lady. Intimately copy, inscribed by the author on the front free endpaper, Illustrated by Ralph Barton. London: Brentano’s, Ltd, “To H. E. Dounce, from Wyndham Lewis, October 1927”. [1926] Harry Esty Dounce (1889–1947) was an American journal- Octavo. White cloth-backed red cloth boards, titles to spine and ist and book reviewer. front board in black. With the dust jacket. Boards a little worn Morrow & Lafourcade A8a, variant I. and bowed, spine lettering faintly faded, half-title tanned, the occasional blemish to contents, front and rear inner hinges start- £1,250 [115120] ing. A very good copy in a lightly chipped and rubbed jacket with tape repairs to head and tail of spine panel verso. 125 first uk edition, first impression, presentation LEWIS, Wyndham. The Old Gang and the New Gang. copy, inscribed by the author on the front free endpaper: London: Desmond Harmsworth, 1933 “To Rudolf Stulik, with very best wishes of Anita Loos. London, Aug 21, 1926”. Austrian-born Rudolf Stulik was a Octavo. Original white and black cloth, title to spine black. With London chef whose Restaurant de la Tour Eiffel at 1 Percy the dust jacket. Housed in a grey solander box. Cloth a little toned to spine and board edges; an excellent copy in the jacket Street was a favourite haunt of the Bloomsbury Group and with toned spine and extremities. the Vorticists, counting among its regulars Augustus John and Nancy Cunard. In the early 1960s William Roberts first edition, first impression, a superb pres- put his memories of the restaurant down on canvas in his entation copy, inscribed by the author to his painting The Vorticists at the Restaurant de la Tour Eiffel: Spring, wife, “To my darling wife Geehos, 1933. Wyndham Lew- 1915 (held in the Tate Gallery collection), which depicts is.” Gladys Anne Hoskins (1900–1979) and Lewis were Stulik in the company of his illustrious patrons, among married in 1930, though he concealed this fact from his them Ezra Pound, Wyndham Lewis and Cuthbert Hamil- friends for much of the 1930s. In 1939 Lewis wrote to the ton. Roberts said of Stulik’s restaurant: “In my memory la wife of his friend John Rothenstein, explaining that: “my cuisine française and Vorticism are indissolubly linked” (The wife and I were most orthodoxly spliced a long time ago Listener, 21 March 1957). Gentlemen Prefer Blondes was first . . . I have found myself rather overshadowed by [her] . . . published in the US the preceding year. and she has been forced a little into the fray – we have no children. She is blonde, she tends to put on fat, her mother £1,750 [124271] was German, her father a good British farmer . . . she has ridden all over the Atlas on a mule and is a great reader of

58 Peter Harrington 143 tic literature I’d be glad to let you have the names of some books which I look upon as almost ‘required reading’.” In the second letter Lowndes gives a much fuller assessment of these writers. He assesses his contemporaries (“. . . I simply can’t cook up the kind of nauseous drivel which brings wide acceptance & substantial returns. Long & Wandrei have been pretty well sucked into the vortex of hopeless hackdom. Bloch & Kuttner & Rimel still have a fighting chance. Price has touched bottom & may (thanks to a phenomenal abstract intellect) fight his way back. Smith never really hit the toboggan despite some perilous concessions in the Wonder Story days of five or more years ago. Derleth is getting through unscathed – but he is an exceptional case . . .”), describes his own philosophical 127 standpoint (“. . . I am a strong advocate of the impersonal, cosmic, or scientific point of view – the perspective 127 not merely of Voltaire but of Helvetius, La Mettrie, Locke, Huxley, Herschel, Bertrand Russell, & the materialists in LOVECRAFT, H. P. The Lowndes Letters: two general. It takes nothing away from the charm of fancy autograph letters signed to Robert W. Lowndes. to realise that the whole university is simply a vortex of Providence, Rhode Island: 20 January and 20 February 1937 aimless though patterned physical & chemical reactions Two autograph letters signed in the hand of H. P. Lovecraft, re- without importance of absolute values . . .”), his reasons spectively 6pp and 10pp written in blue ink in a small but clear for writing his horror stories (“. . . I perpetrate these in hand over 3 and 5 leaves (225 × 140 mm), each with the original order to get the satisfaction of visualising more clearly & envelope addressed in Lovecraft’s hand to Robert W. Lowndes detailedly & stably the vague, elusive, fragmentary impres- in Connecticut, respectively franked 20 January and 20 February 1937, and both additionally signed with Lovecraft’s name and sions of wonder, beauty, & adventurous expectancy which Rhode Island return address. Housed together in a black moroc- are conveyed to me by certain sights. . ., ideas, occurrenc- co album with acetate sleeves for each leaf/envelope, titles silver es & images encountered in art & literature . . . These sto- to spine, Cthulhuan tentacles in green morocco onlay across ries frequently emphasise the element of horror because spine and sides, stars tooled to both sides in silver, gilt marbled fear is our deepest & strongest emotion, & the one which endpapers. This in a green cloth slipcase. Together with Crypt best lends itself to the creation of nature-defying illusions of Cthulhu #62 magazine, 1989, octavo with original illustrated . . .”), and much more. wrappers. Usual folds with occasional mild tanning, one envelope with tear and tape repair, but mostly in excellent condition. In his February letter he complains of the “persistent siege Months before his death, Lovecraft writes two exception- of intestinal grippe – or some damned thing of the sort – ally long letters in response to youthful fan-mail from bud- . . . keeping my energies at such a low ebb that my whole ding writer Robert A. W. Lowndes (1916–1998), replying to programme is in chaos.” He was suffering from stomach Lowndes’s request for literary advice with remarkable gen- cancer, of which he would die on 15 March. erosity and encouragement. The letters comprise 16 pages These intense, voluminous letters, written in the last of tight script, with Lovecraft expositing in full his literary months of the author’s life, can be read as the definitive tastes, philosophy of life, and theory of horror. passing of the Lovecraftian torch. Lowndes would go on He opens his first letter by apologizing for “my lousy scrawl to become a prominent writer of science fiction, counted – but I have an utter detestation of the typing process – one of the Futurians. His story, “The Outpost at Altark” which fatigues and enervates me oppressively. I never was published in Super Science in 1940. As editor of several use the machine except under compulsion.” He approves science fiction magazines he would go on to be, like Love- Lowndes’s literary tastes, identifying the “real authors of craft before him, a supporter of young writers, most nota- fantasy” as “Poe, Algernon Blackwood, Arthur Machen, bly Stephen King, whom he gave his first story publication. Dunsany, Walter de la Mare, M. R. James & so on – or with The letters were printed in the special Lowndes issue of the few real authors (H. G. Wells, S. Fowler Wright, W. Olaf the Crypt of Cthulhu magazine #62 (1989), a copy of which Stapleton . . . I can think of no more!) who have produced is included here. ‘science fiction’ of adult caliber. The less one reads of the magazine junk, the better for his taste & style. If you are £17,500 [123294] not already familiar with the principal classics of fantas-

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“To my sister . . . with devotion from her brother” edition was published on 19 February 1947, preceding the Jonathan Cape edition which was published on 1 Septem- 128 ber (Woolmer): it “was poorly received in Britain and soon LOWRY, Malcolm. Under the Volcano. New York: remaindered, but was hailed as a work of genius in North Reynal & Hitchcock, 1947 America, becoming a best-seller” (ODNB). Octavo. Original grey cloth, spine and front cover lettered in red. £15,000 [124208] With the printed dust jacket and housed in a black solander box. A little toning to spine and board edges; an excellent, fresh copy in the jacket with minor chips to spine ends and a few nicks to 129 extremities. MACHEN, Arthur. The Caerleon Edition of the first edition, first impression. presentation Works. London: Martin Secker, 1923 copy, inscribed by the author on the front free endpa- 9 volumes, octavo. Original green cloth, spines and front covers per, “To my sister Priscilla with devotion from her broth- lettered in gilt, top edges gilt, fore edges untrimmed. With the er Malcolm”. Former silent screen star Priscilla Bonner printed paper and unprinted glassine dust jackets. Portrait fron- (1899–1996) was not Lowry’s sister by birth, but the elder tispiece with tissue guard to vol. I. Spine ends slightly bumped, sister of Lowry’s wife, Margerie, the dedicatee of the book some pages unopened. An excellent set in the dust jackets with and widely credited with shaping its final form. The first some minor chipping, creasing and nicking, spine panels slight-

60 Peter Harrington 143 129 131 ly faded, shallow chips to glassine dust jacket at spine and front first edition, first impression. from the au- panel of vol. II and front panel of vol. III. thor’s library, inscribed by Maclaren-Ross on the signed limited edition, number 954 of 1,000 copies front free endpaper, “Personal copy. (Not for sale). J. signed by the author in vol. I. This is the first and only col- Maclaren-Ross.” lected edition of Machen’s works. The set is rare in the dust £750 [111299] jackets, especially with the glassines. £2,000 [122869] 131 MANNING, Frederick. The Middle Parts of Fortune. 130 Somme & Ancre, 1916. London: The Piazza Press issued to MACLAREN-ROSS, J. The Weeping and the subscribers by Peter Davies, Ltd, 1929 Laughter. London: Rupert Hart-Davis, 1953 2 volumes, octavo. Original brown buckram, titles gilt to spines Octavo. Original blue boards, title to spine in gilt. With the dust within double panel, top edges gilt, others uncut, marbled end- jacket. Occasional faint spot to contents; an excellent copy in the papers. Spines a little rolled and tanned, very slight rubbing to dust jacket with mildly toned spine panel and hint of rubbing to ends and corners, occasional spotting and a few hinges opening extremities. a little between the quires, but still holding soundly; very good condition indeed overall. first edition, the unexpurgated limited edition, number 273 of 525 copies. The book was published in this limited edition in 1929, garnering informed praise and intemper- ate notoriety in close to equal measure, and an expurgated edition, under the title Her Privates We (taken from the line in Shakespeare’s Hamlet immediately following “The Mid- dle Parts of Fortune”), was published the following year. But Manning never achieved fame and it was probably not until the re-issue of the full text in 1977 that the novel received the recognition that it deserved. Manning died of pneumonia at a nursing home in Hampstead in 1935. An excellent copy of a book perceived on publication as one of the most powerfully personal visions of the Great War. In Men at War Hemingway described it as “The finest and no- blest book of men in war that I have ever read. I read it once each year to remember how things really were so that I will never lie to myself nor to anyone else about them,” and T. E. Lawrence remarked that “No praise could be too sheer for this book . . . it justifies every heat of praise”. £1,250 [124207] 130

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132 honeymoon in Paris in 1912. The title of this short story MANSFIELD, Katherine. Je ne parle pas français. represents Mansfield’s first words to Carco, whose invei- gling response is to offer her French lessons. Murry’s first Hampstead: The Heron Press, 1919 novel, Still Life (1916), features Carco as the stereotypical Quarto. Original green wrappers, title label to front. Housed in French lover Dupont, who somewhat gallingly lectures a blue morocco-backed book-form slipcase. Minor loss to ends, the character Morry on his romantic ideal: engrossing and but a near-fine copy. brief. Sexually, this was so for Carco and Mansfield, whose first edition, first impression, the Bradley Mar- affair in February 1915 amounted to four nights of passion tin copy of this exceedingly rare Mansfield title, one of in a rented room not far from the French front line, which 100 copies printed by Arthur Murray at the Heron Press Mansfield illicitly reached by fooling the French army offi- (which had been co-founded by Mansfield’s husband, and cials with a letter (written by Carco for the purpose) pur- Arthur’s brother, John Middleton Murray). According to porting to be from a sick relative demanding her presence. Ruth Mantz in her Critical Bibliography of Katherine Mansfield Mansfield’s “An Indiscreet Journey” (written May 1915, (1931), John Middleton Murray said of this publication published posthumously in Something Childish, 1923), also that it was “printed for private circulation by my brother one of her most famous, tells the story of this affair. and myself. It was printed in 1918, though dated 1919. The stitching and binding took us the whole of January. Of the £6,500 [120961] original 100 copies, about 20 were spoiled, and of the 80 perhaps 60 actually issued”. Surviving copies are rare: only Inscribed for the Irish book collector who became his three copies are recorded at auction since the Bradley Mar- friend tin sale in 1990. 133 Mansfield’s now famous short story, Je ne parle pas français, relates her first meeting with her lover Francis Carco, the MÁRQUEZ, Gabriel García. One Hundred Years of bohemian “poète fantaisiste”, the “romancier des apach- Solitude. Translated from the Spanish by Gregory es”, an urban balladeer and cabaret performer acquainted Rabassa. New York: Harper & Row, 1970 with Picasso, Modigliani, and Apollinaire. J. M. Murray Octavo. Original green cloth, titles to spine in gilt, publisher’s first met Carco while travelling in Paris as an undergrad- device to front board gilt, green endpapers. With the first issue uate, and the two became fast friends, Murray viewing dust jacket, with exclamation mark at the end of the first para- Carco as a latter-day Rimbaud and later employing him as graph on the front flap. A bright copy in the slightly creased and the foreign correspondent for his magazine Rhythm. Carco nicked jacket with short closed tear to head of front panel, shallow chip to foot of rear panel, and two short closed tears to head is perhaps best known for his affair with Katherine Mans- of spine panel. field, who Murray ill-advisedly introduced to him on their

62 Peter Harrington 143 135

a villa on Cap Ferrat, where he entertained guests including Winston Churchill, Noël Coward, the Duke and Duch- ess of Windsor, T. S. Eliot, H. G. Wells, Rudyard Kipling, 134 and Virginia Woolf (Baxter, p. 147). He later memorably described Monaco and the Riviera as “a sunny place for first edition in english, first printing, first is- shady people” (in Strictly Personal, 1941). The Moon and Six- sue jacket, inscribed by the author on the dedication pence, though ostensibly about Gauguin, “contains a great page, adding “and for Philip, Gabriel, 85” to the printed deal of autobiography: Maugham’s protagonist Strickland dedication. From the library of the Irish book collector Dr leaves his wife and family and goes off to another country Philip Murray. In his book, The Adventures of a Book Collector in order to live free of convention and to devote himself to (2011), Murray writes: “I had heard that the Mexican postal his art” (Rothschild and Whiteman, p. 130). system is one of the most unreliable anywhere in the world, Stott A22.a; Baxter, French Riviera and Its Artists: Art, Literature, Love, and but I decided to chance it and sent eleven books . . . nearly Life on the Côte d’Azur, 2015; Rothschild and Whiteman, William Somerset a year went by without any further word. I was certain my Maugham: A Catalogue of the Loren and Frances Rothschild Collection, 2001. luck had run out and I would never see my copies again . . . the return package had burst open and had had to be £3,500 [122694] repacked. All the books were inscribed and the author had drawn various images in some of them, so it was worth the Inscribed in the year of publication wait”. One Hundred Years of Solitude was originally published 135 in Argentina in 1967 under the title Cien años de soledad. MAUGHAM, W. Somerset. Ashenden. London: £8,000 [113592] Heinemann, 1928 Octavo. Original blue cloth, titles to front board and spine gilt. 134 With the dust jacket. Housed in a blue quarter morocco slipcase. MAUGHAM, W. Somerset. The Moon and Sixpence. A very good copy in the dust jacket with faded spine panel, and a A Novel. London: William Heinemann, 1919 couple of shallow chips and nicks. Octavo. Original green cloth, spine and front board lettered and first edition, first impression, inscribed by the blocked in black. Housed in a custom green flat-back box. Tips author on the front free endpaper, “For Harold Kamp bumped, contents lightly toned. A near-fine copy in unusually from W. Somerset Maugham July 6, 1928”, together with bright cloth. a letter from Maugham agreeing to inscribe this copy on first edition, first impression, first issue, pres- condition it is sent to him in Cap Ferrat. Kamp was evi- entation copy, inscribed by the author at the time of dently a keen collector of contemporary fiction and an ef- publication on the front free endpaper to Prince Albert I fective solicitor of authors’ inscriptions. (1848–1922), “The Prince of Monaco with the author’s af- Loren & Frances Rothschild Collection V, 149; Stott A37a. fectionate regards. April 1919”. A few years after this copy was inscribed, Maugham separated from his wife and set- £9,250 [124256] tled permanently in the Riviera with Gerald Haxton, buying

All items are fully described and photographed at peterharrington.co.uk 63 136 137 138

136 Lud-in-the-Mist is the writer’s best known known novel, a MILLER, Henry. Tropic of Capricorn. Paris: The cult classic of modernist fantasy, praised in 1999 by Neil Gaiman as “one of the finest [fantasy novels] in the Eng- Obelisk Press, 1939 lish language . . . It is a little golden miracle of a book.” Octavo. Original printed wrappers, lettered in black with two vi- gnettes in white, with the original glassine wrapper. A fine copy, £2,750 [112934] the wrappers bright and crisp without the habitual discolouration to the spine. The glassine is worn, with some closed tears 138 and a small chip to the spine. MISHIMA, Yukio. Five Modern No Plays. Translated first edition, first issue with “60 frs” to the spine and the yellow errata slip tipped-in as issued, in variant pa- from the Japanese by Donald Keene. New York: Alfred per wrappers with no fold-over flaps. From a run of 1,000 A. Knopf, 1957 copies printed, this is one of a few copies in the first state Octavo. Original black cloth-backed red boards, titles to spine in without the price inked-out following the devaluation of metallic purple, titles, floral decoration and rules to front board the franc after the war. It was “originally scheduled for in blind, top edge yellow. With the dust jacket. 8 black and white plates. Couple of spots to top edge; a near-fine copy in the jacket, publication in February but delayed for three months, as a extremities a little nibbled, with a couple of short closed tears. result of which few copies were sold before the beginning of the war, the death of Kahane and the shutting down of first edition, first printing, signed by the au- the Obelisk Press. On these copies the original printed thor on the front free endpaper in English and Japanese. price on the spine . . . has not been inked out” (Pearson). £2,000 [100701] This is the prequel to Miller’s first published novel, The Tropic of Cancer. 139 Pearson A60. MITCHELL, Joni. Morning Glory on the Vine. 1971 £1,500 [122726] Quarto. Original white cloth-backed blue and silver paper cov- ered boards, title in silver to front board, silver patterned end- 137 papers. With 34 colour and line illustrations, 32 of which are full page. Slight fraying to spine, minor rubbing to extremities; a very MIRRLEES, Hope. Lud-in-the-Mist. London: W. good copy. Collins & Sons, 1926 first and signed limited edition, additionally Octavo. Original light brown cloth, green morocco label to spine. inscribed by mitchell on the first page, “For Judy – the Boards very gently bowed, spine ends a touch bumped, mild lady with the red carnation – throw it to the Greek dancer – spotting to edges. An excellent copy. first edition, first impression, in the primary binding. Presentation copy, inscribed by Mirrlees on the front free endpaper: “To Monsieur Gabriel Marcel with best re- membrances from Hope Mirrlees.” The recipient was the French philosopher, playwright, music critic, and leading Christian existentialist, Gabriel Marcel (1889–1973). 139

64 Peter Harrington 143 139 140 141 give it on Mother’s day, plant it in a window box . . . I hope America. He was soon nominated for the National Book you are well and happy”; number 18 of 100 copies, signed Award for Fiction in 1958, paving the way for the success of by the author. The recipient was Judy Collins, with her sig- Lolita, which was first printed in America in that year. nature in purple beneath Mitchell’s inscription. Collins recorded the first commercially released version of Mitchell’s £3,250 [124254] song “Both Sides Now” in 1967. The song subsequently appeared on Mitchell’s 1969 album Clouds, and the friends 141 performed it together live on a number of occasions. [NABOKOV, Vladimir.] NABOKOFF-SIRIN, Vladimir. This edition, produced by Joni Mitchell as gifts for her Camera Obscura. A Novel. Translated by Winifred friends, features poems reproduced in facsimile, draw- Roy. London: John Long, Limited, 1935 ings, and watercolours by Mitchell, including the lyrics to Octavo. Original black cloth, titles to spine and front board gilt. her 1970 song “Big Yellow Taxi”, and 1971 song “Carey”, Spine gently rolled, gilt to spine, often completely rubbed, is still which was inspired by her time living in a cave-dwelling present here, and just a little darkened, extremities and top edge of rear board a little bumped, boards mildly rubbed, prelims and hippie community in the village of Matala, on the Greek endmatter mildly foxed. An excellent copy of this notoriously vul- island of Crete. nerable publication. £3,500 [121031] first edition in english, first impression. Associ- ation copy, inscribed by Nabokov’s agent, Otto Klement, 140 on the front free endpaper, “To Margaret Anne – although NABOKOV, Vladimir. Pnin. New York: Doubleday & not a book for children. O. Klement.” Camera Obscura was the first of Nabokov’s works to be translated into English Company, Inc., 1957 and is one of two famously scarce books issued by the hap- Octavo. Original black boards, title to spine in red and yellow. less firm of John Long: the binding was poorly produced, With the dust jacket. Spine gently rolled, a few faint stains to making the book hard to find in such nice condition (only boards, tips rubbed; a very good copy in the jacket with slightly faded spine, minor loss to spine ends and 4 cm closed tear to a couple of examples in the dust jacket are known to ex- head of spine. ist). Sales were slow, and it was subsequently remaindered in red paper boards. Nabokov was unhappy with Roy’s first edition, first printing, one of the author’s own translation and later undertook his own, republishing it as retained copies, inscribed by him on the front free endpa- Laughter in the Dark in 1938. The novel was originally serial- per: “Vladimir Nabokov. 326. May, 1957.” Nabokov had his ized in the literary journal Sovremennye Zapiski in 1932. own arcane private system for recording books in his own possession. Above the inscription is a small blue crayon £4,750 [124244] “WS”, typical of his library, and the title page has a faint inkstamp “PK3.5.0 VA”, but the significance of both these marks, and the number 326 in the inscription, is unclear. Nabokov’s semi-autobiographical novel about Professor Pnin, a Russian emigree academic teaching in America, was the first novel to garner him favour and attention in

All items are fully described and photographed at peterharrington.co.uk 65 142 NERUDA, Pablo. Un canto para Bolivar. Mexico City: Imprenta Universitaria, 1941 Quarto. Original white card wrappers printed in brown and black, edges untrimmed, title page in brown and black and with vignette and border decoration, initials in brown. With the original unprinted glassine wrappers, lightly pasted onto inner covers at folds. Spine rubbed at tips and with short split at foot, endleaves a little spotted. A near-fine copy in the faintly marked glassine, chipped along the spine.

142 143 first edition, presentation copy, inscribed by the tone of Neruda’s poem further irritated them and they author on the half-title, “Para Gomez Sicre, afectuosa- interrupted him with cries of “Death to the Spanish Re- mente, Neruda, 1942, Mex”. The recipient was the not- public” and “Long live the Generalissimo”. A near-riot en- ed Cuban lawyer, art critic and author José Gómez Sicre sued; UNAM printed Neruda’s poem in this lovely edition (1916–1991), an important conduit for Latin American art- to make amends. ists seeking an audience in the United States. He moved Becco 68; Loyala 226. See René de Costa, The Poetry of Pablo Neruda, Har- in the same artistic and political circles as Neruda in both vard UP, 1979. America and Europe. At the time of the inscription, Ner- uda held a diplomatic post as Consul General in Mexico £4,250 [124282] City and Gómez Sicre would soon embark on a six-month sabbatical in New York, helping organise the MoMA exhi- 143 bition Contemporary Cuban Painting. O’BRIEN, Flann. The Third Policeman. London: This poem, one of 500 copies printed, is an openly political MacGibbon & Kee, 1967 work praising Simón Bolívar, the liberator of South Ameri- Octavo. Original brown boards, titles to spine in gold. With the ca from Spanish colonialism. Beginning with a verse mod- pictorial dust jacket. Spine gently rolled, a near-fine copy in the elled after the Lord’s Prayer that substitutes Bolívar for jacket with nick to foot of front panel. God, Neruda places Bolívar on the battle lines in Madrid first edition, first impression, of the scarcest of the during the Spanish Civil War. De Costa argues that this author’s post-war novels. poem marks a new direction for Neruda, in that he uses £750 [105988] America as the subject for a new poetry of commitment (de Costa, p. 104). The poem was composed for a reading 144 in the Teatro Bolívar of the Universidad Nacional Autóno- ma de México in Mexico on 24 July 1941, the 111th anni- O’CASEY, Sean. The Silver Tassie. A Tragi-Comedy versary of Bolívar’s death. Neruda reportedly had a case in Four Acts. With a portrait of the author by Evan of writer’s block, which he shifted with a glass of absinthe Walters. London: Macmillan and Co., Limited, 1928 only a few hours before the reading. Octavo. Original brown cloth-backed blue paper boards, titles in green to printed paper label to front cover, top edge dark green, Spanish exile Joaquín Xirau gave a speech before Neruda’s others untrimmed. Frontispiece portrait with tissue guard. reading in which he claimed that Bolívar was a “Spanish Bookseller’s ticket to rear pastedown. Spine browned, slight wear patriot” (Siqueiros). This politically charged statement, to extremities, a little soiling to boards, light offsetting to endpa- aligning Bolívar with the Spanish Republicans, annoyed pers; a very good copy. some Franco supporters in the audience. The political

66 Peter Harrington 143 144 145 first edition, first impression, signed by the au- 145 thor on the verso of the half-title, together with the sig- OLIVER, Mary. No Voyage. London: J. M. Dent & Sons natures on the reverse of the frontispiece, of the cast of the Ltd, 1963 premiere run of the play at the Apollo Theatre, London, in October 1929; totalling 30 signatures. The signatures Octavo. Original green patterned boards, titles gilt to spine. With the dust jacket. An excellent copy with the dust jacket somewhat spine- include those of the director, Raymond Massey, and ac- tanned, very lightly rubbed at the extremities, and with few other tors Charles Laughton and Barry Fitzgerald. This copy be- very minor marks. Bookseller’s ticket to front flap and rear panel. longed to Maureen O’Beirne, an extra in the cast, with her first edition, first impression, of the very scarce ownership inscription to the front pastedown, and the sec- true first book appearance of the poetry of American poet ond verse of the Irish ballad “Kelly the Boy from Killane”, Mary Oliver (b. 1935), preceding the US edition by two played offstage during Act 1, written in her hand on the years, since Oliver was briefly living in London at the time. front free endpaper. O’Beirne has additionally underlined The print run was small and many copies went to libraries, the lines of the character Jessie, with occasional character further contributing to the rarity of collectable copies such notes in the margins. as this. Though fairly well represented institutionally, we Ayling and Durkan A14 & p. 364. can trace only one copy at auction. £3,750 [120233] The titular poem of this collection had won the Poetry So- ciety of America’s annual price in 1962. The Harvard Review described Oliver’s poetry as “an excellent antidote for the excesses of civilization, for too much flurry and inattention, and the baroque conventions of our social and professional lives. She is a poet of wisdom and generosity whose vision allows us to look intimately at a world not of our making”. From this debut aged 28, Oliver went on to win the Nation- al Book Award and the Pulitzer Prize (for American Primitive, 1983), among many others, and to become “far and away this country’s best selling poet” (The New York Times, 18 Feb. 2007). Primarily a poet of nature, she lived for most of her writing career in Provincetown, Cape Cod, Massachusetts, and has been compared to Emerson and Emily Dickinson. £1,750 [117392] 144

All items are fully described and photographed at peterharrington.co.uk 67 146

146 O’NEILL, Eugene. Long Day’s Journey into Night. New Haven, CT: Yale University Press, 1956 published in America too but didn’t sell a great deal” (Life Tall octavo. Original oatmeal cloth spine, spine lettered in gilt in Letters). on a black ground, black cloth covers. With the dust jacket. An Fenwick A.1d. excellent copy. first edition, first printing, a stunning copy of £7,500 [122727] O’Neill’s masterpiece, one of the great plays of the 20th century. 148 £975 [106039] ORWELL, George. A Clergyman’s Daughter. London: Victor Gollancz Ltd, 1935 147 Octavo. Original black cloth, title to spine in green. With the dust jacket. Housed in a custom black quarter morocco solander box. ORWELL, George. Down and Out in Paris and Publisher’s file copy, with their pencilled mark to front panel of London. New York: Harper and Brothers, 1933 jacket. A fine copy, in the bright dust jacket with restoration to Octavo. Original pale purple cloth, title to spine black, stripes top two inches of spine panel, repaired tear to rear panel. blocked to spine and publisher’s device to front cover in purple, first edition, first impression, in the very scarce green illustrated endpapers. With the dust jacket. A fine copy in dust jacket. One of only 2,000 copies, it is exceeding- the exceptionally nice jacket, with just a little of the habitual fad- ly rare in the dustwrapper, with Fenwick tracing only one ing to spine, and very minor chips and nicks to spine ends and institutional example. This is the only copy offered with tips. the dust jacket in commerce in recent decades. This was first u.s. edition, first printing, uncommon with Orwell’s second novel, into which he injected “some ex- the dust jacket in such nice condition. Published perimental writing possibly in the manner of James Joyce’s six months after the UK edition, the US edition of Orwell’s Ulysses” (Colls). Though Orwell thought little of the book first book received generally good reviews, but sold poor- as a whole, he wrote to Henry Miller in August the next ly, with 383 copies of the original print run of 1,750 being year saying “that book is bollox, but I made some experi- remaindered. The scarcity of copies made the book hard ments in it that were useful to me”. to obtain in Orwell’s own lifetime and he was unable to furnish Henry Miller with a copy, writing to him in 1936 provenance: Gollancz file copy, see item 17. “I haven’t one left and it is out of print, and I was going to Fenwick A.3a. send you a copy of the French translation . . . yes, it was £35,000 [122729]

68 Peter Harrington 143 147, 148, 149, 150

149 tion, excellent narrative, excitement, and irony tempered ORWELL, George. Burmese Days. London: Victor with vitriol”. Gollancz, 1935 provenance: Gollancz file copy, see item 17. Octavo. Original black cloth, titles to spine in green. With the £39,500 [124241] dust jacket. Housed in a black quarter morocco solander box by the Chelsea Bindery. Publisher’s file copy, with their inkstamp to the front pastedown and front panel of the dust jacket. A stun- 150 ning copy in the dust jacket. ORWELL, George. Keep the Aspidistra Flying. first uk edition, first impression, of Orwell’s sec- London: Victor Gollancz Ltd, 1936 ond book and first novel. Orwell’s book, first published Octavo. Original blue cloth, titles to spine in blue. With the in the US in the previous year, was the result of five years’ dust jacket and red wraparound band. Publisher’s file copy, with service as a police officer in the Indian Imperial Police in their inkstamp to front free endpaper and front panel of jacket. Burma 1922–7. It was initially rejected by Gollancz amid Housed in a black quarter morocco solander box by the Chelsea concerns that this caustic critique of colonialism might Bindery. A superb copy. be considered libellous to those portrayed, so it was first first edition, first impression. The first edition published further afield in America. On its first publica- consisted of 3,000 sets of sheets of which only 2,500 were tion in the UK, as here (with names changed to avoid li- bound. Of these more than 200 were destroyed during the bel cases), the novel was well-received, at least among the war. Copies in the dust jacket appear on the market with literati, with Cyril Connolly reviewing it in the New States- considerable infrequency, and we have handled just two man as “an admirable novel. It is a crisp, fierce, and almost other examples. boisterous attack on the Anglo-Indian. The author loves provenance: Gollancz file copy, see item 17. Burma, he goes to great length to describe the vices of the Burmese and the horror of the climate, but he loves it, and £28,500 [124243] nothing can palliate for him, the presence of a handful of inefficient complacent public school types who make their living there . . . I liked it and recommend it to anyone who enjoys a spate of efficient indignation, graphic descrip-

All items are fully described and photographed at peterharrington.co.uk 69 151, 152, 153, 154, 155

The preferred case-bound issue, with the dust jacket first edition, first impression, in the scarce dust jacket, and uncommon in such nice condition. The book, 151 from an edition of just 1,500 copies, is rarely encountered ORWELL, George. The Road To Wigan Pier. London: with the dust jacket at all and when it is, it is invariably bad- Gollancz, 1937 ly damaged. This was the author’s personal account of his Octavo. Original blue cloth, titles to spine in yellow. With the experiences during the Spanish Civil War. dust jacket. Housed in a black quarter morocco solander box. Fenwick A6a. With 32 plates. Cloth a little darkened, an excellent copy in the mildly toned and slightly soiled jacket, shallow chip to head of £13,500 [122736] spine, cup ring mark to front panel. first edition, first impression, trade issue, one of 153 2,150 copies published in the preferred case-bound format ORWELL, George. Coming Up for Air. London: Victor (it was also issued in the limp orange cloth of the Left Book Gollancz Ltd, 1939 Club), review copy, with the publisher’s slip laid in. Orwell Octavo. Original blue cloth, title to spine in blue. With the dust originally believed The Road to Wigan Pier would not be in- jacket. Publisher’s file copy, with their inkstamp to front free cluded in Gollancz’s Left Book Club as “it is too fragmen- endpaper and front panel of jacket. Spine slightly faded, couple tary and, on the surface, not very left-wing” (Fenwick). By of spots to covers, light foxing to edges; an excellent copy in the 29 December 1936, however, the work was set as a choice exceptionally nice, crisp, jacket, spine panel with a faint mark for the March 1937 list. By the time the book was published and just very mildly toned. Orwell was fighting the civil war in Spain and did not see a first edition, first impression, in the scarce copy of this edition until late April when he was home on dust jacket. One of only 2,000 copies printed. Orwell’s leave. Copies of this seminal work of reportage in this state great novel of the Thames Valley was inspired largely by his and condition are deeply uncommon. childhood growing up in and around Henley-on-Thames. Fenwick A5b. provenance: Gollancz file copy, see item 17. £13,750 [124303] Fenwick A7a. £25,000 [122896] 152 ORWELL, George. Homage to Catalonia. London: 154 Secker and Warburg, 1938 ORWELL, George. Inside the Whale and Other Octavo. Original green cloth, titles to spine gilt, top edge green. Essays. London: Victor Gollancz Ltd, 1940 With the dust jacket. A fine copy in the bright jacket with mildly toned spine, spine ends and tips lightly nicked, small spot to rear Octavo. Original black cloth, titles to spine gilt. With the dust panel, hint of rubbing to edges. jacket. Housed in a green quarter morocco solander box by the Chelsea Bindery. Publisher’s file copy, with their inkstamp to the

70 Peter Harrington 143 half-title, and pencilled mark to front free endpaper and front panel of the jacket. Very mild spotting to boards, an exceptionally nice copy in the nicked, little tanned and lightly rubbed dust jacket. first edition, first impression, one of 1,000 copies printed. Orwell may well have been the finest essayist England produced in the entire century. Despite his rad- ical credo in his essays he remains the last of the great Victorian prose stylists. Besides the title essay, this book prints his notable studies of Charles Dickens and boy’s weeklies. A scarce book in any condition – copies as nice as this are rare. provenance: Gollancz file copy, see item 17. £10,000 [124300]

155 ORWELL, George. Nineteen Eighty-Four. A Novel. 156 London: Secker & Warburg, 1949 Octavo. Original green cloth, spine lettered in red, top edge red. translation. Feltrinelli’s edition in Russian, the third over- With the green dust jacket. Spine very slightly faded, with tiny all, was published in late April or early May 1959, preceded bump to head; an excellent copy in the dust jacket with unusually by the almost unobtainable CIA-sponsored edition (Sep- bright spine panel, a little rubbing to extremities, a couple of tiny tember 1958) and the US edition, published in Michigan chips and nicks, short closed tear to head of front panel. in plain orange cloth without a dust jacket (January 1959). first edition, first impression. Copies of the first The history of the book’s publication in Russian is some- impression were issued either in green or dark red dust what complex: the first edition in Russian was printed by jackets. To judge from surviving examples, this was done the Dutch publisher Mouton under Feltrinelli’s imprint in proportions of about two green to one red, but there is but without Feltrinelli’s permission as part of a covert CIA no priority between them. publishing and propaganda program, and the US edition £7,500 [122885] was likewise intended to be published without Feltrinelli’s permission. However, after the legal furore surrounding Doctor Zhivago in Italian and Russian the publication of the Dutch edition, that decision was reversed, and the US edition in Russian was subsequently 156 published with Feltrinelli’s full consent and collaboration. PASTERNAK, Boris Leonidovic. Il Dottor Zivago; Feltrinelli intended to publish this edition concurrent- [with:] Doctor Zhivago [in Cyrillic]. Milan: Feltrinelli ly with the US publication, but due to printing delays his book was not published in Italy until four months after it Editore, 1957 & [1959] appeared in the US. 2 works, octavo. Original pale green boards, titles to spines and front boards in black. With the dust jackets designed by Ampelio The book earned Pasternak the Nobel Prize for literature. Tettamanti. Il Dottor Zivago with scarce yellow wraparound band, The award was offered in mid-October 1958, but before the torn into two pieces and loosely inserted. An excellent, bright end of the month, under intense pressure from the Soviet set. Couple of hinges split but holding (not affecting endpapers authorities, Pasternak was forced to reject it. but gauze visible at gutter of title page); very good copies in bright jackets, with a couple of nicks and a little rubbing. £7,500 [112545] first edition of pasternak’s masterpiece, together with the first feltrinelli edition in russian, in the very attractive and distinctive dust jackets designed by Ampelio Tettamanti (1914–1961). Doctor Zhivago was deemed unfit for publication within the Soviet Union due to certain passages that were perceived as anti-Sovi- et. It was therefore first published in Italian by Feltrinelli in 1957 after Pasternak signed a contract with him on 30 June 1956, granting the Italian publisher the copyright for

All items are fully described and photographed at peterharrington.co.uk 71 157

157 PENROSE, Roland. The Road is Wider Than Long. An Image Diary from the Balkans July–August 1938.

London: Gallery Editions, 1939 158 Small quarto. Original wood grain boards, titles to spine and front board in blue. Photographic frontispiece and photographs in the text throughout, all by the author. Bookplate of John Lyle, The earliest form of Pinter’s masterpiece, including a Surrealist book collector, to front pastedown. Joints a little worn, deleted scene otherwise an excellent copy. 158 first and limited edition, presentation copy, inscribed by the author to the surrealist French actor and PINTER, Harold. The Caretaker [preproduction writer Jacques B. Brunius (1906–1967) on the half-title, typescript]. [London, 1960] “à Brunius mon ami, Roland Penrose”, number 137 of Quarto. Typescript in original black cloth-backed pink wrappers, 510 copies. Penrose visited the Balkans with Lee Miller in titles to front wrapper in black. Wrappers browned to edges and 1938 and recorded the tour in this photographic diary, the creased, a few minor nicks to extremities, and couple of marks to first work in the Series of Surrealist Poetry, edited by E. L. T. rear cover, internally clean. A very good copy. Mesens. This typescript represents the earliest and otherwise lost form of the text, including a deleted scene. Laid in are six items: (a) two pencil sketches by Brunius; (b) a pencil-written autograph note from Roland Penrose The play was first presented by the Arts Theatre Club at to “his dear friend” inviting him to dinner (no date or place the Arts Theatre, London, on 27 April 1960. The text was indicated); (c) a postcard with a dancing nun atop a don- first published for that original production in mimeograph key, written from French poet Jacques Prévert (1900–1977) typescript bound in wrappers by theatrical specialists En- to Brunius; (d) a leaf with hand-written notes on the struc- core, 1960. (The first printed edition, presented more for- ture of The Road is Wider Than Long; (e) a note written in blue mally in case binding and dust jacket, was published by ink by Prévert. Methuen later the same year, after the play had successful- ly transferred to the Duchess Theatre at the end of May.) £3,250 [123648] This typescript preserves a preproduction state of the text, earlier even than that used for the Encore edition. One scene in Act II depicts Aston in dim light complaining that Davies is keeping him awake by groaning in the night. This

72 Peter Harrington 143 159 160 short scene is cut from the Encore text, efficiently replaced Single folded sheet, titles to front cover printed in black. Housed by a single line, in which Aston’s observation that Davies in a green card folder. A fine copy. was making noises during the night is interrupted. first edition of the author’s first separately published There is no other major difference to the text itself, but a work, one of approximately 60 copies, this copy unsigned. number of the stage directions are altered in small but tell- On 11 June 1960, Plath wrote in a letter to the publisher, ing ways. Pinter’s famous scene setting begins: “A room. Alan Anderson, “I am writing on my own behalf to say Window up left. . .” Here in the typescript, the window how delighted my husband and I were with the proofs of is “in the back wall”. In the published text, Aston wears A Winter Ship. I’m sending back the one we like best, with a tweed overcoat; here, his coat is black. In the published the border round it. We thought we’d like the date, place text, in Act I, as Davies complains about being ordered and press in upright letters, as on the other proof, and my to take out rubbish, Aston begins to fiddle with the plug name deleted as I’ll write that on the inside myself, with of an electric toaster and continues to do so throughout Christmas greeting too. Would four dozen copies be too the scene until Davies falls asleep; this prolonged bit of much of a burden for you?” business is absent in the present typescript, where a plug Tabor, Sylvia Plath: an analytical bibliography, p. 4. is mentioned only once during the scene. Taken togeth- £2,750 [104335] er, these and other small variations indicate that the typescript preserves the original preproduction text, before 160 the first stage director and original cast members have fi- nalised details of costume and stage business. PLATH, Sylvia. The Colossus & Other Poems. New York: Alfred A. Knopf, 1962 It is marked up with marginal annotations in pencil, show- ing timings in 30-second intervals for several extracts from Octavo. Original green cloth, titles to spine in dark green, author’s initials to front board and publisher’s device to rear board the play, including Aston’s monologue at the end of Act II. in blind, top edge red, fore edge untrimmed. With the dust jack- Although there is no sign of ownership, these appear to be et. Faint foxing to edges and endpapers. An exceptional copy in a technician’s marks, perhaps for recording portions of the the bright jacket, with slightly toned rear panel. play for possible radio broadcast. first u.s. edition, first printing, review copy, of £4,500 [124290] Plath’s first and only collection of poetry published while she was alive, with the publisher’s review slip loosely in- 159 serted. It was originally published in the UK in 1960. [PLATH, Sylvia.] A Winter Ship. Edinburgh: The Tragara £1,250 [124203] Press, 1960

All items are fully described and photographed at peterharrington.co.uk 73 161

Rare presentation copy 161 POUND, Ezra (ed.) Cathay. Translations, for the most part from the Chinese of Rihaku, from the notes of 162 the late Ernest Fenollosa, and the decipherings of the Professors Mori and Ariga. London: Elkin Mathews, 1915 Octavo. Original black cloth, titles to spine in silver. With the dust jacket. Housed in a black quarter morocco solander box by Small, thin 8vo, original printed wrappers. Wrappers somewhat the Chelsea Bindery. With light corrections by Pound on 9 pages. dust-soiled and rubbed with a few faint stains on the covers, Endleaves browned as usual but an excellent copy in the tattered otherwise a very good copy, enclosed in a half morocco slipcase. remains of the dust jacket missing a portion of the spine panel. Some general browning to contents, minor wear to wrappers but a very decent copy. first edition, first printing, with the author’s first edition, sole printing, inscribed by the au- two superb presentation inscriptions to the front thor on the second blank, “Sybil fr. E.P. 1920”, and rare free endpaper, “Eileen from Ezra full benedictions S. Liz thus. The recipient was almost certainly the aristocrat Sybil 1949”, and with his subsequent inscription, “having been for- Sassoon (1894–1989) whom Pound met through her friend- got returned and re returned repeat ‘benedictions’ June 58”. ship with Wyndham Lewis. Cathay presented Pound’s sig- An evocative relic from the St Elizabeth years: the recipient nificant translations from the ancient Chinese poets, in- was Eileen Lane Kinney, a member of the inner circle of cluding Rihaku who, Pound pointedly notes, “flourished modernist artists and writers based in Paris in the 1920s in the eighth century of our era. The Anglo-Saxon Seafarer and 1930s. She had been Brancusi’s lover before returning is of about this period. The other poems from the Chinese to America just as the Second World War loomed. She set- are earlier”. Pound’s modern English translation Seafarer, tled in Washington DC and worked on a number of trans- one of his best such works, is included in this collection, lations of political studies from French into English. When of which 1,000 copies were printed. in 1946 her old acquaintance Ezra Pound was moved to St Gallup A9. Elizabeth’s hospital, she spared little time in contacting him and arranging visits. The correspondence implies that £5,750 [102829] contact more or less ceased in 1950 but, from the sequence of inscriptions by Pound in this copy, it is clear that he Presentation to Eileen Lane Kinney made one final and telling gesture of gratitude and friend- 162 ship at the very point of his departure for Italy in June 1958. POUND, Ezra. The Pisan Cantos. New York: New (For Pound, see also item 51.) Directions, 1948 £10,000 [124333]

74 Peter Harrington 143 163 164

163 envelope sent to Persion from the office of the Borough POUND, Ezra (trans.) Confucian Analects. Reprinted Clerk of Highland Park, New Jersey. by permission of the Hudson Review 439 West Street, Also included is a newspaper clipping reporting that New York 14, N.Y. New York: Square $ Series, 1951 Pound had returned to Italy and taken up writing once Octavo. Original grey paper wrappers with yapp edges, titles in more. Upon returning to Italy Pound lived with his daugh- black to spine and front cover, publisher’s ads in black to rear ter, Mary de Rachewiltz, and her family in their castle, cover. With the original wraparound band printed in red laid in. Schloss Brunnenburg, where he did indeed return to writ- Faint fading to spine and edge of wrappers, slight creasing to ex- ing, completing the final six of his Cantos. tremities; a very good copy. This collection of Confucian Analects was first published in first edition, first printing, presentation copy, the Hudson Review in 1950, and is uncommon signed, with inscribed by the author on the title page, “Matthew Persion, no other copies traced at auction. from E Pound, April 1955”. Persion was Pound’s dentist during his incarceration at St Elizabeth’s mental hospital, Gallup A65. Washington DC, where Pound was confined from 1945 until £3,750 [123769] 1958 after he was found unfit to plead in his trial for treason. Accompanying this work is a collection of correspondence 164 between Pound and Persion sent by Pound upon his return POWELL, Anthony. Afternoon Men. London: to Italy, with his wife Dorothy Shakespear, three months Duckworth, 1931 after he was released from St Elizabeth’s. These include: a Octavo. Original pale green cloth, gilt lettered spine. With the postcard with a portrait of Pound inscribed, “Hotel Italia dust jacket designed by Misha Black. Ownership inscription Rapallo. Pleasant evening & greetings, Dr M M Persion, 15 (smudged) on front free endpaper: “Cora Strafford, Cobham [?] May, E.P.”, addressed on the reverse, “Dr. M. Persion, 3504, 1931”, probably the Colgate heiress and Countess of Strafford (d. Silver Hill Rd, Silver Hill MD. U.S.A.” with two franked 1932). Spine lightly sunned, jacket spine toned, panels lightly postage stamps; a second postcard typed by Pound to soiled, nicks and chips to extremities. Persion, “in this corner one burg. Dear MMP, greets for first edition, first impression, of the author’s first thanksgiving. shd/ be glad to have report on state of the novel. George Lilley cites Powell’s estimate of the print run nation if it has got one. best to Madame” postal stamp being probably 2,000 copies. from Brunnenburg, possibly dated 14 August 1958; an en- Lilley A.1. velope with “Pound 8 Rachewiltz, Schloss Brunnenburg, Tirolo, Merano, Italy” written in Pound’s hand on a used £4,250 [104765]

All items are fully described and photographed at peterharrington.co.uk 75 165

165 POWELL, Anthony. A Question of Upbringing; New York: Charles Scribner’s Sons, 1951 Octavo. Original dark blue cloth, titles to spine in silver. With the dust jacket. Spine gently rolled, top edge lightly dust toned, a very good, bright copy in the jacket with faded spine, short closed tears to foot of front panel, foot of spine, and head of rear panel, nicks to extremities. 166 first u.s. edition, first printing, presentation copy, inscribed by the author on the front free endpaper, first edition, first printing, presentation copy, in- “For Osbert and Karen [Lancaster], from Tony, with re- scribed by the author: “To Lenore McConnell, – wishing you newed love, December 1961”. Osbert Lancaster and Pow- a great future. Ayn Rand. February 4, 1959.” Atlas Shrugged was ell were friends from their time at Oxford; Lancaster designed a number of covers for Powell’s books in paperback, including the cover of Penguin’s paperback edition of this work, published in 1962. This is Powell’s first novel in his series Dance to the Music of Time. Powell was a reluctant and at times ungracious signer of 166 his own books, even for friends; this is a notably warm inscription. named by a 1991 Library of Congress survey as the most influential book in the US, second only to the Bible. £1,750 [118465] £12,500 [99376] Presentation copy 167 166 RHYS, Jean. Good Morning, Midnight. London: RAND, Ayn. Atlas Shrugged. New York: Random House, Constable & Company Ltd, 1939 1957 Octavo. Original purple cloth, titles to spine in pale green. With Octavo. Original green cloth, spine lettered in gilt on black, mon- the dust jacket. Spine sunned, edges a little foxed; a near-fine ogram to front board gilt, top edge blue, buff endpapers. With the copy in the crisp jacket, with mildly toned spine and a couple of pictorial dust jacket. Housed in a red quarter morocco solander light nicks. box. Front hinge starting, internally fresh; a very good copy in the first edition, first impression. Though critical- bright jacket with lightly toned spine, a few small chips to spine ends and middle of front joint. ly well-received, initial sales were poor, and Rhys spent a decade after the novel’s publication living in obscurity, until, in 1949, a theatrical adaptation of the novel was cre-

76 Peter Harrington 143 168 169 ated, for which she was tracked down via newspaper adver- Cahun, Giorgio De Chirico, Lilika Nacos, Francis Picabia, tisements to obtain her permission. Rhys credited this re- Martin-Luis Guzman, Rene Daumal, Ramon Gomez De La newed interest in her for a second burst of literary output, Serna, Jean Giono, William Carlos Williams, Michel Leiris, and in 1966 published her final novel, Wide Sargasso Sea. Pierre MacOrlan, Boris Pilniak, Jean Sylviere, Pierre Minet, Nathan Altman, Robert Desnos, Gabriel Bounoure, and £1,750 [124238] Caradoc Evans. The reproductions in heliogravure include works by Andre Masson, De Chirico, De La Serna, Paul 168 Klee, Man Ray, and Germaine Krull. RIBEMONT-DESSAIGNES, Georges (ed.) Bifur. £2,250 [107785] Paris: Editions du Carrefour, 1929–31 8 volumes, large octavo. Original white, pale yellow or grey wrap- 169 pers, titles to spines and front covers black, multicoloured motif to front covers. With glassine dust jackets. 130 black and white RILKE, Rainer Maria. Die Sonette an Orpheus. heliogravures. Vol. I with vertical crease to fore edge of front Geschrieben als ein grab-mal für Wera Ouckama wrapper, outer tip of rear cover gently creased, vol. III wrapper Knoop. Leipzig: Insel-Verlag, 1923 partially split at head of spine, vol. IV a little bowed, vol. VI minor loss to foot of spine panel, short tears to foot of front and rear Octavo (214 × 139 mm). Bound for the publishers by H. Sperling panels at hinges, creasing to rear panel, and light marks to cov- in blue calf, titles to spine gilt with raised bands, boards ruled in ers, vol. VII wrapper separated from text block at spine, closed gilt, gilt and green painted endpapers, turn-ins and top edge gilt. tear at spine-folds, vol. VIII tear at foot of rear panel, light marks Housed in a custom blue quarter morocco solander box. Faint ink to covers. Occasional mild foxing to some leaves in all volumes. stamp to title page. Spine slightly faded, a little wear to tips and A very good set. spine, else a fine copy. first editions, limited issue. A complete set of the first and limited edition, deluxe issue, number Surrealist-inflected, avant-garde Parisian art and literary 7 of 100 copies specially bound in full calf, and printed journal, issued between 25 May 1929 and 10 June 1931. Each on handmade paper by W. Drugulin (there were also 200 volume is numbered: the first four volumes were printed in numbered copies bound in half morocco). Die Sonette an Or- an edition of 3,000 copies, volumes 5 to 7 one of 2,000 cop- pheus (The Sonnets to Orpheus) is considered, along with the ies, and volume 8 was one of 1,700 copies. Established by Duino Elegies, as Rilke’s masterpiece. They were composed Pierre Lévy, founder of Éditions du Carrefour, Bifur provid- in what the author described as a “savage creative storm” ed a forum for many of the Surrealists who had been alien- during February 1922. The dedicatee was Wera Ouckama ated from Breton’s group. In Breton’s Second Surrealist Man- Knoop (1900–1919), whose death from leukemia inspired ifesto (1929) he waspishly described Bifur as a “remarkable the sonnets. The 19–year old dancer and musician was the repository for garbage”. It features contributions in French daughter of Rilke’s friend Gerhard Ouckama-Knoop, and from: Tristan Tzara, André Malraux, Jacques Prévert, Franz a close friend of his own daughter Ruth. Kafka, Martin Heidegger, Jean-Paul Sartre, Ernest Hem- Freedman, Life of a Poet: Rainer Maria Rilke, 1998, p. 479. ingway, James Joyce, Langston Hughes, Maurice Tabard, £3,250 [101198] André Kerstsz, László Moholy-Nagy, Man Ray, Claude

All items are fully described and photographed at peterharrington.co.uk 77 170 171

170 171 ROBBE-GRILLET, Alain. Dans le labyrinthe. Paris: RODITI, Edouard. Poems for F. Paris: Éditions du Editions de Minuit, 1959 Sagittaire, 1935 Octavo. Original white paper wrappers printed in black and blue, Square octavo. Original white wrappers printed in red and black. unopened. With the glassine wrappers. A fine copy. With the original glassine dust jacket. Title page printed in red first edition, out-of-series for presentation from & black, initial letters printed in red. Glassine wrappers a little toned and chipped at extremities. A very good copy. an edition of 70 plus 7 numbered hors commerce copes, inscribed from the author to the distinguished editor and jour- first and limited edition, number 44 of 250 cop- nalist François Erval on the front free endpaper, “A François ies signed by the author, presentation copy of Erval, qui a deja fait tant pour faire connaitre ces recherches, Roditi’s first book, inscribed by the author on the half-ti- avec tout l’amitié de Robbe Grillet, 30 Sept. 59. Journé d’une tle, “For Roger Mynors Esq from a ‘prodigal son’ who yet bataille mémorable (celle de Reichenfels!”) (“To François hopes to return to more academic ways. Edouard Roditi”. Erval, who has already done so much to make this research The recipient was the classical scholar Sir Roger Mynors known, with the best wishes of Robbe Grillet. 30 Sept. 59. The (1903–1989), who was a contemporary of Roditi’s at Balliol day of the memorable battle (that of Reichenfels!))” Though College, Oxford. Reichenfels is the name of a town in Austria, no notable Edouard Roditi (1910–1992) was an American surrealist battles have been fought there; Robbe-Grillet refers only to poet and author, who “became acquainted with T. S. Eliot, the imagined events in his own novel, and to the art which James Joyce, André Breton and other leading literary fig- inspires the narrator-writer and drives the plot forward, a ures, while living in London, Paris, and Berlin (1929–37); 19th-century engraving titled “The Defeat of Reichenfels”. he published the first Surrealist manifesto in English, Erval was the director of the “Idées” collection at Galli- ‘The new reality,’ in ‘The Oxford Outlook’ (1929); while mard and worked as both an editor and literary critic for continuing his literary interests, he worked for the US journals such as L’Express and La Quinzaine littéraire. One day government during World War II for the Office of War -In after this copy was inscribed, Erval published a review of formation and also served as an interpreter for the State Dans le labyrinthe in L’Express, in which he praised the novel Department during the San Francisco conference which for its remarkable linear narrative. established the United Nations; published books include Poems for F (1934), Oscar Wilde: a critical study (1947), Dialogues Dans le labyrinthe is of one of the author’s most acclaimed on art (1960), De l’homosexualité (1962) . . . Roditi also held works and a fine example of the Nouveau Roman; it was teaching positions at various colleges and universities; in translated into English the following year. addition to his literary achievements, Roditi was known £750 [119590] as a generous and encouraging mentor to young writers”

78 Peter Harrington 143 172 173

(Online Archive of California; Roditi’s paper are held at 173 UCLA). ROSENBERG, Isaac. The Collected Works. Poetry, £675 [109041] Prose, Letters, and Some Drawings. Edited by Gordon Bottomley & Denys Harding. With a Foreword by In papal purple Siegfried Sassoon. London: Chatto and Windus, 1937 172 Octavo. Original red cloth, title gilt to spine, top edge red. With the dust jacket. Portrait frontispiece and 7 other plates. Book- ROLFE, Frederick, Baron Corvo. In His Own Image. plate. Faint mark to top inner corner of front board, mild fading London & New York: John Lane, The Bodley Head, 1901 to extremities of boards, top edge a little dust soiled, but a sound, smart copy in excellent condition, with the dust jacket only a little Octavo. Largely unopened in original purple silky cloth boards, tanned to spine panel, lightly rubbed at the ends, and with some titles to spine and front board in white, top edge gilt, others un- minor spots and marks. trimmed. With the dust jacket. Housed in a purple quarter morocco solander box by the Chelsea Bindery. Spine lettering mostly first edition, first impression, scarce, with an ex- lacking, faint cloth discolouration along top edges, mild bump- ceptional example of the rare dust jacket. “Rosenberg’s ing to corners and ends of spine, but a superior copy of a delicate poems from the front show him to have absorbed the publication in the rare dust jacket with just the mildest wear. great tradition of English pastoral poetry, but his tone is first edition, first printing, first issue binding different: more impersonal, informal, ironic, and lacking of purple cloth. The sheets were printed in the US, the indignation characteristic of the work of Wilfred Owen with 1,500 sets imported to the UK, where the book was and Siegfried Sassoon. In such poems as ‘Break of Day in published on 5 March 1901. It was released in the US one the Trenches’, ‘Returning we Hear the Larks’, and his mas- month later, on 6 April 1901. Copies issued in the US were terpiece, ‘Dead Man’s Dump’, Rosenberg succeeded in his bound in purple silky cloth, and in the UK in green, grey, intention of writing ‘Simple poetry – that is where an in- red, or dark blue cloth. Woolf suggests that the earliest teresting complexity of thought is kept in tone and right copies issued in the UK were imported from the US in pur- value to the dominating idea so that it is understandable ple silky cloth, as in the present copy. and still ungraspable’” (ODNB). Woolf A4. £1,500 [124227] £8,500 [100920]

All items are fully described and photographed at peterharrington.co.uk 79 174

174 RUSHDIE, Salman. Midnight’s Children. London: Jonathan Cape, 1981 175 Octavo. Original red quarter cloth, grey paper boards, titles to spine in silver. With the dust jacket and wraparound band. Small ature, Chatterton was printed at the author’s expense when faint dampstain to top edge of text block, board corners light- she was just 16 years of age. It is thought that only 100 cop- ly worn. An excellent copy in a jacket with slight fading to spine ies were printed. panel and a few light scuffs to rear panel; wraparound band with Cross & Ravenscroft-Hulme A1. some mild creasing and two short closed tears with tape repairs to the verso. £8,500 [124237] first edition, first impression, uk issue, signed by the author and dated 16 November 1984 on the title Her only substantial original manuscript remaining page. This is one of 1,000 copies issued by Cape from US on the market sheets. Midnight’s Children won the 1981 Booker Prize and, in 1993, the Booker of Bookers Prize as the best novel to 176 receive the award in the first 25 years of its existence. SACKVILLE-WEST, Vita. “Andrew Marvell”, original £2,500 [101131] manuscript. 1929 47 leaves, quarto (285 × 222 mm), complete, written on one side of the paper only in blue ink, with proposed footnotes in red. Her first published work, exceedingly rare Original folding buff paper wrapper, holograph title on front. 175 Housed in a modern folding case. Compositor’s marks, dated at end “Finished June 7 in 1929”. The manuscript evidently com- SACKVILLE-WEST, Vita. Chatterton: A Drama in posed in a notebook and subsequently carefully disbound (traces Three Acts, by Victoria Sackville-West. Sevenoaks: of blue paper and glue to inner edges), a little marginal brown- [Printed for the author by] J. Salmon, 1909 ing, overall in excellent condition. Octavo. 8 loose unopened gatherings, loose title page and half-ti- The complete original holograph manuscript used as the tle. Housed in a red morocco-backed dark green cloth solander printer’s setting copy for Sackville-West’s essay on Marvell, box with titles to front in gilt. Extremities mildly toned, title page published that year as the first monograph in the projected with a few short closed tears to the lightly tanned and creased Faber series, “The Poets on the Poets”. (The next work in fore margin. An excellent copy. the series was Dante by T. S. Eliot, but there were only two first edition, first impression, of the author’s first more after that.) work, a play in blank verse. A noted rarity of modern liter-

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for charity), the great bulk of Vita Sackville-West’s literary archive was offered for public sale at auction by So- 176 theby’s, 10 July 2003. The archive, which had remained in the Nicolson family since its composition, was unsold at Sackville-West makes it clear on the first page that she in- the auction but afterwards split into two groups and sold tends to deal with only one aspect of the writer: “The sub- by private treaty. The manuscripts of her novels went to a ject of this essay is the Andrew Marvell who wrote poetry; private collector, the remainder to Yale. The present item the political and theological aspects of his life, and the ex- remains the most substantial of her original manuscripts pression which they found in his satires, his pamphlets, on the market. and his letters, will scarcely be touched upon at all. I of- £27,500 [124311] fer no excuse for this omission. It is purely as a poet that I would consider him.” 177 Within these limits, the monograph, finished less than a SACKVILLE-WEST, Vita. The Edwardians. London: year before she and Harold Nicolson purchased Sissing- The Hogarth Press, 1930 hurst Castle, exhibits a natural congruence between sub- Octavo. Original japon-backed pink cloth, titles to spine gilt, ject and essayist, between the author of “The Garden” and top edge gilt, others untrimmed. Spine very slightly rolled, a few “Damon the Mower” and the writer, gardener, and author light marks to covers, light spotting to endpapers, but a bright of “The Land”. sound copy in excellent condition. Aside from a few short stories to have come to light since signed limited edition, this copy additionally and a few ephemeral pieces previously disposed of (mostly inscribed by the author to her secretary and lover, Anna Macmillan, “For Anna, with the author’s love. April 8. 1949”. Number 4 of 125 copies signed by the author, this is a fine association – Macmillan was the dedicatee of Sackville-West’s Nursery Rhymes. This novel “celebrated the lavish style of country house life that she had observed in her parents’ heyday at Knole” (ODNB). The signed limited edition, already produced in small num- bers, is rare inscribed. Woolmer 235A.

176 £2,250 [119223]

All items are fully described and photographed at peterharrington.co.uk 81 178 179 180

178 180 SALINGER, J. D. The Catcher in the Rye. Boston: SHUTE, Nevil. On the Beach. London: Heinemann, 1957 Little, Brown and Company, 1951 Octavo. Rebound by the Times Book Club in light blue boards, Octavo. Original black cloth, spine lettered in gilt. With the dust lettered and blocked in darker blue. With the dust jacket. Extrem- jacket designed by Margaret Mitchell. In a custom red morocco ities of jacket rubbed, some creasing to spine. A very good copy. box. Spine ends very lightly bumped, light marking to edges. An first edition, first impression, signed by the au- excellent copy in the dust jacket, spine panel slightly darkened thor on the title page, using his full name, “Nevil Shute with a spot of abrasion and minor chipping at head, two short Norway”. This is Shute’s best-known novel, succinctly de- closed tears at head of rear panel, edgewear and small chips to scribed by George Locke as “nuclear disaster novel; Aus- extremities, short splits at head and foot of front flap fold. tralia waits for radioactivity to reach it from the devastated first edition, first printing, of one of the great northern hemisphere. A classic”. Signed copies are very American novels of the 20th century. uncommon. £7,500 [123555] Locke, A Spectrum of Fantasy, II p. 99. £1,250 [124200] 179 SHIRAS, Wilmar H. Children of the Atom. New York: 181 Gnome Press, 1953 STAPLEDON, Olaf. Star Maker. London: Methuen & Octavo. Original red cloth, titles to spine in black. With the dust Co. Ltd, 1937 jacket. Spine ends lightly bumped, two leaves lightly creased. An excellent copy in a bright jacket with light foxing to rear panel and Octavo. Original blue cloth, titles to spine in red. With the Bip flaps and slightly rubbed and nicked extremities. Pares dust jacket. Bookseller’s stamp to front pastedown. Fore edge lightly spotted, spine very slightly mottled, in the somewhat first edition, first printing, signed by the au- rubbed dust jacket, spine panel a little soiled, with a couple of thor on the title page and rare thus. The Science Fiction short closed tears, minor loss to tips, and marks to verso. An un- Book Club named Children of the Atom at number 14 on their usually nice copy. list of “The Most Significant SF & Fantasy Books of the first edition, first impression, first issue binding Last 50 Years, 1953–2002.” The novel was a development and jacket. This, Stapledon’s fourth work of fiction, is of three earlier stories, the most famous of which is the widely regarded as one of the seminal works of science 1948 novella “In Hiding”, portraying a secret group of mu- fiction. Its admirers included fellow science fiction au- tant geniuses. Many critics have noted the similarity to the thors H. G. Wells and Arthur C. Clarke, and was a direct X-Men comic book (and now film) series. influence on C. S. Lewis, who described its philosophy as £1,250 [122326] “sheer devil worship”. One of 2,513 copies, and rare in such nice condition. £4,000 [124236]

82 Peter Harrington 143 181 183

182 183 STEIN, Gertrude. What Are Masterpieces. Los Angeles: STEINBECK, John. Of Mice and Men. A Play in Three The Conference Press, 1940 Acts. New York: Covici Friede, 1937 Octavo. Original blue cloth, titles to spine red, boards ruled in Octavo. Original grey cloth, spine and front board lettered red. With the dust jacket. Portrait frontispiece. Boards a little fad- in black with brown foliate decoration. With the dust jacket. ed and lightly spotted, internally fine. An excellent copy in the Housed in a custom blue cloth solander box. A superb copy in the faded jacket with some nicks and chips to extremities and tape jacket with toned spine panel, short closed tear to head of spine, repair to verso of head of spine. a couple of nicks and a little rubbing to extremities. first edition, signed limited issue of Stein’s 1936 first edition in play form, first printing. A superb pres- Oxford-Cambridge lectures, number 49 of 50 copies entation copy, inscribed by the author to a close friend on signed by the author. the front free endpaper: “For Guy G. B. Reedy, John Stein- beck”. Steinbeck met Reedy when he moved to New York £1,500 [100043] in the early 1920s; both men worked on the construction of Madison Square Garden. Steinbeck left after seeing a co-worker fall to his death, but the two remained close, and Steinbeck inscribed first editions of all his books for Reed. Steinbeck later wrote about his experiences in New York in his 1953 essay, “Making of a New Yorker”: “The city had beat the pants off me. Whatever it required to get ahead, I didn’t have it. I didn’t leave the city in disgust – I left it with the re- spect plain, unadulterated fear gives. New York is an ugly city, a dirty city. Its climate is a scandal, its politics are used to frighten children, its traffic is madness, its competition is murderous. But there is one thing about it – once you have lived in New York and it has become your home, no place else is good enough. All of everything is concentrated here, popu- lation, theater, art, writing, publishing, importing, business, murder, mugging, luxury, poverty. It is all of everything. It goes all right. It is tireless and its air is charged with energy.” Goldstone & Payne A.7.

182 £6,000 [114311]

All items are fully described and photographed at peterharrington.co.uk 83 184 185

184 185 STEINBECK, John. The Long Valley. London: William STEINBECK, John. East of Eden. New York: The Viking Heinemann, [1939] Press, 1952 Octavo. Original green metallic cloth, title to spine in cream, buff Octavo. Original green cloth, spine lettered in black on brown endpapers. Gift inscription to front pastedown. Boards gently ground, front board lettered in dark green. With the pictorial bowed, spine ends, head of front board and tips bumped, con- dust jacket. Spine gently rolled with a hint of fading to extrem- tents lightly toned. A very good copy. ities, tips lightly bumped. An excellent, bright copy in the dust first uk edition, first impression, inscribed by the jacket with a toned and creased rear panel, mild rumpling along top edge of spine and front panel, and a small portion of chip- author on the front free endpaper, “For Wally, with more ping and toning to the upper outer corner of each flap. affection than he will care to believe. John Steinbeck”. The recipient was likely Wallace “Wally” Ford (1899–1966), the actor first edition, first printing. who played George in the first Broadway production of Stein- Goldstone & Payne A32b. beck’s Of Mice and Men, directed by George S. Kaufman. The £1,250 [113848] play premiered in Broadway at the Music Box Theatre on 23 November 1937 and moved to Los Angeles in 1939, with Wally retaining the role. Though gratified by the reviews, Steinbeck 186 did not attend any of the rehearsals or performances of the STEVENS, Wallace. Harmonium. New York: Alfred A. New York run, remaining at his home in California, much to Knopf, 1923 Kaufman’s disappointment: “‘I’d like to see the play,’ he wrote Octavo. Original blue cloth, printed paper label to spine. With to Elizabth Otis, his agent, ‘but I wouldn’t go six thousand the dust jacket. Slight tanning and rubbing only to the spine miles to see the opening of the second coming of Christ’”. ends, otherwise a fine copy, with the dust jacket faintly faded to He did however attend the rehearsals when the play moved spine panel and bearing a few small chips along the top edge, and to California, noting his disappointment at one point “Wally some small closed splits to centre of the rear joint, but notably [Ford] is an actor. He wants to yell and posture. No Kaufman bright and entirely unrestored. to hold them down so they’re yelling their heads off ” (Ben- first edition, first impression, with an exceptional son). The Long Valley was first published in 1938 in the US, and example of the very scarce dust jacket, one of 715 copies is extremely uncommon inscribed, with just one inscribed in the third issue binding from an edition of 1,500 copies. copy of the first edition located at auction. The same jacket was used for all three issues. Harmonium Goldstone and Payne A11b; Steinbeck, Life in Letters, pp. 164–5; Benson, was the poet’s first collection, and includes some of his The true adventures of John Steinbeck, writer: a biography, p. 395. most famous poems such as “Thirteen Ways of Looking £5,000 [113905]

84 Peter Harrington 143 186 188 at a Blackbird”, “The Emperor of Ice-Cream”, “The Snow 188 Man”, and “Sunday Morning”. SYNGE, John M. Deirdre of the Sorrows. A Play. New Connolly, One Hundred Modern Books, p. 46; Edelstein A1a. York: printed for John Quinn, 1910 £6,750 [122345] Octavo. Original cream cloth-backed paper boards, printed paper labels to spine and front cover. A fine copy. 187 first edition, one of only five surviving copies print- SYMONS, A. J. A. The Quest for Corvo. An Experiment ed on handmade paper of the play left unfinished at Synge’s death in 1909. The edition originally consisted of 45 copies in Biography. London: Cassell & Co. Ltd, 1934 on paper, and five on vellum; however, John Quinn, Synge’s Octavo. Original blue cloth, spine lettered in blue on gilt ground, literary patron, was unhappy with the number of errors that top edge red. With the dust jacket. Spine slightly rolled, boards a crept in during the printing, and destroyed all but five cop- little bowed, some light foxing to edges of text block; a very good copy in the jacket with a couple of nicks and chips to extremities. ies on paper and five on vellum. W. B. Yeats helped to finish the play, contributed the preface, and had it performed at the first edition, first impression, presentation copy, Abbey Theatre, which Yeats and Synge had founded together. inscribed by the author on the front free endpaper, “For Vincent, a tribute to a long a noble friendship, with the sin- Quinn 9984; Wade 246. cere and cordial salutations of his colleague in letters and £2,250 [114475] admirer in life. A.J. Feb 3rd, 1934”. The recipient, identified by a pencilled note, was Harold Vincent Marrot (1898–1954), 189 publishing director of the antiquarian booksellers, Elkin Mathews and Marrot Ltd, who published Symons’s Antholo- THOMPSON, Hunter S. Fear and Loathing in Las gy of “Nineties” Verse in 1928. Marrot was also a book collector, Vegas. A Savage Journey to the Heart of the American and biographer and bibliographer of John Galsworthy. Dream. Illustrated by Ralph Steadman. New York: Random House, 1971 £750 [109896] Octavo. Original black cloth-backed grey boards, spine lettered in silver, Ralph Steadman design decoration to front board in blind. With the pictorial dust jacket. Illustrated title page and 19 line drawings by Steadman. Board edges a little faded, faint foxing to top edges. An near-fine copy in the bright jacket. first edition in book form, first printing.

187 £750 [121633]

All items are fully described and photographed at peterharrington.co.uk 85 190

His first book for children, in the dust jacket to his own 3 volumes, octavo. Original red cloth, gilt-lettered spines, top edges red. With the dust jackets. Each volume housed in a cus- design tom red cloth solander box with maroon labels to spines. Folding 190 map at the end of each volume. Contemporary Foyle’s ticket to front pastedown of vol. I. Spine ends very lightly bumped, cor- TOLKIEN, J. R. R. The Hobbit or There and Back ners faintly rubbed, top edge of Fellowship slightly splashed and Again. London: George Allen & Unwin Ltd, 1937 that of Two Towers negligibly so. An excellent set, internally fine Octavo. Original green cloth, spine and covers blocked in black, and the maps especially clean, in the dust jackets with ring-and- top edge green, map endpapers printed in black and red. With the eye motifs bright and fresh, a little rubbing and a few nicks at dust jacket. Housed in a custom box within an elaborate brown spine-ends, and otherwise vols. I and II each with one short nick morocco-backed slipcase, with gilt lettering and leather onlays to along the top edges. the spine. Frontispiece and 9 full-page uncoloured illustrations first editions, first impressions, The Return of the after drawings by the author. Bookplate to first blank. Cloth a lit- King in first state with unbroken type and no signature tle faded to edges, otherwise a very good copy in a brighter than mark (previously identified by Hammond as the second usual jacket that has some nicks to extremities, a touch of black state), in the second state dust jacket with reviews added ink at top edge of front fold, and a little paper restoration to the top edge. to the rear panel. This is one of a possible 3,000 sets in first impression throughout, though in practice this is a first edition, first impression, first issue jacket, work that was often read to pieces, with the dust jackets a with the hand-correction to “Dodgeson” on the rear inside particularly rare survival. The Lord of the Rings trilogy is flap. The first edition was published on 21 September 1937 one of the most influential literary works of the century. and the first impression of 1,500 copies was sold out by Its first reception was mixed: favourable and perceptive December. reviews from C. S. Lewis and from W. H. Auden, who had Hammond & Anderson A3a. attended Tolkien’s Oxford lectures, were countered by others who were hostile, sometimes bitterly so. But the trilogy £35,000 [124195] went on to astonishing sales and forged a major change in public literary taste. “Heroic fantasy” has since become The Lord of the Rings trilogy in first impression one of the most commercially successful literary genres, throughout, in dust jackets having had a transformative impact upon the entertain- 191 ment industry from electronic games to cinema. TOLKIEN, J. R. R. [The Lord of the Rings:] The Hammond A5a. i. ii. iii. Fellowship of the Ring; The Two Towers; The Return £30,000 [106294] of the King. London: George Allen and Unwin Ltd, 1954–5

86 Peter Harrington 143 191 192 193

192 Un-American Activities Committee. This was Trumbo’s TRUMBO, Dalton. Eclipse. London: Lovat Dickson & first novel. Written in the social realist style popular during the Depression era, Trumbo drew on his time living in Thompson Limited, 1935 the small town of Grand Junction, Colorado for the book. Octavo. Original speckled white and blue cloth, titles to spine in Trumbo apparently fell out of favour with the people of his blue, top edge blue. With the illustrated dust jacket. Spine toned home town due to what they perceived as an overly neg- and cocked, top edge faded, fore edge and endpapers tanned. A very good copy in the bright, lightly rubbed jacket, extremities ative depiction of their lifestyle, and “copies of the book creased and nicked, with a couple of short closed tears. were burned and tossed into the Colorado River. For years, the public library could not keep Eclipse on its shelves. If first edition, first impression, presentation copies were checked out, they never returned”. copy, inscribed by the author on the half-title, “To Betty and Morton Grant. Here’s the book! Thanks awfully for £4,250 [124192] the encouragement and criticism which helped so much toward making it a better job than it might have been. Dal- 193 ton Trumbo 1/16/36.” Morton Grant was a fellow screen- VONNEGUT, Kurt, Jr. Slaughterhouse-Five or, The writer and was, like Trumbo, blacklisted by the US House Children’s Crusade. A Duty-Dance with Death. New York: A Seymour Lawrence Book/Delacorte Press, 1969 Octavo. Original blue cloth, spine lettered in gilt, red and black, signature to the front board in gilt, black endpapers. With the dust jacket designed by Paul Bacon. Slightly rolled, spine ends slightly bumped; an excellent copy in the lightly toned dust jacket. first edition, first printing, signed by the author on the half-title, with a large signature above the date of signing, 20 May 1995. Vonnegut’s best known novel, Slaughterhouse-Five centres on the Allied bombing of Dresden in 1945, which Vonnegut himself experienced. Loosely inserted are a ticket and a programme for a talk given by Vonnegut in 1999. £3,750 [122372]

193

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Bright Young Thing sponsiveness when sent an inscribed copy of the book. The first book Waugh sent was number 29 of the deluxe issue of 194 350 large paper copies, inscribed by him on the limitation WAUGH, Evelyn. Vile Bodies. London, Chapman and leaf, “For Darling Angie the Beardless Beauty, with love Hall, 1930 from Evelyn”. The “beardless beauty” is in contrast to the Octavo. Original black and red snakeskin patterned cloth, titles bearded heroine of the novella. to spine gilt. With the Waugh-designed dust jacket. Housed in a Laycock failed to thank Waugh for this presentation, and red quarter morocco solander box by the Chelsea Bindery. An ex- so Waugh sent her a copy of the first trade edition. On the cellent copy in the uncommonly bright jacket, rear joint partially split, short closed tear to front joint, a little tiny loss to tips. front free endpaper, he drew a snake in red and black ink and wrote in capitals, “I am a very austere snake. I don’t first edition, first impression, in a striking exam- like editions de luxe. Give me the people’s edition & maybe I ple of the very scarce jacket. The jacket is in the second shall thank you”. state with the titles Jeffery’sMiss Vell Intervenes and Winder’s Sin-Offering listed last on the titles printed on the rear panel When this was ignored, Waugh subjected another copy of – the first state ends with Jeffery’s Second Choice (both were the trade edition to violence, removing the front board and priced at 7/6). This was Waugh’s second published novel. large portions of the dust jacket and soiling and tearing the It sold well on publication, reaching seven printings in as contents. A snake in black ink graces the verso of the title many weeks, and established Waugh as the pre-eminent page, where Waugh has written, “I’m a rough tough kind novelist of his generation. of snake. This is how I like books to be”. £9,750 [124288] Finally, when no response was forthcoming, Waugh sent Laycock a blank book bound in red cloth. On the first leaf Four presents for an ungrateful snake he drew an elaborately detailed snake and wrote “This edition is limited to one copy numbered, and signed by the 195 author. No One” with “Anon” as the signature. In the blank WAUGH, Evelyn. Love Among the Ruins. London: spaces between the snake’s coils he inscribed, “I am a sim- Chapman and Hall, 1953 ple little serpent. This is the only kind of book I can read”. Together 4 copies, octavo. Volume I: spine and edges of board Angie (1916–1999), younger daughter of Freda Dudley Ward, faded, endpapers spotted, very good. Volume II: lightly rubbed who had been the mistress of the Prince of Wales before at extremities, spine a little faded, contents spotted. Volume III: Wallis Simpson, was married to Major-General Sir Robert front board missing, rear board creased, several pages torn, con- Laycock, Waugh’s friend and military commander in the tents spotted. Lower portion of dust jacket lacking. Intentional- evacuation of Crete, a disastrous engagement that Waugh ly poor (see catalogue note). Volume IV: spine and edge of front would portray acerbically in Officers and Gentlemen (1955). board faded, endpapers spotted; very good. A sequence of presentation copies chronicling Waugh’s £13,500 [124337] attempts to break down Angie Laycock’s frustrating unre-

88 Peter Harrington 143 196 197 197

Proof copy in original wrappers Octavo. Original brown cloth, spine lettered in brown, front cover lettered in gilt and blocked in brown. Housed in a brown quar- 196 ter morocco solander box by the Chelsea Bindery. Spine slightly WAUGH, Evelyn. Brideshead Revisited. The Sacred soiled and rubbed, free endpapers a little browned, an excellent copy. and Profane Memories of Captain Charles Ryder. London: Chapman and Hall, 1945 first edition, first impression, presentation copy to henry james, inscribed by the author at publi- Octavo. Original grey wrappers printed in black. Housed in a cation on the first blank, “Henry James from H G. Wells”. green cloth slipcase. Name in ink to half-title and ink correction to first page, front wrapper with some separation from block, Beneath the inscription Wells has sketched a drawing of a spine with some minor paper loss and glue residue, light fading club-wielding cave man – a reference to the third story in to spine, front cover lower corner with crease, else a very good this collection, “A Story of the Stone Age”. Though dated copy. 1900, the book was actually published in November 1899 uncorrected proof copy of the first trade edi- and James wrote to Wells on 20 November 1899 to thank tion. Brideshead Revisited was written from January to June him for the gift of this and another book: “These new tales 1944. Waugh had an edition of 50 copies on handmade I have already absorbed and, to the best of my powers, as- paper printed for private circulation to his most trust- similated. You fill me with wonder and admiration” (Edel ed literary friends, who were encouraged to return com- & Ray 62). Henry James and H. G. Wells appear to have met ments to him. That ur-text, though dated 1945, was issued in 1898. Three years earlier Wells had, as a drama critic, in December 1944. It was succeeded by the London trade witnessed James’s public discomfiture at the first night of edition, published by Chapman and Hall on 28 May 1945, Guy Domville, when the gallery booed the American nov- which sold out within the week. This proof copy repre- elist as he came out to take a bow before a fashionable sents the intermediate stage between the two, reflecting London audience. In 1900, when Wells moved to Spade significant textual changes made by Waugh in response to House, Sandgate, across Romney Marsh from James’s comments from Nancy Mitford, Ronald Knox, and others, house at Rye, the two began to meet with some frequen- but with other minor changes before publication yet to be cy. They spent long hours in the Lamb House garden or made. in the library, in endless talk. Their friendship eventually foundered on their fundamental differences of outlook, £12,500 [124334] both social and literary, but this presentation dates from the time when their friendship was in its first flush. Presentation to his new friend Henry James Edel & Ray, Henry James and H. G. Wells: A Record of Their Friendship, Their Debate on the Art of Fiction, and Their Quarrel (1958). 197 WELLS, H. G. Tales of Space and Time. London & New £27,500 [100619] York: Harpers & Brothers Publishers, 1900

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

True first edition, presentation copy to his science A key novel in the rare dust jacket classmate 199 198 WHARTON, Edith. The Age of Innocence. New York: WELLS, H. G. The First Men in the Moon. With many D. Appleton and Company, 1920 pictures by E. Hering. Indianapolis: The Bowen-Merrill Octavo. Original red cloth, titles to front board and spine in black. Company, 1901 With the dust jacket. Housed in a red solander box. Spine faded, rubbing to corners and ends of spine, in the dust jacket with chip to Octavo. Original blue cloth, spine lettered in gilt, front cover with lower front corner, shallow chipping to corners and ends of spine, lettering and moon design in gilt, blocked in blind, rear cover closed tear to top edges, mild soiling to panels. A very good copy. with title blocked in blind, Frontispiece with tissue guard, 11 plates, title in black within red frame. Ends and corners a little first edition, first printing, first issue dust jacket rubbed, top edge a little darkened, small superficial crack near with no mention of the Columbia Prize. One of Wharton’s top of front hinge but all sound and clean within, and generally most enduring works and of notable scarcity in dust jacket. an excellent copy with the gilt bright on the covers. Garrison A.30.I.a. first edition, first printing, presentation copy, inscribed by the author on the half-title, “To Miss Healey £22,500 [100518] with kindest regards from H. G. Wells”. Elizabeth Healey was a fellow student of Wells at the Normal School (lat- 200 er Royal College) of Science, South Kensington, London, WILDER, Thornton. The Bridge over San Luis Rey. and a long-term friend and correspondent. The American London: Longmans, 1927 edition of The First Men in the Moon is the true first edition in Octavo. Original blue cloth, titles to spine in gilt, vignette of au- book form, preceding the London edition by one month. thor’s signature to front cover. With the supplied dust jacket. A It is extremely rare inscribed – we can trace no copy as ever very good copy indeed, in a mildly toned jacket with a touch of having appeared at auction. This copy has the first state skilful restoration to head of spine and tips. binding with “Bowen Merrill” to the foot of spine. Wells’s first edition (preceding the American edition by a few lunar adventure was a genre-defining work, arguably the days), presentation copy, inscribed by the author for Lady first alien dystopia, which inspired many later works and Ottoline Morrell on the title page, “For Lady Ottoline with notably provided material for the second half of the fa- the best regards of Thornton Wilder / London January 1929”, mous Méliès silent film Le Voyage Dans La Lune (1902). and with Morrell’s ownership monogram in pencil on the £15,000 [121664] front endpaper and occasional marginal pencil markings. Together with two autograph letters from Wilder to Morrell,

90 Peter Harrington 143 201 202 both in their original envelopes. The first, one page on Savoy Genius in jacket notepaper, dated 12 Jan 1929, states how he and his sister are looking forward to meeting Morrell, and thanking her for 201 her “beautiful words about my book”; the second, one page WOLFE, Thomas. Look Homeward, Angel. A Story of Yale University Elizabethan Club notepaper, dated 2 Feb- of the Buried Life. New York: Charles Scribner’s Sons, 1929 ruary 1929, thanks Morrell for her hospitality and for a copy Octavo. Original dark blue cloth, titles to spine and front board gilt. of The Sentimental Journey. He also adds, “Your apologising for With the dust jacket. Housed in a purple leather solander box. Slight the monogram and the marginal markings will not be ac- bumping to ends of spine, in the dust jacket with light wear to cor- cepted; they make the book a sort of happy palimpsest”. The ners and ends of spine, short closed tear along rear panel top edge Bridge over San Luis Rey had made Wilder famous and he was and rear top corner, hint of toning to panels. A very attractive copy. often in Europe in the 1920s, basking in its glory. first edition, first printing, in the first issue dust £2,500 [124336] jacket with a portrait photograph of Wolfe by Doris Ullman on the rear panel. £7,500 [100673]

202 WOOLF, Virginia. The Voyage Out. London: Duckworth & Co., 1915 Octavo. Original green cloth, spines lettered in gilt, front cover lettered in black. Spine slightly rolled, light wear to extremities and joints, edges lightly toned, occasional foxing throughout. An excellent copy. first edition, first impression, of the author’s first book; advance copy, with the publisher’s ink stamp to the title “To be published on 26 Mar. 1915”. Kirkpatrick A1a. £1,950 [122789]

200

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203 first editions, first impressions, the Second Series a WOOLF, Virginia. Mrs. Dalloway. London: The Hogarth presentation copy, inscribed by the author on the front free endpaper, “Nelly Cecil from Virginia Woolf”, and Press, 1925 with Nelly Cecil’s ownership inscription to the First Series. A Octavo. Original dark red cloth, titles to spine gilt. Spine faintly fine association: Lady Eleanor Cecil (1868–1959, née Lamb- rolled and faded and with fraying at head and a couple of short ton) was a central figure in Woolf ’s life from her child- splits at tail, two faint bumps to top edge of front board, fore edge of a few middle leaves with a few tiny dents. An excellent hood days, one of the circle of aristocratic young women copy with bright contents. to which the well-connected Violet Dickinson introduced her. In 1916 Virginia Woolf had attempted to use her first edition, first impression. Mrs Dalloway is re- friendship with Lady Cecil to plead with her brother in law garded by many as the author’s masterpiece; certainly it (James Cecil, Marquis of Salisbury and Chairman of the is one of her best-loved works. Around 2,000 copies of the Central Tribunal) on behalf of Duncan Grant, then coming first printing were produced. up as a conscientious objector before the Central Tribunal. Kirkpatrick A9a. She was married to Lord Robert Cecil (1864–1958), an ar- £1,750 [101172] chitect of the League of Nations, for which he was awarded a Nobel Peace Prize in 1937. The volumes are hard to find Presentation to Lady Eleanor Cecil in collectable condition, very scarce inscribed, and rare when both instalments, published seven years apart, come 204 together with a meaningful association. WOOLF, Virginia. The Common Reader: First and Kirkpatrick A8a & A18a; Woolmer 81 & 315. Second Series. London: Published by Leonard & Virginia £13,500 [124287] Woolf at the Hogarth Press, 1925 & 1932 2 volumes, octavo. First Series: original cloth-backed decorated pa- 205 per boards; with the cream dust jacket designed by Vanessa Bell supplied from another copy. Second Series: original green cloth, WOOLF, Virginia. Orlando. A Biography. London: The titles to spine gilt; with the Vanessa Bell dust jacket supplied Hogarth Press, 1928 from another copy. Housed in custom dark blue quarter morocco Octavo. Original orange cloth, title to spine in gilt. With the dust solander boxes by the Chelsea Bindery. First Series: small snag to jacket. Frontispiece and 7 photographic illustrations including head of spine, otherwise very good in the tanned and lightly spot- Virginia Woolf as Orlando. Small white mark to bottom of spine. ted dust jacket, with a few tiny chips at tips. Second Series: contents Otherwise, a fine copy in the lightly toned jacket, top edge and a little browned, bump to centre of spine but a very good copy in a head of spine a little nicked, short closed tears to top of joints, somewhat tanned dust jacket (the front panel of the original dust 1.5 cm tear to bottom front joint, 2 cm tear to top of rear panel. jacket has been pasted to the rear pastedown).

92 Peter Harrington 143 205 207 208 first trade edition, first impression. This edition was published on 21 October 1929 in the US and in the UK was preceded only by the signed limited edition published on 24 October 1929, simultaneously with the first trade in New York nine days earlier. edition. A Room of One’s Own is Woolf ’s feminist literary Kirkpatrick A11. manifesto, based on two papers read to the Arts Society at Newnham and the Odtaa at Girton in October 1928. £2,000 [122602] Kirkpatrick A12a; Woolmer 215A. With the plain pink dust jacket usually found only on £7,500 [107257] American copies 207 206 WOOLF, Virginia. Beau Brummell. New York: WOOLF, Virginia. A Room of One’s Own. New York & Rimington & Hooper, 1930 London: The Fountain Press; The Hogarth Press, 1929 Royal quarto. Original red cloth-backed grey boards, pink paper Octavo. Original red cloth, titles to spine gilt. With the dust jacket label to front board, titles to spine gilt, top edge gilt. In the origi- with printed paper label to spine. Bookplate to front pastedown. nal green card slipcase. With 2 illustrations by W. A. Dwiggins in Tip of front board slightly bumped, spine slightly rolled; an ex- pink, green and orange. Spine slightly faded, contents clean. A ceptional copy in the jacket with faded spine and sunned edges. near fine copy, in the uncommonly nice slipcase. signed limited edition, UK issue, number 95 of 492 signed limited edition, number 161 of 550 copies, copies signed by the author in her customary purple ink signed by the author in her customary purple ink. on the half-title; the first 100 copies were reserved for sale Kirkpatrick A15. in the UK. Unusually, it retains the plain pink dust jacket which accompanied the US issue but was discarded from £2,000 [122651] the UK issue. The printed paper label to the spine panel was added later, not issued by the publishers. The book 208 WOOLF, Virginia. The Waves. London: Published by Leonard and Virginia Woolf at The Hogarth Press, 1931 Octavo. Original purple cloth, titles to spine in gilt. With the dust jacket designed by Vanessa Bell. Edges of text block a little spotted as usual, extremities faintly rubbed. A near-fine copy in the unusually crisp jacket, with just a little toning and a few tiny chips to spine panel. first edition, first impression, of Woolf ’s most am- bitious and experimental novel, hailed by Cyril Connolly as her “masterpiece”. “It is one of the books which comes nearest to stating the mystery of life and so, in a sense, nearest to solving it” (Connolly, p. 49). Kirkpatrick A16a; Woolmer 279; Connolly, Enemies of Promise, 2008. 206 £2,750 [124233]

All items are fully described and photographed at peterharrington.co.uk 93 209

209 against the grain of imperial drives and directives, and pro- YEATS, W. B. A complete set of the Dun Emer Press duce small print runs of ideologically and aesthetically de- termined rather than economically driven texts. Ironically, books. Dundrum, Dublin: Dun Emer Press, 1903–7 in retracing the glories of the eighteenth century in its atten- 11 works, octavo. Original linen-backed grey or pale blue paper tion to detail and craft perfection, the press also provided boards, except for In the Seven Woods which is in the original off- imagery and an aesthetics that would be later grafted onto white linen. Housed together in a custom made grey-green cloth slipcase. All colophons and some letterpress printed in red. the new Irish republic and mass-produced in the twentieth Spine labels chipped, endpapers browned (as usual), light brown century for the Irish diaspora around the world” (Frank Fer- mottling to covers of In the Seven Woods. guson in The Oxford History of the Irish Book, Volume IV: The Irish An attractive complete set of the books issued by the Dun Book in English 1800–1891, pp. 24–26). Emer Press, the private press established by Yeats’s sisters A full list of the titles is available on our website. that played a central part in the Celtic Revival. The poet acted Wade Appendix 1. as literary editor and subsidised its productions; a number of the publications are Yeats first editions. “In 1902, when £4,250 [102604] [Lily] Yeats and her sister, Elizabeth, were invited by Evelyn Gleeson (1855–1944), Gaelic leaguer and suffragist, to help 210 set up a craft enterprise along the lines of Morris’s utopian YEATS, W. B. The Collected Works in Verse And socialist ideals, they moved back to Dublin with their father. Prose. Imprinted At The Shakespeare Head Press They took a cottage, Gurteen Dhas (‘pretty little meadow’), Stratford-on-Avon. London: Chapman and Hall, 1908 in Churchtown, Dundrum, near the house, Dun Emer, in which Gleeson set up a printing press, carpet and needle- 8 volumes, octavo. Original quarter vellum, grey cloth boards, titles to front boards and spines gilt, top edges gilt, others un- work rooms, and other artistic ventures” (ODNB). Elizabeth trimmed. Four portrait frontispieces in the set. Light soiling and Yeats took a short printing course and oversaw productions. the odd stain to spines, trivial rubbing to the tips, otherwise an “The Dun Emer Press was set up using a second-hand Al- excellent set, sound and fresh. bion handpress that it had acquired through advertising in first collected edition, one of 250 first issues local newspapers, and paper that had been manufactured sets in the deluxe quarter vellum binding, with the at the County Dublin Saggart Mills . . . [the Press] showed Chapman & Hall imprint on the spines and title pages, from how a specialist press, driven by a combination of the Gael- a total edition of 1,060 sets printed at the Shakespeare Head ic League and the Arts and Crafts Movement, could work Press. As a production, this collected edition is regarded as

94 Peter Harrington 143 210 211 a marvellous piece of publishing (Yeats himself was proud ly inscribed by Quinn to Yeats’s friend Frederick James of it, remarking, “I think nobody of our time has had so fine Gregg (1864–1927), his schoolmate at Howth who had an edition – I believe it will greatly strengthen my position”), originally encouraged Yeats to pursue literature. Foster collecting, with the poet’s own selection and arrangement, notes how it was Gregg who “‘first tempted Willie’ away a substantially complete corpus (poems, plays and prose) of from science by inviting when they were schoolboys to join his first canon of work, before the finding of his later voice. with him in writing a verse play. At this point his father Sales were slow and the majority of the edition was later (watching him as closely as ever) believed WBY discovered issued in a secondary, cheaper cloth binding. Sets like this in himself the ability to write verse by the ream”. Gregg in the primary deluxe binding are hard to come by. This set had been one of the recipients of Yeats’s rare first publi- has the armorial bookplates in each volume of Thomas Eve- cation, Mosada. He emigrated to New York in 1891, where lyn Scott-Ellis (1880–1946), 8th Baron Howard de Walden, a he befriended John Quinn and became a journalist, twice British peer, collector of armour and heraldry, author (pro- publishing notices of Synge’s works, and also an essay on ducing several plays under the pseudonym T. E. Ellis), and “Yeats and Those He Has Influenced” in the October 1915 patron of the arts. In 1914 he funded the creation, by Augus- Vanity Fair. Quinn’s inscription, on the limitation page, tus John, of the Crab Tree Club in London (clientelle includ- reads, “To F. J Gregg with the Publisher’s compliments, ing Jacob Epstein, Walter Sickert, Paul Nash, Henri Gaudi- John Quinn, New York June 10 1909”. er-Brzeska, Compton Mackenzie and Jean Rhys), and in that The Golden Helmet is the rare first appearance, here in prose, year was one of the people “blessed” in Wyndham Lewis’s of the Cuchullain play that would eventually be reworked Vorticist magazine Blast. In 1908, the year of this set’s pub- into verse as “The Green Helmet” and published in The Green lication, Scott-Ellis participated in the first and only motor Helmet and Other Poems (Cuala Press, 1910). The play was first boat race at the London Olympics. conceived in 1907, in the aftermath of the Abbey Theatre £2,250 [114925] riots over Synge’s Playboy of the Western World, and was produced at the Abbey Theatre 19 March 1908, where Yeats him- 211 self took a curtain call. The only other printing of the text was in the later 1908 Collected Works in Verse and Prose. The Gold- YEATS, W. B. The Golden Helmet. New York: published en Helmet is a notable Yeats rarity: of the 50 copies printed, by John Quinn, [June] 1908 two were entered in the Library of Congress on 9 June 1908, Small octavo. Original boards, title label to front. Housed in a 25 are recorded by OCLC as being held in libraries world- blue cloth folding case. Rebacked with repair to hinges, corners wide, and the remaining few very seldom come up for sale rubbed and a damp stain from the foot of spine affecting boards – there have only been two at auction in the past 30 years. and leaves, otherwise internally clean, a good copy. first edition, number 25 of 50 copies privately printed Wade A74; Foster, vol. 1, p. 27. by John Quinn, Yeats’s American patron, this copy superb- £3,850 [117882]

All items are fully described and photographed at peterharrington.co.uk 95 213

213 YEATS, W. B. The Poems. London: Macmillan & Co. Ltd, 1949 2 volumes, tall octavo. Original green cloth over bevelled boards, gilt lettered spines, author’s monogram in gilt on front covers, top edges gilt. With the original glassine jackets and slipcase. Photogravure portrait frontispieces of Yeats by Emery Walker after John Singer Sargent and Augustus John, with tissue guards. Spines a little faded, extremities a little rubbed. An excellent copy with the torn jackets, with loss especially to spine ends. first and signed limited variorum edition, num- 212 ber 107 of 375 copies signed by the author, published by Macmillan as the Definitive Edition, as stated in the pro- 212 spectus, which is laid in. This copy also includes the scarce YEATS, W. B. The Lake Isle of Innisfree. [Dundrum, glassine jackets. The edition was personally overseen by Dublin:] Printed and Published by Elizabeth C. Yeats at the Yeats’s widow, George, the publisher Harold Macmillan, and the publisher’s reader Thomas Mark. As stated in the Cuala Press, [1908] prospectus: “For some time before his death [in 1939], W. Broadsheet (35.5 × 22.5 cm) with text printed in black and three B. Yeats was engaged in revising the text of this edition initials illuminated in colour. Partial toning commensurate with of his poems, of which he had corrected the proofs, and the sheet having been framed or mounted, in excellent condition. Mounted, glazed and presented in hand-finished oak frame for which he had signed the special page to appear at the (20.5 cm × 14.5 cm), beginning of Volume I [the limitation sheet]”. Yeats was a constant reviser of his work, so the definitive edition has first separate edition of Yeats’s most famous poem, particular interest in his case. printed and hand illuminated by his sister Lily Yeats at the Cuala Press. This production is very scarce: we can trace Wade 209 & 210. only two copies ever having appeared at auction, in 1975 £4,000 [122777] and 2008; Copac lists only two examples held in UK insti- tutions, with OCLC adding nine in the US. £2,500 [123120]

96 Peter Harrington 143 215

215 ZUKOFSKY, Louis. A Test of Poetry. Brooklyn: The

214 Objectivist Press, 1948 Octavo. Original reddish-brown cloth, spine and front cover let- 214 tered in gilt. With the dust jacket. Very slightly bowed, but an excellent copy in the dust jacket, spine panel faded, tiny chips at (YEATS, W. B.) SCHELL, Sherril. Portrait photograph. extremities, short closed tear to head of front fold. [London: Scherill Shell, c.1903] first edition, first printing. presentation copy Platinum print (23.7 × 19.3 cm), thick paper mount. Slight rub- to lawrence ferlinghetti, inscribed by the author, bing to corners of print, a little more so to mount, some glue-re- “For Lawrence Ferling [sic] Luck etc Louis Zukofsky Sept lated abrasions to mount verso and a few small spots and minor 1, 1954”. Ferlinghetti was a key figure among the Beat writ- scratches. Very good overall. Glazed, framed, and presented in ers and was the publisher of Allen Ginsberg’s Howl. Zuk- conservation mount. ofsky’s book is an attempt to apply objective principles to This portrait of a pensive Yeats was taken by London-based the analysis of poetry, using examples from Homer to con- American photographer Sherril V. Schell (1877–1964), who temporary poets. The book serves as a handbook for, and a during the first decades of the 20th century in his London key product of, the “Objectivist” school of poetic analysis, studio executed portraits of several literary figures such which has shaped modernist poetry to this day. as Wilfrid Wilson Gibson and, famously, Rupert Brooke. Schell has signed the mount in pencil, and stamped the (For Ferlinghetti, see also item 10.) mount on the verso with his Victoria Street address and £500 [123336] phone number. This print was one of several in different poses from the same sitting retained by Yeats himself and has been since remained in the family by descent. The mount is also inscribed on the verso in pencil by Yeats’s son (1921–2007) “Return to Sen. Michael Yeats”. Another image from the Schell sitting was used as the frontispiece for Forrest Reid’s monograph, W. B. Yeats, a Critical Study (1915), the first of its kind. £2,750 [121636]

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