December 2019

december 2019

All items arePeter fully described Harrington and photographed at peterharrington.co.uk n1 london We are exhibiting at these fairs: Christmas 2019 opening hours:

11 January 2020 york Fulham Road York Racecourse Knavesmire Road, York Mon 25 Nov – Mon 23 Dec https://www.pbfa.org/fairs/york-1 Mon–Tue: 10am–6pm Wed–Sat: 10am–7pm 24–26 January Sun: closed stuttgart Württembergischer Kunstverein Tue 24 Dec: 10am–2pm Schlossplatz 2, Stuttgart Wed 25 Dec – Thu 26 Dec: closed http://www.stuttgarter-antiquariatsmesse.de/ Fri 27 Dec – Sat 28 Dec: 10am–6pm 7–9 February Sun 29 Dec: closed california Mon 30 Dec: 10am–6pm Pasadena Convention Center Tue 31 Dec: 10am–2pm 300 E. Green St, Pasadena, CA Wed 1 Jan 2020: closed https://www.cabookfair.com/ Thu 2 Jan 2020: Normal business hours resume

Dover Street

Mon 25 Nov – Mon 23 Dec Mon–Fri: 10am–7pm Sat: 10am–6pm Sun: closed

Tue 24 Dec: 10am–2pm Wed 25 Dec – Wed 1 Jan 2020: closed

Thu 2 Jan 2020: Normal business hours resume

Front cover image from Robert Hewitt Brown’s Stellar Theology and Masonic Astronomy, VAT no. gb 701 5578 50 item 20. Illustration opposite from Georges Barbier & Francis de Miomandre’s Dessins Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, sur les danses de Vaslav Nijinsky, item 144. 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Design:n2 Nigel Bents. Photography: Ruth Segarra. December 2019: PeterRegistered Harrington in England and Wales No: 3609982 Peter Harrington 1969 london 2019

catalogue 159

all items from this catalogue are on display at dover street mayfair chelsea 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 usa 011 44 20 7591 0220 www.peterharrington.co.uk 1 2

1 2 ALDINGTON, Richard. Death of a Hero. (ALMANAC; KINGDOM OF THE TWO London: Chatto & Windus, 1929 SICILIES.) Almanacco della Real Casa e Octavo. Original black cloth, titles to spine in gilt, top edge Corte per l’anno 1825. Naples: Dalla Stamperia dark red, bottom edge untrimmed. With the dust jacket de- Reale, 1825 signed by Paul Nash. With the publisher’s promotional leaf- 3 let of “Books by Wyndham Lewis” loosely inserted. Cocked, Octavo (137 × 95 mm). Contemporary red morocco, smooth spine ends softened, small tear to spine head, light wear to spine gilt lettered direct and divided by interlocking circle Sharon Ouditt, Impressions of Southern Italy: British Travel Writing extremities, a little rubbed, some foxing to edges and first rolls framing metope-and-pentaglyph rolls, foliate centre from Henry Swinburne to Norman Douglas, Routledge (2014). and last few pages. A very good copy in the very good dust tools, sides with paired gilt fillets enclosing broad scrolling jacket, somewhat darkened, a few small creases to spine foliate frame, large gilt centre stamp of the arms of the Two £975 [135846] ends and along top edge, two small holes to spine. Sicilies, gilt milled edge roll, gilt edges, marbled endpapers. Engraved portrait frontispiece of Ferdinand I of the Two Sicilies first edition, presentation copy inscribed by R. Estevan after V. Camuccini, hand-coloured folding map 3 “Eunice, from Richard” to front free endpaper. The of the kingdom; title page with wood-engraved royal arms. (ART DECO.) Embroidered portfolio recipient was Eunice Black (later Gluckman), a young Short closed-tear at stub of folding map. An excellent copy. containing manuscript notes developing South African poet who had come to London and be- A particularly attractive copy of this scarce regal al- gun an affair with Aldington in 1933; they remained manac for the court of the Kingdom of the Two Si- geometric themes in pattern design. France: friends thereafter. Presentation copies of Aldington’s cilies, formed in 1815 by the union of the kingdoms of c.1930 most important novel are uncommon. Sicily and Naples, existing as an entity until Garibal- Folio (335 × 210 mm). Fine slate-grey silk-wool cloth-covered This work was considered by Orwell “much the di’s invasion of 1860. This edition was issued in the portfolio, superbly worked silk-embroidered art deco design best of the English war books”, while Aldington him- year of the death of Ferdinand I (1751–1825). “Under- of intersecting arcs to front board; frame largely executed in self thought of it as a “jazz novel”. According to Falls, educated, boisterous, [Ferdinand] liked nothing bet- a meticulous silk stitch from a four colour palette, pale rose gold, bright gamboge, tawny pink, and rust red; the colour- it is “one of the bitterest war novels that has been writ- ter than to hunt. Sir William Hamilton, while ambas- ten, yet strangely enough the actual scene of war is less ing subtly shifting around the piece in a pleasing symmet- sador to the Neapolitan court, retained an attitude of rical manner, some detailing at the corners in black, silvery horrible in its pages than comfortable England in the diplomatic regard for the monarch, noting generous- white, and vibrant pea green. Plain ivory silk liners. 33 single days before. To say that Mr. Aldington’s indictment ly, that he was thought ‘not to have a great share of sheets of a medium-weight wove papier quadrillé, rectos only, is in any sense judicial would be absurd; it is far too sensibility’” (Ouditt, p. 29). Library Hub locates one a sequence of painstaking design drawings in India ink with savage for that. But its power is considerable. The war copy only among British and Irish institutional librar- occasional grisaille wash; explanatory captions throughout in scenes are among the best of their kind”. ies (Attingham Park, Shrewsbury, Shropshire); OCLC an attractive ronde hand. Externally lightly rubbed, some very slight losses to stitchwork, particularly from the pinkish gold Falls, pp. 261–2. cites the editions of 1823 (location not given) and 1828 areas, liners slightly dusty at upper corners, the occasional £1,250 [135795] (Lucerne only). light spot; contents with very slight edge-wear, a couple of

2 December 2019: Peter Harrington 3 negligible edge-splits, a few compass-point holes, and the 4 very occasional small smudge, but overall very good indeed. AUSTEN, Jane. Pride and Prejudice. A Novel. a wonderfully presented art deco design course in manuscript. The layout, particularly In Two Volumes. London: printed for T. Egerton, the ronde hand employed, is reminiscent of the tex- 1817 tile manuscript course books that came out of the 2 volumes, duodecimo (179 × 103 mm). Contemporary half École de Tissage in Lyon, and similar institutions, at calf, twin labels to spines to style, compartments decorated around this time. However, unlike those, this has no in gilt, marbled sides ruled in gilt. Bound without half-titles or terminal blanks. Early initials faintly inked to title pag- title page, there are no signatures, check marks, or es. Head of spine of vol. I restored to style, joints neatly re- other signs of ownership, and it seems to have been paired, sides a little scuffed, tips furbished, contents slightly produced for personal use. If the sinuous flowing line foxed, vol. I front hinge cracked but holding (visible at B2), of the embroidered frame on the cover suggests art text block sound, puncture to vol. I B8, l. 7–8, vol. II with nouveau, there are also elements drawn from the art pale old water stain (mainly marginal) to lower fore-corners deco-influenced geometrical progressions laid out in of second half of text. An attractive copy. the manuscript within, the result being something of third edition, the first to be issued in two vol- a transitional style. In the more developed schemes umes. of the fonds, and again in the cover design, many of Keynes I5; Gilson A5. the arced and circular forms echo the carapace, tho- rax, and wing shapes that E. A. Séguy manipulated to £8,500 [127121] such effect in his influential portfolios Papillons (1925) and Insectes (1928), operating on the borders of the two styles.

£2,250 [125820] 4

All items are fully described and photographed at peterharrington.co.uk 3 5 6

5 gilt. Spines uniformly faded, tiny scuff to head of volume I; a very good set. AUSTEN, Jane. The Novels. London: J. M. Dent An attractively bound copy. While unsigned, the and Company, 1892–5 binding is typical of the simple art deco style popular 10 volumes, small octavo. Original light green cloth, spines in the 1930s, such as those by Sybil Pye, and has been and front covers lettered in gilt, gilt facsimile author’s sig- executed with skill. This edition was first published nature to front covers, top edges gilt, others untrimmed. Illustrations by William C. Cooke with tissue-guards. Note in 1928 in a single volume, this being the second edi- of presentation to front free endpaper of Northanger Abbey tion thus. “E. Winifred Williams from Mrs Paxton Hood 1897”; with Gilson E160. Williams and Paxton Hood’s ownership signatures to some front pastedowns. Cloth lightly soiled and bumped at ex- £750 [124500] tremities, stain to front cover of Emma vol. I, endpapers toned, occasional light foxing. A very good set. 7 an attractive set of the Dent editions of Austen’s AVEDON, Richard. Evidence 1944–1994. New novels (Sense and Sensibility and Pride and Prejudice in York: Random House, 1994 first Dent editions, the others early editions). After Large quarto. Original photographic boards, titles to spine Richard Bentley (whose last edition is dated 1866), in blue, photographic endpapers. With the dust jacket. the fledgling London publisher J. M. Dent was the Bookseller’s sticker to front panel. Corners very lightly next to take up Jane Austen’s novels for publication. bumped, a minor tear to head of rear joint. Otherwise an The Dent set of the novels is notable as the first to excellent copy in the slightly rubbed jacket with lightly toned have any critical apparatus. spine and minor wear to corners. Gilson E75. first edition, signed by avedon and dated 1994 £1,500 [136081] across a preliminary spread. Edited by Mary Shana- han, with essays by Jane Livingston and Adam Gopnik. 6 £400 [136209] AUSTEN, Jane. The Complete Novels. London: William Heinemann Ltd, 1932 8 2 volumes, octavo (209 × 132 mm). Contemporary red (BASQUIAT, Jean-Michel.) MARSHALL, crushed morocco, raised bands to spine, compartments let- Richard D., et al. Jean-Michel Basquiat. Paris: tered and ruled in gilt, geometric rules to covers in gilt and Galerie Enrico Navarra, 2010 in blind, turn-ins ruled in gilt, grey endpapers, top edges 7

4 December 2019: Peter Harrington 7 8

3 volumes, quarto. Original pictorial boards, titles to spines first edition, inscribed in each volume by and front boards in grey and white, red endpapers. Housed the artist with an original drawing on the in the original slipcase. A fine set in a slightly rubbed and title page. In the first volume, Beard has drawn three bumped slipcase with short splits along two joints. elephants, with their ears comprised of his ink thumb- third edition of the most comprehensive catalogue prints, around which he has inscribed “greetings and raisonné of the paintings of Jean-Michel Basquiat. warm salaams to Herbert and Angelina @ Xmas 2009 Originally published in two volumes in 2000, this edi- Blessings & warm regards Peter Beard”, and noted the tion includes an appendix volume which corrects and place of signing in Cassis, France. Beard inscribed the expands on the original two-volume edition. second volume at a later date: he has drawn round his £3,000 [136223] hand, adding in fingernail detail and a bird composed of a thumbprint, and inscribed around it “Special delivery to the inestimable Angelina & her amazing book maker 9 better-half Herbert the great from the compiler Peter BEARD, Peter. Peter Beard. Cologne: Taschen, Beard February 15th 2010 ad”. The recipients were the 2008 photographer and travel writer Herbert Ypma and his 2 volumes, quarto. Original red cloth, spines and covers let- partner; Beard inscribed the books for the former on tered in gilt with gilt elephant vignette and rule to covers. occasions when they met for lunch. Housed in the original blue cloth slipcase. Photographs £750 [135597] throughout. A fine copy. 9

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10 first edition, the collected issue in cloth, Moderately well-received, at least by comparison BEARDSLEY, Aubrey (illus.); Arthur Symons bound up on completion. Smithers created The Savoy with The Yellow Book (Nelson cites the Sunday Times as a rival to John Lane’s Yellow Book, enlisting Aubrey characterization of it as “a Yellow Book redeemed of its (ed.) The Savoy. An Illustrated Quarterly. Beardsley, just let go by Lane for his connections to puerilities”), The Savoy failed primarily due to Smith- London: Leonard Smithers, January–December, 1896 the recently arrested Wilde, as art director. ers’s incompetence, as he admitted in his final-issue Quarto, 8 issues in 3 volumes. Original violet cloth, elabo- The periodical ran for eight issues during 1896, envoi, “A Literary Causerie by Way of an Epilogue”. rate gilt lettering and design after designs by Beardsley, the the year which Robert Ross was to declare Beard- The cover price for such a deluxe production was far earliest binding variant with “Leonard Smithers | 1896” at sley’s “annus mirabilis”, durinng which, cut loose too low, monthly rather than quarterly issue too de- the foot of the spines (Lasner, p.63), edges uncut. Housed from The Yellow Book, Beardsley produced some of his manding, and W. H. Smith’s refusal to handle copies in a mid-blue buckram drop-back box, red morocco spine finest work of his short career. Literary contributors cannot have helped. “Worst of all, we assumed that label. Profusely illustrated throughout by Beardsley, Whis- tler, Beerbohm, Shannon, Pennell, Rothenstein, and Sick- included some of the finest writers of the period, there were very many people in the world who really ert. Beardsley Christmas card tipped in at the end of the first Beerbohm, Conrad, Ford Maddox Hueffer, GBS, and cared for art, and really for art’s sake”. issue. Spines lightly crumpled at ends, joints and corners Yeats; however the final December issue was the work Lasner 103, collected issue. Nelson, Publisher to the Decadents, p. just whitened, else very clean and bright externally, some of Beardsley and Symons alone, Symons’s contribu- 75 et seq. spotting and browning throughout, as usual, mostly front, tions including a translation of Mallarmé’s Herodiade, £2,750 [136152] back, and fore edge, this a relatively clean set with little en- a character sketch of Walter Pater, and a memoir of a croachment beyond the margins, contemporary pencilled trip to the Isles of Aran, which preceded J. M. Synge’s ownership inscriptions of A. Pearson to the front free endpapers; very good. famous trip by two years.

6 December 2019: Peter Harrington 11 12 13

11 12 13 BEATON, Cecil. Cecil Beaton’s Scrapbook. BECKETT, Samuel. Molloy. Paris: The Olympia BEMELMANS, Ludwig. Madeline. London: London: B. T. Batsford Ltd, 1937 Press, 1955 Derek Verschoyle, 1939 Quarto. Yellow cloth-backed floral wallpaper boards with Octavo. Original cream unprinted wrappers. With the dust Quarto. Original pictorial boards, title printed to spine and green cloth-backed tips, spine lettered in red, floral wallpa- jacket lettered in black. Spine slightly creased, faint toning front board, illustrated endpapers. With the illustrated dust per endpapers. With the dust jacket. Illustrated throughout, to edges of covers, a couple of pale marks to edges and front jacket. Housed in a grey cloth slipcase. Colour illustrations printed in blue and black on white and pink paper. Many free endpaper, contents fresh. A very good copy in the bright throughout. Light rubbing to the extremities, jacket a little halftone photographic reproductions. Tiny discolouration jacket, slightly rubbed, base of panels lightly creased, a few soiled, but a very good copy indeed. at base of boards, some very faint foxing to contents, else a nicks and small chips. first uk edition, inscribed by bemelmans very good copy in the scarce dust jacket, chipped at extremi- first edition in english, inscribed by the au- ties and to spine panel. with an original sketch of madeline, “To thor to his friend and fellow writer hugo Diane Rhodes, Ludwig Bemelmens 1952” on the first first edition. The work, comprising sketches, por- manning on the title page, “For Hugo Manning, blank. Madeline was awarded the Caldecott Medal traits, photographs, and text all by Beaton, features yours cordially, Samuel Beckett Paris March 1972”. Honor in 1940. 34 studies on a wide variety of subjects, including Manning (1913–1977) worked as poetry editor for the Pomerance A24; Silvery, pp. 40–1. Hollywood film stars, royalty, and his travels from New Statesman. Manning wrote a number of articles Russia to Haiti. It was published in September 1937 on Beckett’s work, including “A Man to Remember”, £3,750 [126007] at the height of his pre-war fame to a fanfare of pub- published in an issue of the Adam International Review licity in London and New York over the inclusion of celebrating Beckett in 1970. The two had a long cor- articles on the private lives of Hollywood film stars. respondence, including a letter from Beckett to Man- It followed shortly after his two famous commissions ning, 9 June 1967, in which he claimed that he did for Wallis Simpson that year: her pre-wedding Vogue “not expect to write any more poems, long, short, or photoshoot in the scandalous “lobster” dress and the indifferent”. The bulk of their correspondence, dat- formal photographs of her wedding to the duke of ing from 1964 to 1977, is held at the Hugo Manning Windsor. archives at the Harry Ransom Humanities Research £750 [126551] Center in Texas. First published in French in 1951, Molloy was the first part of “The Trilogy”, followed by Malone Dies (1951) and The Unnameable (1953). Inscribed copies of this edition are uncommon. Federman & Fletcher 374. £3,750 [126066] 13

All items are fully described and photographed at peterharrington.co.uk 7 14 14

A beautifully bound set of one of the finest ities and covers, a few minor marks to covers, mild foxing promised for Defer de Maisonneuve in a prospectus illustrated editions of the Bible to contents but overall quite clean, a couple of small chips of 1790. His only departure was the introduction of to text block, never affecting text, front hinge of vol. 3 just Monsiau in the place of Marillier as the illustrator 14 starting. A handsomely bound, wide-margined set. of the gospels. The first 132 plates, issued in eleven first edition thus, the superior quarto is- (BIBLE; French.) La Sainte Bible, contenant numbers of twelve plates each, had appeared by the sue, with the plates after two of the finest French il- end of 1792. Thereafter the volumes were published l’ancien et le nouveau testament, traduite en lustrators of the period, Marillier and Monsiau. This sporadically, no doubt as the conditions of the time françois sur la Vulgate, par M. Le Maistre de is a beautiful set bound by Charles Hering (d. 1809), dictated. Indeed this is clearly a Revolutionary Bible. Saci. Nouvelle édition, ornée de 300 figures, “the artistic successor to Roger Payne, the doyen Marillier’s fondness for voluptuous subjects, which gravées d’après les dessins de M. Marillier. of English bookbinders” (Judith Goldstein Marks, found vent not only in ‘Incest of Lot’s daughters’ (I, Paris: L’Imprimerie de Monsieur, 1789–1804 “Bookbinding Practices of the Hering Family, 1794– 63) and ‘Joseph’s chastity’ (I, 150), but also in scenes 1844”, British Library Journal 6, 1980, p. 46). This copy of his own invention like ‘Fornication and idolatry of 12 volumes in 6, quarto (307 × 232 mm). Contemporary dark is significantly larger than that noted by Ray, which blue straight-grained morocco by Charles Hering (with his Israel’ (II, 239), was confirmed by the taste of the day ticket in vols. 1 and 6), spines with five sets of double raised measured 238 × 155 mm, and is of the preferred quar- and it is not fanciful to see an increased emphasis bands, compartments lettered and tooled in gilt, covers with to issue which, he notes, offered “fine impressions of on violence in the designs of 1793 and 1794. Marilli- two-line gilt border enclosing a central panel with delicate the plates on ‘satined paper’” (Ray, 47), a technique er provided five-sixths of the plates for this immense foliate corner pieces, gilt edge rolls, richly gilt lotus-and-pal- akin to the “hot pressing” process of John Basker- undertaking and thereby joined the succession of mette roll to turn-ins, pale brown endpapers, pastedowns ville, which gives a pleasing sheen to the page. outstanding biblical illustrators” (ibid.). with a foliate blind roll, blue silk page markers, edges gilt. “The pertinacity with which this vast project was Cohen-de Ricci, pp. 935–6; Brunet, p. 887; Howe, A List of London With 300 engravings, of which 252 after designs by Clément brought to completion between 1789 and 1804 is re- Book Binders 1648–1815, p. 46; Ramsden, London Book Binders, p. 81; Pierre Marillier and 48 after those of Nicholas-André Monsi- markable. Despite the vicissitudes of these fifteen Ray 47. au, folding map of the Holy Land. Late 19th-century bookplate of Richard William Smith Griffith to front pastedowns hectic years, the twelve volumes were published in £3,500 [126552] and his later monogram bookplate on verso of front free twenty-five numbers with their 300 plates (204 for the endpapers. Spines slightly faded, occasional scuff to extrem- Old Testament and 96 for New) distributed exactly as

8 December 2019: Peter Harrington 15 (BIBLE; Latin.) Single leaf. Mainz: Fust & Schoeffer, 1462 Single printed leaf (401 × 301 mm), with contemporary hand rubrication, ruling and decoration. Housed in a grey cloth portfolio, together with accompanying folio essay in original red quarter morocco box with grey cloth sides, in grey slipcase, issued in 1993. In excellent condition. a single paper leaf from the 1462 fust and schoeffer bible, being the text of II Chronicles, chapter 17, commencing at the end of verse 13, leading through to the end of verse 17. The Fust and Schoef- fer bible was the fourth bible ever printed, following Gutenberg’s bible in circa 1455, and two others circa 1460. It was the first bible with an absolutely fixed origin, with a dated colophon and printer’s device. Acrimony over the 1455 Gutenberg bible led to the dissolution of the business partnership of Gutenberg and Fust, with the latter introducing his future son- in-law, the scholar Peter Schoeffer, as his new partner. Using Gutenberg’s shop and equipment they produced a series of books, with this being their fifth, and consequently the sixth substantial book produced from Gutenberg’s press. The present leaf comes from a defective copy, which had lost many sections and had been poorly restored at an early date. The copy was split into individual leaves, and issued in 166 unnumbered speci- mens by Akron & Evanston in 1993, with an accompanying essay by Eberhard Koenig and an introduction by Christopher de Hamel, alongside a census of the surviving copies. Though the copy was defective, the leaves used were in a good state of preservation, having never been trimmed by a binder. The contemporary decoration is placed by Koenig as probably in an English hand, with handwriting on the flyleaves of the copy showing the book to have almost certainly been in England from the 16th century at the earliest. The addition of grid ruling and rather virtuoso pen flourishes completed after printing “give this printed book the impression of a manuscript, and as such demonstrate the successful attempt to change the appearance . . . into an artefact between scribal and print culture” (Koenig, introduction, p. 27). Laid in is the modern publisher’s announcement together with the previous owner’s purchase order from 1993. £4,500 [125082]

All items are fully described and photographed at peterharrington.co.uk 9 16 (BLAKE, William.) GILCHRIST, Alexander. The Life of William Blake, with selections from his poems and other writings. London: Macmillan and Co., 1880 2 volumes, octavo. Original dark blue cloth, titles and elaborate pictorial decoration to spines and front boards gilt, edges untrimmed. Extremities slightly bumped, endpapers lightly toned, minor wear to a couple of corners on vol. I, faint spotting affecting pp. 192–224 of vol. II. Overall an excellent set. second and best edition, enlarged with additional illustrations and text. From the library of the British literary scholar Ernest de Sélincourt, with his bookplate to front pastedown and his ownership inscription to front free endpaper of both volumes. £1,250 [136273]

17 16 19 BOND, Michael. More About Paddington. first edition, signed by the author on the title to front board, untrimmed. Wood-engraved vignettes to With Drawings by Peggy Fortnum. London: page; the second Paddington book. half-title, title, limitation, and colophon pages by Norah Collins, 1959 Borges. Somewhat darkened, front joint starting but firm, £1,500 [124328] light wear to extremities, rubbed, light finger soiling to a Octavo. Original moderate blue-green cloth, spine lettered couple of pages; a very good copy. in silver. With the dust jacket. Black and white line drawings throughout. Gift inscription to front free endpaper. Extrem- 18 first edition, number 184 of 300 copies only, of ities lightly rubbed, pale foxing to prelims. An excellent copy Jorge Luis Borges’s scarce second collection of poet- in the slightly foxed jacket, a little loss to ends of spine panel BORGES, Jorge Luis. Luna de enfrente. Buenos Aires: Editorial Proa, 1925 ry, after Fervor de Buenos Aires published 2 years earlier. and flap folds. WorldCat locates 16 copies in the US, but only two in Quarto. Original black cloth-backed yellow boards, titles Europe (UK and Spain). to front board in black, pictorial decoration blocked in red provenance: from the library of Norman Thomas di Giovanni (1933–2017), the American-born editor and translator best known for his collaboration with Borges, though without his ownership inscription. £3,750 [135800]

19 [BRONTË, Charlotte.] Villette. By Currer Bell. London: Smith, Elder & Co., 1853 3 volumes, octavo. Original brown cloth, spines lettered in gilt, sides panelled in blind, yellow endpapers. 12-page publisher’s catalogue to rear of vol. 1, as issued. Small remains of stickers to front pastedowns vols. 1 and 2, original binder’s ticket to rear pastedown of vol. 1, gift inscription to front free endpaper vol. 1, neat quotation from Mrs Gaskell’s Life of Charlotte Bronte to verso front free endpaper. Spine ends somewhat nibbled and the tips just rubbed, but a near-fine copy in original cloth, sound and fresh.

17 18

10 December 2019: Peter Harrington 20 first edition of Charlotte Brontë’s third novel, and the last to be published in her lifetime. Sadleir 349; Smith 6; Wise 7; Wolff 828. £4,500 [125261]

20 BROWN, Robert Hewitt. Stellar Theology and Masonic Astronomy; or, the Origin and Meaning of Ancient and Modern Mysteries Explained. New York: D. Appleton and Company, 1882 Large square octavo. Original blue cloth, titles within decorative roundel and frames in gilt to front board, decorative frame in blond to rear board, flower-patterned endpapers. With 2 colour plates with the original volvelles: “Diagram of the Zodiac” and “Summer/Winter Solstice”, numerous in-text illustrations; printed in double columns. Etched bookplate of Oliver Kendall, an etcher and member of the Grand Lodge of the State of Michigan (listed in the Transactions of 1897). Light wear and bumping to corners, small dent to top of front edge, top of rear joint starting but firm, slight toning and finger-soiling; still a bright, very good copy. first edition of this rare work on the hidden mean- 20 ings of masonic and other symbols. While not disclos- ing “any of the essential secrets of the order” (intro.), the author reveals “truths which are . . . of great impor- fident that, faithful to the masonic tradition, the rev- theless offering food for thought to a wide panel of tance and interest to the craft” (ibid.). Himself a 32nd elations made here would be understood according to readers. Library Hub lists the British Library copy only. degree master mason and judge, Brown remains con- the reader’s degree of initiation, or lack thereof, none- Smith, Paul, Bibliography of Occult and Fantastic Beliefs, vol. 1, p. 117. £2,000 [136129]

All items are fully described and photographed at peterharrington.co.uk 11 21 22 23

21 which Bruno published the hagiographical Frank Harris: first edition in book form of the Master and Mar- BRUNO, Guido. Fragments from Greenwich In Memoriam Fragments of His New York Days (1933). garita, following publication in two issues of the Rus- The identity of the mysterious “Great Woman” sian periodical Moskva in 1966 and 1967. Although the Village. New York: published privately by the in the second inscription is not known. The author novel had been completed in 1938, in common with author, 1921 had a difficult relationship with many women in his most of Bulgakov’s prose it was not published until Octavo. Original red half cloth, blue cloth sides, titles in gilt life, largely due to his practice of taking advance fees long after his death in 1940. Bulgakov published a to spine, pale blue endpapers, edges untrimmed. Illustrat- for publishing their poems, sleeping with them, and number of novels and stories through the early and ed title page and colophon, with 20 illustrations in the text then blackmailing them when they raised legal com- mid-1920s, but by 1927 his career began to suffer by artists such as Ben Benn and Clara Tice. Slight wear to plaints about the lack of any subsequent publications. from criticism that he was too anti-Soviet. By 1929 extremities, spine browned, faint spotting to cloth, paper It may have been Djuna Barnes, since she intoduced his career was ruined: government censorship pre- toned; a very good copy. the two men; another possible recipient is Clara Tice, vented publication of any of his work and staging of first edition, the author’s copy, one of 500 who exhibited in Bruno’s shop, the Garrett, and reg- any of his plays, and Stalin personally forbade him to copies, inscribed twice by the author on the ularly provided illustrations for his books, including emigrate. By 1967 Soviet publishing censorship had limitation page: first in blue ink to fellow his close as- the present work. been relaxed, allowing Moskva to publish the novel, sociate Frank Harris, “For Frank Harris with the love McFarland, Gerald W., Inside Greenwich Village: A New York City although the publication was still a censored version and everlasting gratitude of Guido Bruno. The World Neighborhood, 1898–1918, University of Massachusetts Press (2001); of the text which eliminated much of the anti-Soviet seemed different since I met you, the one great man Wetzsteon, Ross, Republic of Dreams: Greenwich Village: The American satire. Even so, it still caused an immediate sensation on this continent. Having met you here in America, Bohemia, 1910–1960, Simon & Schuster (2002). on publication. This edition in book form, printed America has fulfilled its mission in my life. April £1,500 [136283] in Paris, uses the Moskva text and consequently re- 16th 1921 GB”. The second inscription, written four tains the censorship; the full unexpurgated text was months later below in black ink, has Harris’s name 22 published in English later in 1967, and in Russian in emphatically struck through: “I changed my mind Frankfurt in 1969. and inscribe this booklet to YOU the Great Woman. BULGAKOV, Mikhail. [The Master and Aug 31st 1921 GB”. Margarita.] Paris: YMCA Press, 1967 £6,750 [135612] The volte-face over the recipient of this copy is in- Octavo. Original grey wrappers printed in red and black. triguing: Bruno was introduced to Frank Harris by Photographic portrait of the author in the text. Very light 23 Djuna Barnes when Harris took over the editorship of soiling to wrappers, spine and bottom corner of front wrap- BULL, Henrik Johan. The Cruise of the Pearson’s Magazine and Bruno became his editorial sec- per with very minor creasing. A near-fine, lovely copy, scarce ‘Antarctic’ to the South Polar Regions. ond-in-command. Bruno’s decision to re-inscribe this in such nice condition. copy does not appear to have been caused by any great London: Edward Arnold, 1896 antagonism between the two men, whose working re- Octavo (224 × 140 mm). Original blue morocco-grain cloth, lationship continued until Harris’s death in 1931, after titles to spine and front board in silver, pictorial block to front

12 December 2019: Peter Harrington board in silver and black, dark blue coated endpapers, untrimmed. With 36 pages of publisher’s advertisements to rear, the last 32 being a catalogue dated October, 1896, halftone frontispiece with tissue-guard and 11 similar plates, from photographs and paintings. A little rubbed, and slightly bumped at the corners, pale toning and some marginal finger soiling, one plate having been loose now neatly reattached, but some light creasing at the edges, a very good copy. first edition, presentation copy of this “well written and engaging” account of the reputed first landing on the Antarctic continent (Rosove), this an excellent association, inscribed on the half-title by the author’s cousin Johannes Cathrinus Bull to his wife, Edith Mary; “Edie M. Bull 5/4/1897 from J”. In his brief preface the author writes, “I should never have ventured to offer the narrative of my Antarctic voyage in 1894–1895 to the British public if I had not received the valuable assistance of my cousin, Mr. J. C. Bull, of Bexley Road, Erith, Kent, in whose family circle most of this book has taken shape. Without the assistance of his English wife, Mrs. Edith Bull, as consulting ora- cle and dictionary in the choice of suitable words and phrases, the task would, however, been beyond us”. Preceding the Norwegian edition of 1898, “this is an attractive piece of book production, describing a sealing and whaling voyage into the Ross Sea led by a Norwegian who had immigrated to Australia . . . It produced a little scientific information as well: Carsten Borchgrevink, deckhand and amateur scientist, brought back the first vegetation from below the Antarctic Circle,” lichen found growing on sheltered rocks (Taurus). Borchgrevink later claimed almost all credit for the voyage in a series of magazine articles, and maintained that he was the first crew member to 24 step ashore at Cape Adare, “a ludicrous account even if it was true” (Rosove). Logbooks discovered in the One of five copies with four original illustrations colour drawings by sir francis cyril rose, 1950s suggested that John Davis, an American sealer, from a limited edition of 725. The last of these five in set foot on the Antarctic mainland in 1821, though 24 commerce was copy C at auction in 1971. this account has yet to find widespread recognition BYRON, George Gordon Noel. Childe Surrealist artist Sir Francis Cyril Rose, fourth bar- among historians. The crew also collected seaweed, Harold’s Pilgrimage. Paris & New York: Harrison onet (1909–1979), of The Boughton, Bickley, Kent, jellyfish, seals and penguins. “Although the expedition was an English painter vigorously championed by had failed commercially . . . the Australian Committee & Minton, Balch and Company, 1931 Gertrude Stein. ODNB notes that “it was of Francis were impressed with the geographical, geological and Quarto (263 × 199 mm). Contemporary red morocco by Hus- Rose that Stein famously said ‘Rose is a rose is a biological findings” (Howgego). er of Paris, rebacked, titles in gilt on spine, turn-ins with rose’”. His wife Frederica, Lady Rose (1910–2002), triple gilt fillets, gilt edges. With 25 illustrations (of which Conrad p. 81; Howgego III B50; Rosove 55.A1; Spence 210; Tau- five are full-page) by Sir Francis Cyril Rose, printed in col- became a well-known travel writer, notably on Corsi- rus 14. lotype by Daniel Jacomet, most with tissue-guard, and four ca, under the name of Dorothy Carrington. Rose was, £2,000 [135728] original illustrations in gouache, ink, and crayon. Light wear however, homosexual and their marriage ended by a to tips, a little rubbed, occasional light foxing; a very good divorce in 1966. copy indeed. £2,250 [135815] first rose edition, copy d, one of five copies only on imperial japan vellum signed by the illustrator, each containing four original

All items are fully described and photographed at peterharrington.co.uk 13 25 26 27

25 lithographic plate (by Madeley), heightened with gum arabic, Octavo. Original buckram, gilt image of a Wilson’s petrel showing a mounted officer. Bookplate of Robert J. Hayhurst, centrally stamped on front board, spine lettered gilt on a CAMUS, Albert. The Outsider. Translated retail chemist and bibliophile, who, alongside his impressive blue background, with the dust jacket. With 8 full page il- from the French by Stuart Gilbert. London: naval library, collected books of the 18th and 19th centuries lustrations by Howard Frech and 27 illustrations included in Hamish Hamilton, 1946 in well-preserved contemporary bindings. Very light rubbing the glossary at the end. Corners very lightly bumped, edges at the extremities, pale toning to the text, a very good copy. a little dust-soiled, dust jacket a little soiled and chipped at Octavo. Original grey-green cloth, titles to spine in gilt. With first edition, in a presentation binding, a extremities, rear panel creased at head and soiled at the foot, the pictorial dust jacket designed by Edward Bawden. Spine short split to rear hinge; a very good copy, in the scarce dust ends a trifle bumped, a little cocked. A near-fine copy in the particularly attractive copy. “William IV proposed jacket. near-fine dust jacket, faint dust-soiling, small tear to head that a series of regimental histories should be com- of spine, minor creasing along edges, uncommon with the piled, whereby the general public could be apprised first edition of the author’s first book, jacket in such good condition. of the distinguished services rendered by the regi- which together with The Sea Around Us (1951) and The Edge of the Sea (1955) formed a trilogy. All three books first edition in english. Originally published ments of the British army . . . Cannon’s volumes were were best-sellers and established Carson’s reputation in France as L’Étranger in 1942, this edition has an in- authoritative and readable, well produced and often as a prominent naturalist prior to the publication of troduction by Cyril Connolly, who chose this book as well illustrated. If somewhat lacking in the human Silent Spring. one of his 100 key books of the modern movement. interest expected of modern historians, Cannon nev- ertheless set a standard for succeeding regimental Written for the non-specialist, her sea books com- £2,000 [135812] historians to emulate” (ODNB). bine a deep appreciation of the natural world with This copy has a Fifteenth Hussars gift inscription, beautiful, measured prose, as seen in the Foreword of 26 “J.E.L. XV KH from K.H.L.” and loosely inserted au- this volume: “Under the Sea-Wind was written to make the sea and its life as vivid a reality for those who may CANNON, Richard. Historical Record of The tograph note signed from Aimée Lowther (dated 24 read the book as it has become for me during the past Fifteenth, or The King’s Regiment of Light July 1896), inviting Lord Greenock to dine; the actress Aimée Lowther was the sister of tennis champion decade. It was written, moreover, out of the deep con- Dragoons, Hussars. London: John W. Parker, Toupie Lowther and the daughter of Francis Lowther, viction that the life of the sea is worth knowing. To 1841 at one time flag-lieutenant to vice-admiral Sir Baldwin stand at the edge of the sea, to sense the ebb and the Octavo (211 × 136 mm). Contemporary red straight-grained Walker; she was a friend of Ellen Terry and Oscar Wilde flow of the tides, to feel the breath of a mist moving morocco “presentation binding”, title gilt direct to the spine, (see Val Brown, Toupie Lowther: Her Life, 2017). over a great salt marsh, to watch the flight of shore flat bands, crowned lion statant surmounting Imperial crown birds that have swept up and down the surf lines of gilt to the first compartment; title across the second and £1,500 [125526] the continents for untold thousands of years, to see third, lower two with single fillet panel enclosing design of the running of the old eels and the young shad to the foliate devices, both boards with panel of thick and thin gilt 27 sea, is to have knowledge of things that are as nearly fillets enclosing a panel of gilt strapwork linking a series of eternal as any earthly life can be.” roundels containing stylised foliate tools, centre tool of the CARSON, Rachel L. Under the Sea-Wind. A Royal arms, title above and below foliate edge-roll, all edges Naturalist’s Picture of Ocean Life. New York: £1,250 [126528] gilt, moderate blue surface-paper endpapers, foliate roll to the turn-ins. Engraved series title and a single hand-coloured Simon and Schuster, 1941

14 December 2019: Peter Harrington 28 29 30

28 North America and their way of life. His eight years uncoloured plates in 1841, is “one of the most origi- CARROLL, Lewis. Through the Looking- among the major tribes of the Great Plains and the nal, authentic and popular works on the subject” (Sa- Rocky Mountains resulted in his “Indian Gallery,” bin). “The history and the customs of such a people,” Glass, and What Alice Found There. London: an enormous collection of artefacts as well as more Catlin wrote, “preserved by pictorial illustrations, are Macmillan and Co., 1872 than 400 paintings, including portraits and scenes themes worthy of the lifetime of one man, and noth- Octavo. Original red pebble-grain cloth, spine lettered in of tribal life. The resultant book, first published with ing short of the loss of my life, shall prevent me from gilt, triple rule border and central vignettes in gilt to covers, becoming their historian” (Hassrick). black-coated endpapers, gilt edges. Housed in a custom che- Hassrick 15; Sabin 11536. mise and quarter brown morocco slipcase. Illustrated frontispiece with tissue guard, illustrations in the text. Bookseller’s £1,875 [126141] embossed stamp to front free endpaper, gift inscription to verso of front free endpaper. Spine a little darkened but covers 30 still quite bright, a little bubbling to covers, hinges cracked but holding, slight foxing to contents. A very good copy. CHAGALL, Marc. The Jerusalem Windows. first edition. Through the Looking-Glass was pub- Text and Notes by Jean Leymarie. New York: lished for the 1871 Christmas market and bears the George Brazillier Inc. in association with Horizon following year’s date in its imprint. Magazine, 1962 Williams–Madan–Green–Crutch 84. Tall quarto. Original red cloth, titles to spine and front board £3,500 [126064] in gilt, pictorial endpapers. With the dust jacket. With 2 original lithographs and colour illustrations throughout by Chagall. A little fading to foot of covers, very faint marginal 29 toning to contents; a near-fine copy in the bright jacket with CATLIN, George. North American Indians. a little rubbing and couple of nicks to extremities. Edinburgh: John Grant, 1926 first edition in english, with two original 2 volumes, large octavo. Original pictorial red cloth, gilt lithographs prepared by Chagall for this edition, titles to spine and front cover, pictorial decoration in gilt and with numerous beautiful chromolithograph- and black to spine and front cover, top edge gilt, others un- ic reproductions of the artist’s work. It was issued cut. With 320 colour illustrations on 180 plates, including 3 the same year as the first edition in French, entitled maps, one coloured and folding. A few very light marks to Vitraux pour Jerusalem, and features various stages of cloth and a tiny mark to title page of vol. I, else a near-fine, Chagall’s 12 stained-glass window designs for the bright and clean copy. synagogue of the Hadassah-Hebrew University Medi- A young lawyer turned portraitist, Catlin set out in cal Centre in Jerusalem. 1830 to record on canvas the indigenous tribes of 29 £1,250 [136615]

All items are fully described and photographed at peterharrington.co.uk 15 device showed stereoscopic three-dimensional pictures. Originally intended as an educational device for adults, the View-Master soon become a popular children’s toy” (The National Museum of America online). In many ways the forerunner of the modern day virtual reality headset, the View-Master became an icon of American pop culture. This Model D version was produced between 1955 and 1972; the superior design issued with Chinese Art was mains-powered rather than hand-held and came with a stand so that it could be used more easily in conjunction with the books. According to collectors’ website viewmaster. co.uk the Model D was “the only View-Master to have focusing eye-pieces . . . the build quality was very high and it was considered to be the prestige item in the Sawyer’s range of viewers”. By 1962, Gruber had completed his monumental Stereoscopic Atlas of Human Anatomy and was consider- ing a similarly grand project, the photographing of Chinese art and artefacts in international public and private collections. However, Sawyer’s were resistant to the idea and following Gruber’s death in 1969, his widow, Norma, established the Gruber Foundation to ensure that the work was completed. Gruber had been experimenting with the new Kodachrome Type A No. 1 film which had just been released by Kodak. The images produced were of startling clarity and precision, and the new project was heavily encouraged by such institutions as the De Young Museum in San Francisco and the Victoria & Albert. Gruber’s colleague Rupert Leach, director of photography at Sawyer’s, oversaw 31 production. The choice of authors was astute: Sir Har- ry M. Garner “collected oriental art and published ex- 31 edowns of the four volumes). With 180 colour View-Master tensively, producing standard reference works on blue reels (preserved in numbered white sleeves attached to past- (CHINESE ART; VIEW-MASTER.) GARNER, and white ware, lacquer ware and cloisonné enamels” edowns of the four volumes). Very slight discoloration of (The British Museum online); Margaret Medley was an Harry M., & Margaret Medley. Chinese Art in electrical connections on plug & transformer, yet View-Mas- Three-Dimensional Colour. [With:] lighted ter and books in fine condition. GAF Corporation View-Master stereo viewer, first and limited edition, 1,000 sets published, with viewer stand, light control knob, extra complete with the Model D View-Master, the whole— books and View-Master—intended to be sold as a lamp, brush to clean, cord, transformer with complete educational package. The View-Master plug. London: The Gruber Foundation, Inc. by The system was introduced in 1939 after pharmacist Ed- Asia Society, Inc., 1969 win Eugene Mayer teamed up with Harold Graves, 4 volumes, square quarto. Original green cloth, spines let- president of Sawyer’s, the manufacturer and retailer tered in gilt on a black ground, housed in the original black of postcards, slide projectors and related products. slipcases, original plastic sleeves; lighted black Bakelite Graves’s chance encounter in the Oregon Caves with View-Master stereo viewer (with viewer stand, light control William B. Gruber (1903–1965), an avid photogra- knob, extra lamp, cleaning brush, cord, transformer with pher, born in Germany and trained there as a piano plug, preserved in original black cloth case, gilt lettered); maker, led to the invention of the View-Master, which books and View-Master preserved in manufacturer’s packaging and shipping boxes. With 180 colour View-Master was “first introduced at the New York World’s Fair reels (preserved in numbered white sleeves attached to past- (1939–1940.) Made by Sawyer’s Photo Services, the 31

16 December 2019: Peter Harrington 32 expert on Chinese ceramics, later publishing the clas- 32 bled endpapers, gilt edges. Some occasional light foxing, otherwise an excellent set. sic, ground-breaking study The Chinese Potter (1976). CHRISTIE, Agatha. Complete set of Poirot A fine set of this superbly produced work, present- complete set of first editions of all the ed here with all of the original packaging, complete novels and short stories. New York and London: poirot novels, London editions except for The with original View-Master. John Lane Company [and] John Lane Company, Mysterious Affair at Styles and The Murder on the Links, £2,250 [126480] Collins and Harper Collins, 1920–91 both published in New York by John Lane. 40 volumes, octavo. Attractively bound in recent red moroc- £25,000 [124355] co, titles and decoration to spines gilt, raised bands, mar-

All items are fully described and photographed at peterharrington.co.uk 17 the Duke of Marlborough, known affectionately by his men as “Corporal John”. Cohen notes: “the pamphlet does not appear to have sold well and, although it may have continued to appear in Macmillan catalogues as late as 1924 or early 1925, most, if not all, unsold copies, were, in fact, destroyed in 1918” (vol. I, p. 196). Martin Gilbert as- serts that 5,000 copies were printed, although Cohen comments that “I myself have found no corroborat- ing records in either the Chartwell Trust papers or the Macmillan Archives” (ibid.). It is conspicuously scarce: Library Hub cites copies at six British and Irish institutional libraries (BL, Oxford, Cambridge, Scotland, Trinity College Dublin, IWM), OCLC adds five among international holdings (Auburn, Dartmouth College, Princeton, Bibliothèque de Genève, Lyon); just a single copy at auction, making $266 at Sotheby’s in 1964. After receiving much criticism for his involve- ment in the disastrous Gallipoli campaign, Church- ill’s stock in Britain was very low. He resigned as First Lord of the Admiralty in November 1915 and by January 1916 was in command of 6th Battalion the Royal Scots Fusiliers until early May 1916, when “the amalgamation of his battalion with another led to the extinction of his command and gave him a present- able excuse for resigning his commission and coming home” (ODNB). He returned to the House and in these two impassioned speeches “appealed for a policy which would enable all able-bodied men to take their place in the fighting line . . . and which would 33 draw upon the great reserves of manpower which remained neglected or untapped . . . He did not be- 33 34 lieve that Britain could win the war by hurling men CHRISTIE, Agatha. Dumb Witness. London: CHURCHILL, Winston S. [Drop-head title:] continuously to their death, and he despised the government for trying to do so. The premature offensive Published for The Crime Club by Collins, 1937 The Fighting Line. Two Speeches on the against which he warned took place on the Somme Octavo. Original red cloth, spine lettered in black. With the Army. Delivered in the House of Commons within six weeks of his speech” (Gilbert III, pp. 770 dust jacket. Very minor cockling to front pastedown and ton- on May 23rd and May 31st, 1916. London: and 774). ing to endpapers, very light foxing to initial few leaves and “The public was impressed by Churchill’s parlia- sporadically thereafter. An excellent copy in the bright dust Macmillan and Co., Limited, 1916 jacket, light soiling and scuffing, a few scratches to spine Octavo, 32 pp. Sewn in original self-wrappers. Housed in a mentary protest. Many soldiers and soldiers’ wives, panel, slight nicking and tiny chips at extremities, small chip burgundy quarter morocco solander box with chemise by the wrote to express their gratitude that he had spoken to rear flap fold, short closed tear at foot of rear panel. Chelsea Bindery. Wrappers a little soiled, previous owner’s out so frankly about the wastage of manpower” (ibid. penciled annotations at head of front wrapper, small patch p. 777). first edition, in the rare jacket, here in exem- on the first page lightly skinned by the removal of a label, plary unrestored condition. With a Crime Club mem- Cohen A46; Woods A25. Gilbert, Winston S. Churchill, III, Compan- pale toning to the text, very good. ion Part 2, 1972, p. 1513. bership postcard loosely inserted. first edition, only printing of this fasci- £6,500 [127608] £27,500 [135757] nating and highly uncommon pamphlet that reflects Churchill’s deeply felt concerns over the prosecution of the war and his recent front line experience, recalling, as Churchill would have been keenly aware, the solicitous reputation of his great forebear,

18 December 2019: Peter Harrington 34 35

35 on documents from Churchill’s private papers, the CHURCHILL, Winston S. The World Crisis: book as a whole was a stupendous narrative of the war in Europe featuring masterly set-piece accounts 1911–1914; 1915; 1916–1918 Part I; 1916–1918 of major battles. Dictated to secretaries as he strode Part II; The Aftermath; The Eastern Front. up and down the room, it exhibited his passionate in- London: Thornton Butterworth, 1923–31 terest in war and his romantic conception of the ‘true 5 works in 6 volumes, octavo. Original blue cloth, titles to glory’ of the troops who perished on the Somme” spines gilt and front covers blind. Illustrated throughout (ODNB). The publisher’s publicity slip is laid in. with maps and charts (many folding). Pencil ownership in- Cohen A69; Woods A31(a). scriptions partially erased from front endpapers of several volumes. Spines slightly bumped, a few light marks to cov- £2,000 [127011] ers but overall bright, mild foxing to edges and contents. Volumes 4 and 6 ex-library with remnants of labels to back 36 paste downs and small stamp to bottom edge of volume 4. A very good set. CHURCHILL, Winston S. Marlborough. His first editions, the first volume in third state, with Life and Times. London: George G. Harrap & Co. the errata slip at p. 9, and the fifth volume in the first Ltd, 1933–8 state, without the errata slip. Working with astonish- 4 volumes, octavo (225 × 141 mm). Mid-20th-century blue half ing speed and energy, Churchill produced this mam- morocco by Bayntun, spines lettered in gilt direct with gilt or- moth history of the First World War in the aftermath naments to compartments, blue cloth sides, marbled endpa- of electoral defeat. The work deals with his reorgani- pers, top edges gilt. Portrait frontispiece to each volume, 99 zation of the Royal Navy in the years leading up to the additional plates, 14 facsimiles of letters, and 182 maps and War, defends his Gallipoli policy, and criticises Haig’s plans, several folding. Spines lightly sunned, a little wear to tips and board edges of vol. IV, else a near-fine set. strategy. John Buchan considered these volumes “the best thing anyone has done in contemporary history first editions, in a handsome binding. since Clarendon” (Cohen A69). “Although parts of Cohen A97.2 (I–IV).a; Woods A40(a). The World Crisis were highly autobiographical, drawing £2,500 [125928] 36

All items are fully described and photographed at peterharrington.co.uk 19 37 38 39

37 and corners gently rubbed and bruised, endpapers tanned 39 with a tiny area of loss to rear free endpaper of volume 2; CHURCHILL, Winston S. The River War. a clean set in the unusually well-preserved dust jackets, ex- CLARE, John. The Village Minstrel, and London: Eyre & Spottiswoode, 1933 tremities a little rubbed with a few chips, volume 2 jacket Other Poems. London: Printed for Taylor and with a discreet tape repair verso to lower edge of front panel Octavo (212 × 132 mm). Recent red morocco by Bayntun-Riv- Hessey & E. Drury, 1821 and one small tear to spine joint. iere, spine lettered in gilt with gilt lion motifs to compart- 2 volumes, duodecimo (165 × 97 mm). Later 19th-century ments, gilt facsimile signature to front cover, marbled end- first edition, rare in the dust jackets and green half morocco by Birdsall and Son of Northampton, papers, gilt edges. With 22 maps and plans, some folding. in such bright, unopened condition. This is red and orange morocco labels to spines, gilt flower motifs Light foxing to initial few leaves. A fine copy. the British engineer’s greatest work on city planning, to compartments, marbled sides, endpapers and edges. A handsomely bound copy of Churchill’s second “the authoritative source on garden cities” (Ward, p. Half-titles in each volume, and portrait frontispiece to vol. book, his account of his experiences as a British 70), here in the remainder binding of George Allen I. Contemporary ownership signature and partially erased Army officer during the Mahdist War (1881–1899) in & Co. who presumably took over the unsold sheets pencilled notes to half-title of vol. I. Bound with half-titles but without the terminal advertisements. Light wear to ex- the Sudan. First published in 1899, this is the fourth from Bemrose and Sons. It includes both a survey tremities, slight rubbing, chip to spine of vol. I, front free edition overall. of the history of the garden city model and an ency- endpaper professionally reattached, some light foxing to Cohan A2.4a. clopaedic appraisal of its practicalities, drawing on contents. Very good condition overall. British examples as well as schemes in France, Swit- first edition of Clare’s second book of poetry, with £875 [135769] zerland, the Netherlands, Germany, and the United no frontispiece to the second volume as required for States. Despite his substantial contribution to the the first issue. A farm labourer’s son, John Clare The authoritative source on garden cities field, Alfred Richard Sennett remains relatively un- (1793–1864) had published his first work, Poems De- known in comparison to his colleagues Ebenezer 38 scriptive of Rural Life and Scenery, the previous year. It Howard and Raymond Unwin; he is not mentioned became something of a publishing sensation, with (CITY PLANNING.) SENNETT, A. R. Garden in the standard books on the histories of planning the 1,000 copies of the first edition selling out in two and garden cities. Trained in civil, mechanical, and Cities in Theory and Practice. London & Derby: months. Clare was celebrated as being tantamount electrical engineering, Sennett was a Member of the Bemrose and Sons Ltd, 1905 to an English Robert Burns, and his poetic talents, Advisory Committee on Road Improvements and of 2 volumes, octavo. Bound for George Allen & Co. in green seemingly springing from nowhere, caught the at- the Research Committee on Road Traction. cloth, spines lettered in gilt, front boards lettered and tri- tention of a reading public fascinated by the idea of ple-ruled in black, unopened. With the dust jackets. Exten- See Stephen Ward, The Garden City: Past, Present and Future. Lon- “inspiration” and its sources in Nature. The present don: Routledge, 2005. sively illustrated with numerous black and white plates and work met with further success, with public interest in illustrations to the text, some folding; according to the front £650 [125675] the poet indulged with a biographical sketch of the board there are 350 illustrations in total. With 12 pp. publisher’s advertisements to the rear of volume 2. Belgian Book- author, and a largely autobiographical titular poem. seller’s ticket to front pastedown of volume 1. Spine ends With the bookplates of Albert Louis Cotton, author of

20 December 2019: Peter Harrington 40 41 the 1904 novel The Company of Death, and an associate which—so slight is resemblance between that Bar of Julia Margaret Cameron. and any speakeasy—may be said to have disappeared as completely as the vast empire of which it was long £1,250 [126172] 42 one of the most popular and most remunerative de- partments” (introduction). 40 42 £400 [135776] (COCKTAILS.) CROCKETT, Albert Stevens. (COLEMAN, Ornette.) WILSON, Peter Old Waldorf Bar Days. New York: Aventine Press, 41 Niklas. Ornette Coleman: His Life and 1931 (COCKTAILS.) DE FLEURY, R. 1800–And All Music. Berkeley, CA: Berkeley Hills Books, 1999 Octavo. Original silver cloth, titles and illustration to spine That. Drinks Ancient and Modern. London: Octavo. Original laminated pictorial stiff card wrappers. and front board in black. Title vignette and in-text illustra- Numerous illustrations to the text. Ownership inscription to tions by Leighton Budd. Attractive bookplate of Edward A. The St Catherine Press, 1937 the half-title, else very good indeed. Washburn to front pastedown. Top front corner and spine Small octavo. Publisher’s black roan, titles to spine in gilt. first edition, signed by coleman on the front ends gently bumped, a near-fine copy. With 12 pp. of drinks advertisements in the text. A little cocked panel of the wrappers, and with two pages of auto- first edition of this “study of the old Waldorf Bar and scuffed, light wear to extremities, a near-fine copy. graph manuscript in black felt tip pen on the sta- and its happenings, as representative of a phase of first edition, presentation copy inscribed by tionery of The Argent Hotel, San Francisco, charts in American social life which was once important, yet the author, “To John W. Carr. With all good wishes. R preparation for his Ornette Coleman Quartet SF Jazz de Fleury. 1944”, on the title page. This is a follow-up Festival concert in November 2005, loosely inserted, to De Fleury’s successful 1700 Cocktails From the Man together with concert ticket stubs. Alto-saxist, com- Behind the Bar. Rare: WorldCat only lists four copies poser, and educator Coleman (1930–2015) was one of in the UK (BL, Scotland, Wales, and Oxford), and a the most powerful and contentious innovators in the further eight copies worldwide. history of jazz. The present is only the second Cole- £950 [135550] man manuscript we have ever encountered on the market and we have located none at auction. £4,000 [125300]

All items are fully described and photographed at peterharrington.co.uk 21 in compartments, red cloth sides, marbled endpapers, top edge gilt. Extra-illustrated with over 80 inserted plates, one hand-coloured and serving as frontispiece, folding floor- plan of the New Houses of Parliament; printed in double columns. A few very small ink splashes to front cover, contents with occasional minor blemish but generally clean. An excellent copy. second edition of cunningham’s celebrated guide, originally published in two volumes in 1849, which covers “in small compass an immense amount of original information about places of interest in London, illustrated by quotations from distinguished authors whose lives have been associated with them. All subsequent works on London have been more or less indebt- ed to Cunningham’s ‘Handbook’” (ODNB). In his new Preface Cunningham writes that “the present edition . . . is more correct and trustworthy than its predeces- sor, and has more matter in it; while the type, though 43 44 small, is clear, and the shape, (one volume instead of two) has taken something from the weight and added to its value for purposes of reference”. 43 44 This is an attractively bound extra-illustrated copy: COLERIDGE, Samuel Taylor; Percy Bysshe CUNNINGHAM, Peter. Hand-book of the additional plates, dating from 1809 to the late Shelley; John Keats. The Poetical Works of London. Past and Present. A new edition 1840s, are taken primarily from those made by Thomas Coleridge, Shelley, and Keats. Complete corrected and enlarged. London: John Murray, Shepherd in the 1820s, whose Metropolitan Improvements (1827) “was principally received as a visual celebration in one volume. Paris: published by A. and W. 1850 of modern London” (ODNB). Galignani, 1829 Octavo (186 × 122 mm). Mid-20th-century red half morocco provenance: engraved armorial bookplate of by Bayntun, spine gilt lettered direct and decoratively tooled Octavo (227 × 141 mm). Contemporary blue calf, red morocco Prince Henry, Duke of Gloucester (1900–1974), Gov- label to spine, compartments and covers ruled in gilt, gilt foliate roll to cover edges and to turn-ins, marbled endpapers, gilt edges. Engraved frontispiece incorporating portraits of all three poets; text printed in double column. Light rubbing, very faint stain to fore-edge of first 15 leaves and sporadic light foxing but generally clean. A very nice copy. first edition of the first anthology of the romantic writers, also comprising the first collected edition of the poems of John Keats. Each poet is prefaced with a memoir, that of Shelley incorporating Mary Shelley’s preface to his Posthumous Poems. Galignani’s Paris editions of the English poets were piracies (he also pirated Crabbe, Hazlitt, Washington Irving, Thomas Moore, Walter Scott, and Southey), but carefully done. Wordsworth admitted that Galig- nani’s edition of his poems “is printed with admirable accuracy, I have not noticed a single error that I am not myself answerable for”. MacGillivray B1. £1,500 [136066]

22 December 2019: Peter Harrington 47

This splendid collection was produced under Dalí’s 46 supervision, in a beautiful pictorial-gilt dust jacket with “The Persistence of Time” inset on the front ernor-General of Australia (1945–1947), and uncle of illustrated throughout in colour and toned gravures. Spine a panel. It was issued in Frnech the same year; no pri- Elizabeth II. touch rolled, light wear to extremities, edges a little stained. ority established. A very good copy in the somewhat worn, creased and scuffed £1,500 [135863] jacket with one short tear to rear panel. £3,750 [126201] first edition in english, inscribed by the 45 artist, together with an original drawing, 47 DAHL, Roald. James and the Giant Peach. to Peter Owen on the verso of the front free endpaper. DALZELL, Arthur, 13th earl of Carnwath London: George Allen & Unwin Ltd, 1967 Peter Owen founded Peter Owen publishers in 1951 (ed). Loyal Rulers and Leaders of the East. and went on to publish some of Dalí’s work. Octavo. Original pictorial laminated boards, spine and front A Record of their Services in the Great War. cover lettered in black. No dust jacket issued. Black and white With an Introduction by Field-Marshal Earl illustrations throughout by Michel Simeon. Spine very slightly rolled, a little loss to laminate on head and foot of joints, boards Haig. London: Zaehnsdorf Ltd, 1922 lightly toned, pale spotting to prelims. A very good copy. Quarto. Publisher’s vivid blue cloth, title gilt to spine with elaborate “oriental window” panel, both boards with con- first uk edition, originally published in the US by centric panels gilt, large central scrolled floral lozenge, that Alfred A. Knopf in 1961. Described as “rude, naugh- on the front board on a red ground, similar corner pieces to ty, anti-adult, creepy, and sometimes cruel” (ODNB), the inner panel, all edges gilt. With the original gold deco- it was adapted into a film of the same name in 1996, rative paper-covered slip-case. Photogravure portraits of the which was nominated for the Academy Award for king and queen, numerous portraits to the text, the majority Best Musical the following year. of them full-page, text printed throughout within gilt borders. Spine a little dulled and crumpled head and tail, cor- £750 [124744] ners just whitened, the slip-case slightly rubbed but remaining attractive, overall very good. 46 first and only edition of this handsomely pro- DALÍ, Salvador. Dalí. Edited and arranged by duced tribute to the contributions made by the rulers of South Asia to the war effort, with brief sections on Max Gérard. Translated by Eleanor R. Morse. Ceylon and Malaya. New York: Harry N. Abrams, Inc., 1968 Quarto. Original pictorial cloth, spine lettered in white, picto- £1,750 [127568] rial endpapers. With the pictorial-gilt dust jacket. Copiously 45

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

48 DARWIN, Bernard. The Golf Courses of the British Isles. London: Duckworth & Co., 1910 Large square octavo. Original green cloth, titles and floral decoration to spine and front cover in gilt and green pictur- ing the Scottish thistle, the English rose, and the Irish sham- rock, top edge gilt, others untrimmed. Colour frontispiece and 63 colour or monochrome plates with captioned tissue-guards by Harry Rountree. Spine rolled, corners gently bumped, extremities rubbed, lightly foxed throughout; still 49 a very good copy. first edition, in the first issue binding with light wear to corners, hinges split but firm, scattered foxing; 50 the illustrator’s name misspelled “Rowntree” on the else a very good copy indeed. (DARWIN, Charles.) Collection of 12 original front; this copy with promotional insert pasted to second edition, the usual issue correctly dated front free endpaper. Donovan & Murdoch note that 1860 on the title page (a very few copies only have cabinet card portraits of figures associated the golf courses of Ireland were “eliminated” from the 1859); published on 7 January 1860. “The misprint with Charles Darwin. [c.1890] second edition (1925). ‘speceies’ is corrected and the whale-bear story di- 12 original cabinet card photographs by various studios (Bar- Donovan & Murdoch 14410. luted, an alteration which Darwin later regretted, raud, Bassano, W. & D. Downey, Elliott & Fry, London Stere- although he never restored the full text” (Freeman). oscopic Company, John Moffat of Edinburgh, James Russell £1,500 [136294] & Sons); all measuring approximately 140 × 105 mm (5 1/2 × From the library of Edward Freestone (d. 1874), solic- 4 inches), some trimmed to fit frame. Folding red grained 49 itor, of Norwich, brother-in-law of the botanist John skiver arch-top display case (360 × 135 mm, unfolding to 855 Lindley, with Freestone’s ink ownership inscription mm wide), each window glazed and with a gilt border, liner DARWIN, Charles. On the Origin of Species. to gutter of front pastedown, and a note at end on of dark blue silk embossed with a foliate pattern. A few light London: John Murray, 1860 Henshaw discussing variation; to his nephew, Baron abrasions to case, glass missing from portrait of Booth otherwise in particularly nice condition. Octavo in twelves. Original diagonal-wave-grain green cloth, Nathaniel Lindley (1828–1921), eminent equity bar- Edmonds & Remnants binder’s ticket to rear pastedown, rister, with his armorial bookplate and ink ownership a handsomely presented photographic covers blocked in blind, gilt titles to spine, light brown end- inscription to front pastedown. polyptych of major british figures of the papers, fore edge untrimmed. Housed in a quarter morocco Freeman 376 (variant a). late 19th century, a number having a strong as- solander box by the Chelsea Bindery. Folding diagram to sociation with Charles Darwin or his “bulldog” T. H. face p. 117. Murray’s general list advertisements at rear, dated £9,500 [135891] Huxley, including Frederick Temple, archbishop of January 1860. Spine ends softened, spine a trifle darkened, Canterbury, Sir John Lubbock, and Huxley himself.

24 December 2019: Peter Harrington 50

Top row, left to right: vi) Frederic Farrar (1831–1903), dean of Canterbury, ix) William Ewart Gladstone (1809–1898) and his i) Queen Victoria (1819–1901): this fine portrait was novelist, and philologist: his Essay on the Origin of wife Catherine. Gladstone visited Down House taken by the studio of William Ernest Downey, Language (1860) emphasized the onomatopoeic in 1876 with Huxley, and later corresponded; described by a contemporary as “the doyen of force of primitive language and its evolution- x) Lord Salisbury (1830–1903), prime minister on British professional photographers”; ary development, and “intrigued Darwin, who three separate occasions between 1885 and ii) Frederick Temple (1821–1902), archbishop of made use of it in The Descent of Man and proposed 1902: he married Georgina Alderson, a cousin of Canterbury: he welcomed the insights that Dar- Farrar for a fellowship of the Royal Society in Darwin’s wife Emma, and was on the “Personal win’s theory of evolution offered to religion. In 1866. Years later Farrar controversially arranged Friends invited” list for Darwin’s funeral; an essay entitled “Religion and the Doctrine of for Darwin to be buried in Westminster Abbey xi) T. H. Huxley (1825–1895), “Darwin’s Bulldog”: a Evolution” in The Popular Science Monthly, Decem- and preached the funeral sermon” (ODNB); also “vigorous supporter of Darwin’s theory of evo- ber 1884, he declared that “the doctrine of Evo- a pall bearer at the funeral; lution, particularly during the famous 1860 Ox- lution restores to the science of Nature the unity Bottom row, left to right: ford debate with Samuel Wilberforce, Bishop of which we should expect in the creation of God”; vii) John Ruskin (1819–1900) met and made friends Oxford” (NPG); iii) Unidentified; with Darwin in 1879 in the Lake District; Dar- xii) William Booth (1829–1912), founder of the Sal- iv) Ernst Haeckel (1834–1919), zoologist, Darwin’s win was a visitor to Ruskin’s home, Brantwood, vation Army, attacked by Huxley over its “dan- leading popularizer in Germany; Coniston; gerously authoritarian structure and financially v) Sir John Lubbock (1834–1913): the closest of viii) Sir Frederick Leighton (1830–1896), painter and irresponsible governance” (Jensen, p. 122). Darwin’s younger friends and a frequent visitor president of the Royal Academy: Leighton and Freeman, Charles Darwin: A Companion; J. Vernon Jensen, Thomas to Down House from childhood; pall-bearer at Huxley sat together on the Provisional Council Henry Huxley: Communicating for Science, 1991. Darwin’s funeral; of the National Trust in July 1894; £3,250 [126612]

All items are fully described and photographed at peterharrington.co.uk 25 52 53

this light, altering perceptions of the character, and 51 52 DEFOE, Daniel. The Life and Adventures interpretations of the novel. Ray, The Artist and the Book in England, 18 (for first edition). John 51 of Robinson Crusoe. London: Printed for John Richetti, The Cambridge Companion to Robinson Crusoe, p. 166. Stockdale, 1804 [DE QUINCEY, Thomas.] Confessions of an £1,500 [135986] English Opium-Eater. London: Printed for Taylor 2 volumes, octavo (222 × 138 mm). Early 20th-century red straight-grain morocco in the Regency style by Bayntun, and Hessey, 1822 spines lettered and blocked in gilt, central diamond panel 53 Duodecimo (155 × 89 mm). Early 20th-century dark blue mo- with floral cornerpieces in gilt to covers, gilt turn-ins, mar- (DETECTIVE FICTION.) SAYERS, Dorothy, rocco by Riviere & Son, spine lettered and blocked in gilt, gilt bled endpapers, gilt edges. Engraved frontispieces, title french fillet to covers, gilt-turn ins, red endpapers, top edge pages, and 13 plates after Thomas Stothard. Contemporary Freeman Wills Crofts, and others. Double gilt. Bound with the half-title though without the terminal corrections to errata including effacement and insertion Death. London: Victor Gollancz Ltd, 1939 advertisement leaf. Binding in fine condition, minor foxing of words in vol. II. Spines very lightly sunned, very minor Octavo. Original black cloth, titles in orange to spine. With to endpapers and sporadically thereafter, light toning to rubbing to joints with trivial splits at ends. Contents with the dust jacket. Spine ends gently bumped, faint foxing and contents, but generally clean internally. An attractive copy. some light foxing, vol. I with repairs to chips and closed dust soiling to edges. A near-fine copy in the very good dust tears to pp. 55/56, 57/58, 89/90, 261/262, 307/308, 316/317, jacket, spine, top edge, and flap folds lightly sunned, a few first edition in book form of the author’s and 403/404, vol. II with repairs to pp. v/vi, and 49/50 (none iconic first book. First published in the London short edge-splits, corners a little chipped. From the library of these affecting text), vol. II with small chip to pp. 91/92 of Florence and Edward Kaye, collectors of detective fiction, Magazine, September–October 1821, Confessions was a slightly affecting text, and with a short closed tear at the with their red calf book label lettered in gilt to the front ground-breaking and influential text, presenting an head of the plate facing p. 176. Notwithstanding still good pastedown. account of the author’s ecstasies and torments as a internally, and in excellent condition externally. first edition of this collaborative detective story, result of taking opium and was the first book in Eng- second stockdale edition (following the first written with members of the Detection Club, which lish to deal in detail with drug addiction. “Through- thus, and using the same plates, of 1790), the finest was formed in 1930 by a group of British mystery out the nineteenth century the work was viewed as illustrated edition of Robinson Crusoe that had then writers. having medical authority as a case history, and De been produced, which set a standard for illustrating Gawsworth, p. 70. Quincey was widely read in British and American the novel for the next two centuries. Of particular medical circles” (ODNB). It also laid the intellectual note in Stothard’s illustrations is his representation £2,750 [136024] foundation for most of the modern drug literature of the character of Friday, who had previously been of Cocteau, Burroughs, and other beats, and was a presented as a figure of pathos or comedy, but was landmark text in the development of confessional here presented by Stothard as “the Noble Savage, autobiography. the idealized primitive man of uncorrupted virtue so £2,500 [136014] much discussed at the time” (Richetti, p. 166). Future illustrators followed Stothard in presenting Friday in

26 December 2019: Peter Harrington 54 55 55

54 55 were made eight additional full length portraits of DICKENS, Charles. The Adventures of Oliver DICKENS, Charles. Dealings with the Firm the other leading characters” (Eckel, p. 76). All advertisements and slips called for by Hatton Twist; or, The Parish Boy’s Progress. London: of Dombey and Son. London: Bradbury & Evans, and Cleaver are present, with the early state of the for the author, by Bradbury & Evans, 1846 1846–8 Dombey and Son Advertiser in part 13 (“October, 1847” Octavo. Original brown cloth, spine lettered and blocked 20 numbers bound in 19 monthly parts, as issued, togeth- unbroken on p. 1). All but one of the issue points are in gilt, covers panelled in blind, gilt garland to front cover with 2 additional plate issues (see below). Original green in their earliest states, with “capatin” in part 11 p. 324, er, repeated in blind to rear cover, light yellow endpapers. pictorial wrappers with designs by Phiz printed in black. and with the earlier state of the errata page (two lines Housed in a custom blue half morocco box (owner’s initials Housed in a custom red cloth clamshell case. With 40 etched rather than eight). For part 14, the word “if ” on p. MBH at foot in gilt), blue cloth sides and folding chemise. and lithographic plates by Phiz (Hatton and Cleaver noting 426 is omitted as stated by Hatton & Cleaver as the Frontispiece and 23 steel-engraved plates by George Cruik- there is no priority of issue between the etchings and litho- shank. Card of Mr. David Osborne Hamilton, perhaps the graphs); plate 35 being the first published example of a “dark “earliest issue”, although p. 431 is numbered correct- poet, loosely inserted, with a presentation inscription on the plate”. Contemporary ownership signature to front covers ly, whereas they call for it to be omitted in “earlier verso to his daughter. Sometime recased, spine very lightly of parts 1 and 14 and contemporary initials to front cover of copies”. sunned, hinges split with front hinge a little tender, some part 3, spines discreetly restored, some minor foxing to a few provenance: the Lawrence Drizen collection of toning around plate extremities and faint foxing yet less than plates but far less than usual. An excellent set. Charles Dickens. usual. A very good copy. first edition, in the original monthly parts, Eckel, pp. 74–76; Hatton and Cleaver, pp. 227–250. Paul Schlicke first one-volume edition of dickens’s sec- an especially fresh and clean set of the novel, ac- ed., The Oxford Companion to Dickens, 2011, p. 61. ond novel. Oliver Twist was first published serially companied by Hablot K. Browne’s additional set of £5,750 [136251] between February 1837 and April 1839 in Bentley’s plates (“Four Portraits” and “Full-Length Portraits”), Miscellany, and as a three-volume book by Richard issued to coincide with the novel’s completion in Bentley in 1838. This single volume was substantially 1848 by Chapman and Hall, together with an auto- revised by Dickens, who had bought back his copy- graph letter signed from the illustrator, regarding right from Bentley; many of his revisions were in the these plates. Dated 5 March 1848, Browne informs direction of a more dramatic rendering of the text, in Harry Edwards Esq. of Furnival’s Inn, Holborn, that light of his experience of public reading. “a set of eight etchings of full length figures repre- provenance: the Lawrence Drizen collection of senting some of the remaining principal characters Charles Dickens. in Dombey will be published in a day or two”. “With Gimbel A39; Carr B98. the author’s sanction, ‘Phiz,’ co-operating with Rob- ert Young, etched four extra plates for this work. They £3,000 [136249] were fine portraits of Little Paul, Edith, Florence and Alice, and much praise was bestowed on them. Also 55

All items are fully described and photographed at peterharrington.co.uk 27 56

Fifteen hundred of the volumes were comprised of autograph letters and important historical and literary manuscripts. Early vellum manuscripts such as bibles, gospels, commentaries, liturgical works, and orna- mented books revealed the prominence of the collection” (Cheung, Encyclopaedia of Women in the American West, p. 97). Gimbel D5. 56 £60,000 [135836] 56 Dickens corresponded with her father in February An extra-illustrated and sumptuously bound set DICKENS, Charles. Christmas Books. that year about bringing a group of amateur players to Birmingham. The following Christmas, Dickens 57 London: Chapman and Hall, 1852 returned to Birmingham to give a three-and-a-half- Octavo (180 × 118 mm). Contemporary reddish-brown calf, hour reading of A Christmas Carol and The Cricket on the DICKENS, Charles. The Works. Edition titles in gilt to green calf label to spine, spine elaborate- Hearth at the Birmingham Town Hall—the first of his Definitive. New York: R. G. Newbegin Company, ly blocked in gilt, frames to covers in gilt and blind, board famous readings. edges rolled in gilt, book block edges gilt, marbled endpa- 1902 Copies for presentation were evidently special- pers, green silk page marker. Housed in a custom red cloth 60 volumes, large octavo (257 × 174 mm). Contemporary chemise and red morocco-backed slipcase. Engraved fron- ly prepared with a blank leaf replacing the standard red morocco, spines lettered and elaborately tooled in gilt, tispiece by John Leech, text in double columns. Spine profes- tissue guard. The Gimbel Collection, now at Yale, in- decorative gilt frames to covers surrounding central tulip sionally refurbished, repair to front joint. Auction catalogu- cludes three presentation copies of this edition, each ornaments in gilt with purple morocco onlay, green mo- ing tipped in at front. Crease to gutter of frontispiece. Slight similarly inscribed on an inserted front blank and rocco tulip design doublures with red and purple morocco rubbing to extremities, boards a little marked and scuffed; a dated November 1852. Dickens’s Christmas books onlays, design and turn-ins tooled in gilt, green moiré silk very good copy, internally bright. were published here together for the first time, with a free endpapers, all edges gilt. Title pages printed on japon first authorized collected edition, pres- new preface by Dickens. in red and black. With 539 mounted engraved or woodcut plates on india-proof paper, a further 245 illustrations in the entation copy, inscribed by the author on the in- This copy was later in the library of the collector text on india-proof paper, 228 additional watercolours by serted blank facing frontispiece, “Agnes Sarah Law- Carrie Estelle Doheny (1875–1958) with her red moroc- hand, each depicting characters from the books, and signed rence, from her affectionate friend Charles Dickens, co book label to the front pastedown. Doheny’s library either “Kyd”, or “H. Green”, and 32 additional colour-printed Twenty Second November 1852”. The recipient Agnes in Camarillo, California “represented one of the rarest plates, all with tissue guards. Spines of four volumes profes- Sarah Lawrence (born c.1835, and a young lady at the book libraries in the United States. Within the collec- sionally refurbished. A touch of shelfwear, spines uniformly time of this inscription) was the daughter of John tion, 4,000 volumes were rare books and first editions. browned, slight marks sporadically to covers, occasional Towers Lawrence of Balsall Heath, near Birmingham. white marks to covers and endpapers, some offsetting from

28 December 2019: Peter Harrington 57

plates to tissue guards, occasional short closed tears, a couple of small punctures to free endpapers, very occasional creasing and slight tears to tissue guards. A superb set. the highly limited “edition definitive”, number 14 of 15; this set extra-illustrated and sumptuously bound. This edition was issued with the original frontispieces, engraved title pages and etchings by “Phiz” et al. printed and mounted on india-proof paper, as well as each volume containing an original pen and ink watercolour frontispiece from the original art work by Kyd. This set is extra-illustrated with 168 watercolour plates and 32 colour printed plates. This is one of the most desirable Dickens sets available; just two other complete sets have been traced at auction, neither one extra-illustrated, and no copies have been traced institutionally. £30,000 [127586]

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All items are fully described and photographed at peterharrington.co.uk 29 58 59 60

58 and black on vellum. Minor spotting on a few leaves, else a in the Strand Magazine in 1901 it was a great success, fine copy. DICKSON, Adam. A Treatise of Agriculture. with queues at the publisher’s office and throughout first doves press edition, one of 25 copies on the country. Edinburgh: Printed by A. Donaldson and J. Reid, vellum (a further 325 copies were printed on paper). Green & Gibson A26. 1762 The Doves Tennyson is the spiritual manifesto of the £3,750 [136147] Octavo (190 × 119 mm). Contemporary calf, red label to Doves Press – the seven poems including “Ulysses” spine lettered in gilt, red speckled edges. With 2 engraved and “The Lotos Eaters” are on classical subjects, and folding plates. Contemporary note on the author on verso of the two translations are from the Iliad. 61 front free endpaper. Faded shelf mark at head of spine, tiny markings to covers, occasional light foxing; overall a very provenance: the Garden sale (lot 252), with the mo- (DUCHAMP, Marcel.) HUGNET, George. La attractive copy. rocco bookplate. Septieme Face du Dé. Poëmes—Découpages. first edition. Adam Dickson (1721–1776), a Scot- Franklin 210; Ransom Private Presses 250; Tomkinson 54. Paris: Éditions Jeanne Bucher, 1936 tish clergyman, observed that much of the literature £6,000 [127264] Quarto. Original hand sewn green wrappers with titles and on agriculture was based on English farming, and embossed photo illustration to front cover in black. Housed in a black flat-back cloth box by the Chelsea Bindery. Illus- took no account of Scotland’s different soil and cli- 60 mate. His Treatise was highly popular with Scottish trated cover by Duchamp and 20 collage poems by Hugnet. DOYLE, Arthur Conan. The Hound of the Front cover lightly chipped to corners and edges, with graz- farmers, going through six editions in the 18th centu- ing to the Man Ray image causing a slight loss, damp stain to ry, with a second volume being added in 1769. Baskervilles. London: George Newnes, Limited, head of back cover, internally a few light marks but predom- ESTC T72210; Goldsmiths 9746; Fussell, More Old English Farming 1902 inantly a bright copy. Books, p. 56. Octavo. Original red cloth, titles and art nouveau decoration first edition, one of 250 numbered copies £1,000 [124180] to spine after a design by Alfred Garth Jones, enlarged on of the regular edition from a total of 296 copies. front cover incorporating silhouette of hound stamped in Duchamp’s cover combines a photograph by Man black. Housed in custom red cloth chemise and red quarter Ray of his readymade “Why Not Sneeze, Rose Selavy” 59 morocco slipcase with titles in gilt to spine. Frontispiece and with titles whose letters contain the names of many (DOVES PRESS.) TENNYSON, Alfred 15 plates after Sidney Paget. A touch of wear to corners and rear joint, spine ends and tips gently bumped, spine a trifle in the surrealist pantheon, including Sade, Freud, Lord. Seven Poems & Two Translations. faded, faint foxing to endpapers; a very good copy indeed. Rimbaud, Paracelsus, Swift, Heraclitus, Chaplin, Jar- Hammersmith: by T. J. Cobden-Sanderson & Emery first edition in book form. The Hound of the ry, Uccello, and Saint-Just. Walker at The Doves Press, 1902 Baskervilles was Sherlock Holmes’s comeback after Schwarz 444; Roth 101, p. 92. Quarto. Original limp vellum by the Doves Bindery (ink- his shocking demise on the Reichenbach Falls stunned £7,500 [127717] stamp at foot of rear pastedown), spine lettered in gilt. Blue his loyal Victorian readership. When first serialized buckram folding case by Sangorski & Sutcliffe. Printed in red

30 December 2019: Peter Harrington 61

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All items are fully described and photographed at peterharrington.co.uk 31 62 64

62 Quartet”, broadcast in 1965, probably at the beginning of (DULAC, Edmund.) Princess Badoura. A Tale their affair. from the Arabian Nights. Retold by Laurence £975 [136288] Housman. London: Hodder and Stoughton, [1913] Quarto. Original white cloth, spine and front cover lettered 64 in gilt and decorated with pictorial design blocked in gilt and (EDISON, Thomas A.) RAMSAYE, Terry. green, pale green endpapers, top edge green. Colour fron- A Million and One Nights. A History of the tispiece and 9 colour plates tipped in with captioned tissue 63 guards. Spine very lightly sunned with some very faint soil- Motion Picture. New York: Simon and Schuster, ing to rear cover, yet overall a very nice, clean copy. These places were of particular importance to him: 1926 signed limited edition, number 297 of 750 copies “he completed Justine, the first volume of the Quar- 2 volumes, quarto. Original pigskin-backed decorative paper signed by the artist. tet, on Cyprus in 1956, after his separation from Eve, boards, spines lettered and ruled in black, top edges gilt, others untrimmed. Photographic frontispieces and 95 illustrat- £1,800 [135985] and wrote the remaining three volumes in Langue- ed plates. Spines slightly darkened and rubbed, extremities doc, where he lived near Nîmes and in Sommières” worn, contents fresh, occasional underlining with brief mar- 63 (ODNB). ginal notes in blue and red ink. A very good copy. The recipient Margaret McCall (1925–2008) was a signed limited edition, number 60 of 327 cop- DURRELL, Lawrence. The Alexandria BBC producer. She was married to the television script ies signed by thomas edison, the pioneering Quartet. Justine, Balthazar, Mountolive, writer Philip Broadley who nicknamed her “Lauren” inventor of the motion picture camera, due to her resemblance to Lauren Bacall. Margaret Clea. London: Faber and Faber, 1962 and the author. Ramsaye’s study was the most “joined BBC TV and went on to produce some of the Octavo. Original red cloth, titles to spine in gilt on blue detailed and extensive history of the motion picture corporation’s finest arts and music documentaries in ground. With the dust jacket. Spine ends gently bumped, yet published, covering the phenomenon from its or- short closed tear to rear board, light rubbing. A near-fine copy the 1960s and 1970s, introducing numerous writers and igins to 1925. He examines Edison’s role in the devel- in the very good dust jacket, slight toning to spine and edges, artists to television for the first time. Among them were opment of the technology, with particular attention a few edge-splits, minor loss to spine ends and rear panel. Lawrence Durrell, with whom she developed a special paid to the equipment and methods which Edison friendship, John Betjeman, who likewise became a first one-volume edition, inscribed by the pioneered, including the kinetograph camera, the ki- close friend, Robert Graves, and Graham Sutherland” author on the front free endpaper, “For Margaret netoscope, and the rotating studio which he built in (Broadley’s obituary, The Times). This “special relation- McCall from Larry Durrell”, with a full-page draw- New Jersey. Edison read the book in manuscript and, ship” was likely a love affair with Durrell. Margaret did ing by Durrell of a map titled “Languedoc by Epfs” pleased with its portrayal, wrote a prefatory endorse- an interview for the BBC, “Intimations: Lawrence Dur- (Oscar Epfs being the name under which he painted), ment. of Sommières, Nîmes, Uzès, Cevennes, and Anduze. rell. Strong opinions from the author of The Alexandria £4,500 [126510]

32 December 2019: Peter Harrington 65

“What a wealth of information and reporting genius”—the creation of modern sporting journalism 65 EGAN, Pierce. Boxiana; or, Sketches of Ancient and Modern Pugilism. London: Printed by and for G. Smeeton and sold by Sherwood, Neely, 65 and Jones and all other Booksellers, 1812–24 5 volumes: 4 text vols. octavo (219 × 130 mm), 1 plate vol. a folding plate” (Hartley). Boxiana is a cornerstone of immediacy and vitality, which, however spurious, small quarto (280 × 180 mm). Late 19th century brown half any library of pugilism, superbly illustrated, the stip- brought to his avid readers a sense of connection with calf, matching sand-grain cloth sides, spines with central ple-engraved portraits by Percy Roberts being par- life’s great excitements. A simple blow to the eye that blind foliate motif, gilt banding and milled roll to raised ticularly sensitive. drew blood became ‘the left peeper of Perkins napt it, bands, red and green morocco twin labels, top edges gilt, Pierce Egan (1772–1849) was one of the most pic- and the claret followed’ (Pierce Egan’s Book of Sports, Nonpareil pattern marbled endpapers; plate volume re- turesque figures of Regency London who virtually 1832, 25). If Wordsworth had sought to return to the backed to style. Engraved vignette title page and 42 plates of largely stipple-engraved portraits by Percy Roberts and created modern sporting journalism. “His descrip- simple language of the honest countryman, Egan others; 62 engraved plates in the plate volume. Superficial tions of fights were full of graphic action and high wanted his readers to share to the full all the sensa- scratch to spine of vol. I, scattered foxing. A very good set, drama, more bloody, it was said, than the fights tions that city life could offer” (ODNB). clean and complete, preserving a number of the original themselves. He was always prepared to embellish With the ownership inscription to the head of the publisher’s advertisements, the rather sombre bindings hav- the truth in the interests of entertainment, especially first three titles of Loftus Gray (d. 1835), officer in the ing the virtue of opening easily at the printed page. where one of the subjects was Irish and so merited Rifle Brigade, wounded at the Battle of Tarbes (20 first editions of the original four volumes as is- particular praise [Egan claimed Irish ancestry]. Jack March 1814), later lieutenant-governor of Pendennis sued by Sherwood, Neely and Jones; Egan added Randall, for instance, was always ‘the prime Irish Castle, Cornwall; engraved armorial bookplates to further volumes in 1828 and 1829 but the publishers lad’, although the boxer himself never claimed to be text volumes of William Thomas Bridges DCL (1821– sought an injunction against him and he was required other than a Londoner. Egan’s language grew stead- 1894), lawyer and acting colonial secretary in Hong to bring them out as part of a “New Series”. The plate ily more and more extravagant, larded with slang Kong (1857–58). volume was issued around 1840 and comprises “62 terms and exaggerations that catered for ‘the Fancy’ Hartley 587 (“What a wealth of information and reporting geni- plates, these being made up by 57 plates from the but never so specialized as to exclude others totally. us”). volumes, plus three single figures of boxers who were Egan plunged into the language of the street and the £6,500 [136135] originally shown in combat with another pugilist on tavern, embellishing it unashamedly and giving it an

All items are fully described and photographed at peterharrington.co.uk 33 66 67

66 67 EINSTEIN, Albert. Albert Einstein: (EUCLID.) BYRNE, Oliver. The first six books Philosopher-Scientist. Edited by Paul Arthur of The Elements of Euclid in which coloured Schilpp. Evanston, IL: The Library of Living diagrams and symbols are used instead of Philosophers, Inc., 1949 letters for the greater ease of learners. London: Octavo. Original brown morocco-grain cloth over bevelled William Pickering, 1847 boards, spine lettered in gilt, gilt facsimile of Einstein’s Quarto. Original red straight grain cloth (blue cloth variant signature to front board, top edges gilt, others untrimmed. also issued without established priority), rebacked preserv- With the original brown cloth slipcase. Housed in a custom ing most of the original spine, sides blocked in blind, spine brown morocco-backed brown cloth flat-back box. Portrait and front cover lettered and decorated in gilt, cream end- frontispiece by Karsh of Ottawa and 2 plates (facsimile of papers, gilt edges. Geometric diagrams printed in red, blue Einstein’s handwriting and portrait in his studio with the and yellow; printed in Caslon old-face type with ornamental editor). With three panels of the original glassine wrapper initials by C. Whittingham of Chiswick. School presentation laid in. A fine copy, the slipcase slightly rubbed, top edge inscription as a history prize, dated 1858, on the half-title discreetly repaired. verso. Very light wear to cover edges, foxed as usual. A very first and limited edition, number 279 of 760 good copy, covers bright. copies signed and dated by einstein. A hand- first edition of this celebrated book. The work of somely produced volume, this is the only Einstein a self-educated Irish mathematician and engineer, the signed limited edition, and the first publication of book is judged “one of the oddest and most beautiful Einstein’s autobiographical notes, in which he fa- books of the whole century” (McLean). The book’s mously described the awakening of his scientific curi- use of colour is its most striking feature, with equal osity when shown a compass as a child. The contents angles, lines, or polygonal regions assigned one of the comprise the notes, a facsimile of his handwriting, three artistic primaries, red, yellow, and blue. Byrne descriptive and critical essays, Einstein’s reply to the “considered that it might be easier to learn geometry essays, and a bibliography. if colours were substituted for the letters usually used £12,500 [136363] to designate the angles and lines of geometric figures. 67

34 December 2019: Peter Harrington 68 68

Instead of referring to, say, ‘angle ABC’, Byrne’s text try. Even so, its beauty and innovation ensure it remains screenplay (Edward Anhalt), three Baftas (best colour substitued a blue or yellow or red section equivalent among the most desirable of illustrated books from the photography, best set design in colour, best costume to similarly coloured sections in the theorem’s main Victorian period. design), best film from the National Board of Review diagram” (Friedman). His diagrams look much like Friedman, Color Printing in England 43; Keynes, Pickering, pp. 37 & of Motion Pictures, and two Golden Globes (best dra- the paintings of Constructivist and De Stijl art of the 65; McLean, Victorian Book Design, p. 70. ma; best actor in a drama, Peter O’Toole). It received coming century. £11,500 [136331] a total of 11 Academy Award nominations. The teaching of Euclidean geometry was a matter of This is actor Michael Miller’s copy, with three considerable debate in Victorian England, at the same original call sheets for location shooting at Alnwick 68 time as various ideas of non-Euclidean geometry were Castle, stage and studio lot (dated variously between emerging. Byrne’s radical presentation of Euclid uses (FILM.) ANOUILH, Jean, & Lucienne Hill. 27 July 63 and 9 August 1963); colour souvenir pro- little or no labelling of the diagrams and no algebraic Becket [original final script for the 1964 film, gram (24 pp., wire-stitched as issued); original con- arguments. His proofs are the type of argument that actor Michael Miller’s working copy. Title:] tract with Paramount (13 leaves, carbon typescript Euclid used in his Elements, almost purely geometric in on onionskin stock, dated 5/1/63, corner-stitched). SF 83083 Wallis-Paramount-Hazen. Becket. nature. Exhibited at the Great Exhibition in London Miller (d. 1987), who took the role of one of Henry’s 1851, the book was praised for the beauty and artistry of Final Script. May 1, 1963. Hollywood: Paramount barons, was a stalwart of British television, with roles the printing. However, the selling price of 25 shillings Pictures, 1963 in The Prisoner (1967), Doctor Who (1963), and The Three was almost five times the typical price for a Euclidean Quarto. Red grained wrappers titled on front cover “Becket”, Musketeers (1966). His screen credits include The Charge textbook of the time, placing it out of the reach of edu- title page present. 155 leaves, last page of text numbered 154. of the Light Brigade (1968) and cult horror flick Eye of cators who were supposed to make use of this new way Mechanically reproduced, bound internally with two silver the Devil (1966), opposite Deborah Kerr, David Niven, of teaching geometry. The technical difficulty of keep- flat crimped brads; business label of the Enid Shaw script and newcomer Sharon Tate. ing the coloured shapes in register greatly increased the bureau (London) to inside back cover. A few nicks to wrappers otherwise an excellent copy. £2,850 [135899] book’s production costs, and it was consequently never a viable book for cheap mass-production, effectively The film Becket, starring Richard Burton and Pe- preventing Byrne’s method from becoming widespread ter O’Toole, was based on Jean Anouilh’s 1959 play or effecting any major change in the teaching of geome- and garnered the Academy Award for best adapted

All items are fully described and photographed at peterharrington.co.uk 35 69 70 72

69 Octavo. Original black cloth, spine and front cover lettered 71 in silver. With the dust jacket. Contemporary gift inscrip- FITZGERALD, F. Scott. The Great Gatsby. tion to front free endpaper. Spine lightly rolled, pages a lit- FLEMING, Ian. [The James Bond series.] New York: Charles Scribner’s Sons, 1925 tle toned, small stain to pp. 48–9, else a very good copy in Shelton: The First Edition Library, 1981–93 the toned dust jacket, spine panel lightly darkened, lightly Octavo. Original dark green cloth, spine lettered in gilt, 14 volumes, octavo. Original black boards, illustrations to chipped at extremities, small red mark to rear panel, small front cover lettered in blind, top edge trimmed, others un- front covers in red, silver, white, or gilt, titles to spines in chip to rear flap fold. cut. Pencilled ownership signature to front pastedown and silver, red, or gilt. With the pictorial dust jackets and printed underlining to p. 96, contemporary New York bookseller’s first edition, one of two variant states, printed slipcases. With the original shrinkwrap for eight of the vol- label to rear pastedown of The Literary Lobby (situated at 28 on thicker paper stock and with the word “shoot” on umes. Casino Royale with minor creasing at head of front flap, West 44th Street). Spine ends bumped, some light scratches page 10 correctly printed. The entire first impression and slight wear to inside of slipcase. A near-fine set. and marking to cloth, a few small black marks to front cover, (containing both “shoot” and “shoo” states) was is- first facsimile edition, reproducing the original 2cm closed tear at head of pp. 15/16 slightly affecting text, pp. 90–91 with slight separation in hinge and some spotting. sued on 7 April 1955. designs and dust jacket artwork of all the James Bond A very good, tight copy. Gilbert A3a(1.2). first editions. first edition, first state of the text, with the £3,500 [127788] £2,500 [135694] relevant points: “chatter” on p. 60, “northern” on p. 119, “it’s” on p. 165, “away” on p. 165, “sick in tired” on p. 205, and “Union Street station” on p. 211. Al- though now a truly iconic American novel, The Great Gatsby did not sell well on publication, and it was only when the book was distributed as a cheap paperback to soldiers in the Second World War that the work reached a wide audience. It has since sold an estimat- ed 25 million copies worldwide, and was adapted into the films of 1949, 1974, and 2013. Bruccoli A11.I.a. £3,750 [135749]

70 FLEMING, Ian. Moonraker. London: Jonathan Cape, 1955 71

36 December 2019: Peter Harrington cipient, Ronald Brunless McKerrow, was the director of Sidgwick & Jackson, and also an eminent bibliographer. In this copy, he queried a typo to p. 75 (with the corresponding pencil note to rear pastedown), asking if “wordliness” should be “worldliness”. The Eternal Moment is a collection of 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 irrev- ocably separating, everyone. It has been described as “the first full-scale emergence of the twentieth-century anti-utopia” (Hillegas,The Future as Nightmare, pp. 82–94). Kirkpatrick A13a. £9,500 [135791] 73 74 72 (FASHION.) Parfums Lucien Lelong. FORSTER, E. M. A Room with a View. Illustrations de A. M. Cassandre. Paris: Lucien London: Edward Arnold, 1908 Lelong, 13, rue Alphonse de Neuville, 1949 Octavo. Original red vertically-ribbed cloth, spine and front Octavo. Original plain boards in cream wrapper, front panel 74 cover lettered in gilt. Spine slightly rolled and faded, extrem- with company device embossed within debossed cartouche. ities slightly worn. A very good copy. 10 chromolithographic plates after illustrations by Cassan- dre, and similarly printed plates from photographs of the This superbly produced catalogue features ten first edition. The novel was the basis for the 1985 perfume bottles themselves by Réné Messager. Contempo- suitably mysterious and evocative plates by Cassan- Bafta-winning film of the same title, starring Maggie rary gift inscription to front free endpaper. Wrappers a little dre (né Adolphe Jean-Marie Mouron), the Ukraini- Smith, Helena Bonham Carter, Judi Dench, and Si- rubbed and irregularly toned, spine slightly chipped at ends, an-born French painter, illustrator, poster design- repair to short split at head of front joint, else very good. mon Callow. er, and typographer. The first fragrances offered by Kirkpatrick A3. first edition, rare, with no other copies traced Lelong were enigmatically named A, B, C, J, and N, £3,250 [125117] of this spectacular promotional brochure for Lel- intending to evoke a sense of mystery and romance. ong’s fragrances. Largely forgotten today, apart from The artfully designed bottles were largely the work of amongst the couture cognoscenti, Lelong (1889– Presentation copy to Forster’s publisher Lelong himself. Over 30 years he created a total of 27 1958) was enormously influential. After the First different fragrances. 73 World War Lelong took charge of his parents’ small Not a designer himself, Lelong employed a num- fashion house, which was noted for its espousal of ber of young designers who were later to strike out FORSTER, E. M. The Eternal Moment and the modern look—the chic, autobiographical her- on their own. Christian Dior, Pierre Balmain, and Other Stories. London: Sidgwick & Jackson, Ltd, oine of Colette’s 1908 novella Les Vrilles de la vigne is Hubert de Givenchy all spent time developing collec- 1928 dressed by Lelong—and continued their tradition of tions for Lelong. innovation advancing the concept of the “kinétique”, Octavo. Publisher’s red cloth with top edge gilt for presenta- £1,500 [95082] tion, titles to spine and front cover in gilt and within triple clothes “constructed in such a way that their true gilt fillets. With the dust jacket. Minor wear to corners, shape would emerge in movement, not at rest”. His sparse and faint foxing to edges, slight partial toning to end- contribution to the success of the house was in his papers. A near-fine copy in the very good dust jacket, chip- vision, and his marketing brilliance; he redesigned ping to corners and spine ends, a little toned with a couple his parents’ salon decorating entirely in black, so that of light stains. it was said to resemble a black-lined jewellery box, he first edition, one of 35 copies specially offered discounts to society women who agreed to be bound for presentation, inscribed by the photographed in his dresses, and was early into the author to the publisher, “R. B. McKerrow, from E. branded perfume market. M. Forster, 28–3–28” on front free endpaper. The re-

All items are fully described and photographed at peterharrington.co.uk 37 75

75 first part, 5 of them extensively folding, 4 of these printed of Sweden, and University of Leipzig. With the red & black, and 10 similar plates to the second, 9 folding FUNCH, Diderich Hansteen. Afhandling bookplate of the Swedish shipbuilder Nils Ljungzell of which 5 printed in red and black; together with 7 dou- (1885–1964), professor of shipbuilding at the Kungli- om coffardiskibes construction.Copenhagen: ble-page tables to the first part and 2 to the second. A lit- ga tekniska högskolan, the Swedish Royal Institute of printed by Bianco Lunos for the author, 1842–3 tle rubbed at the extremities, light toning, some spotting throughout, mild hygroscopic damp-stain in foot margin Technology from 1926–1942. 2 parts bound in one, quarto (325 × 240 mm). Later half of the second part, plates unaffected. Library stamp of the Bruzelius, p. 152; E. M. Nielsen, Skibsbygning i Danmark: Om træski- streaked sheepskin to style, tan buckram boards, red mo- Søe Officiers Archiw to title-page, deaccession stamps of the bets konstruktionshistorie ca. 1800–1920, pp. 139–140. rocco label, low bands, compartments gilt, edges stained Marinebibliothek to both parts. yellow and sprinkled blue, original printed grey card wrap- £8,750 [126950] pers, broad acanthus panel with emblematic centre devices, first and only edition of this work on the con- bound in front and back. With 7 lithographed plates to the struction of merchant ships, by the renowned royal 76 Danish shipbuilder Diderich Hansteen Funch (1791– 1856). Funch was master shipbuilder at the dockyards (GEORGIA.) Letiyu Sovetskoy Vlasti v Gruzii in Copenhagen, and established a reputation as an [For the 15th Anniversary of Soviet Rule in author with several well-respected works on ship- Georgia]—presentation photograph album. building. Divided into two parts, the first on the hull Tbilisi: Gosfoto, Advice of National Commissioners, and the second masting and rigging, the book “con- 1936 tains a complete system for the determination of all of a ship’s calculated dimensions as well as its shape. Landscape folio (600 × 410 mm). Presentation binding of red skiver over bevelled boards, titled in gilt on front cover, red The latter can be ascertained by consulting a table silk endleaves, edges stained red. 57 original photographs and following certain rules. Ships designed accord- (113 × 65 mm up to 450 × 350 mm) on 29 linen-hinged heavy ing to Funch’s system had parabolic waterlines and card leaves. A few light scuffs and abrasions to binding, a curves; all the curves were mathematically deter- few creases to prints, some silvering to a number of images mined. Funch’s system seems to have influenced ship otherwise very good. design in the provinces from about 1830 to 1845–50. superb album produced to commemorate the Sheer draughts from the period show that the ships 15th anniversary of the georgian soviet re- had parabolic curves as well as the fish shape pre- public, one of perhaps a handful put together and scribed by Funch. The interdependent proportions of presented to leading dignitaries; this copy with the the hull are also recognisable as the ones stipulated gilt presentation supralibros of Valerian Bakradze by Funch” (Nielsen). (1901–1971), at the time Second Secretary of the Geor- Decidedly uncommon: just four locations on gian Communist Party and a protégé of Stalin’s right 75 OCLC, Royal Danish Library, BL, National Library hand man, Lavrentiy Beria. This was also the year in

38 December 2019: Peter Harrington 76 76 which Georgia emerged as a Union Republic; prior to The album opens with exhibition-size portraits prints are dedicated to the ceremonial parade. Sev- this it had been a part of the Soviet Transcaucasian of Lenin, Stalin, Kliment Voroshilov, and Sergo eral images show people in costume, among these Federation. From 1937 to 1946 Valerian Bakradze was Ordzhonikidze, a close friend of Stalin who was in- the bogatyr, heroic figures from East Slavic legend, chairman of the Soviet Council of People’s Commis- strumental in the founding the Socialist Republic others from Georgian myth and folklore, dancers sars, known as Sovnarkom. He served on the central of Georgia. These are followed by two impressively and singers. Others are the archetype of such rallies committee of the Communist Party (1939–1954), was large and crisp panoramic views of Tbilisi with many of the 1930s in showing men and women marching, deputy chairman of the Council of Ministers of Geor- landmarks clearly discernible, including the funicu- one group bearing banners, another carrying the im- gia (1946–1954), and in 1947 Minister of Food. lar railway (constructed 1905) that climbs up to the age of Lenin, and in particular one of a young woman Mtatsminda plateau and affords views of the city and posed inside an enormous tyre bearing the legend the Sioni cathedral. “Rubber Concern USSR”. The last six leaves focus on The most prominent official figure to attend the the Soviet modernization of the city and show new celebrations was Marshal Voroshilov, at the time Peo- buildings, roads and bridges. ple’s Commissar for Defence, pictured here giving £9,500 [125466] a speech and shaking hands with the then head of the Georgian Republic, Filip Makharadze; alongside an exterior view of the Tbilisi opera house decorated with banners and a portrait of Stalin. The next 19

76 76 76

All items are fully described and photographed at peterharrington.co.uk 39 77

77 GIBSON, William. Neuromancer. London: Victor Gollancz, 1984 Octavo. Publisher’s blue boards, titles in gilt to spine. With the dust jacket. Small faint stain to fore edge. A fine copy in the fine dust jacket. first uk edition, signed by the author on the title page. Following the US Ace paperback published the same year, this is the first hardback edition and first UK edition. Winner of the “triple crown”: the Nebula, Hugo and Philip K. Dick Awards, the most famous and enduring “cyberpunk novel” is a veritable landmark in modern science fiction writing, the cul- tural impact of which is still widely felt. 78 £3,250 [136009] tation page and signed and numbered in pencil lower initial and final leaves but clean in the centre. A very good right on the print. copy. 78 £7,500 [136229] first edition, of “one of the central classics of chil- (GORMLEY, Antony.) CAIGER-SMITH, dren’s fiction” (Oxford Companion to Children’s Literature). Martin. Antony Gormley. London: Royal Grolier Club, One Hundred Books Famous in Children’s Literature, 61. 79 Academy of Arts, 2019 £4,000 [135759] Quarto. Original grey cloth, spine lettered in black. With the GRAHAME, Kenneth. The Wind in the folded loose print in the black paper sleeve. Housed in a grey Willows. With a frontispiece by Graham 80 cloth clamshell box. With the original printed packaging Robertson. London: Methuen and Co., 1908 box. With photographic illustrations throughout and a loose Octavo. Original green cloth, spine and front cover lettered GRAVES, Robert. I, Claudius. London: etching on 39 gsm Hoskawa paper, titled Hold (61 × 91 cm). and blocked in gilt (spine showing Toad in his motoring out- Fine condition. Paradine Press, 1977 fit, front cover showing Mole and Rat bowing down before Octavo. Publisher’s purple morocco, gilt lettered and band- first edition, one of 100 copies signed and Pan), top edge gilt, others untrimmed. Frontispiece with ed spine, gilt Greek key border on covers, gilt stamps of a numbered in pencil by the artist on the limi- tissue-guard. Neat ownership signature to front pastedown. Claudian coin and facsimile signature on front cover, all Cloth slightly discoloured, endpapers toned, foxing around edges gilt, single-line gilt turn-ins, grey endpapers. Housed

40 December 2019: Peter Harrington 80 81 82 in the original grey card slipcase printed in purple. Folding 81 genealogical table. Faint discolouration to spine; a near-fine copy, notably bright. GREENE, Graham. Journey without Maps. signed limited edition, number 46 of 100 London: Heinemann, 1936 copies specially bound and signed by the au- Octavo. Original yellow cloth, titles and stripes to spine in 82 thor. Originally published in 1934, when it garnered brown, publisher’s device to rear cover in brown, top edge both the Hawthornden and James Tait Black memo- brown, map endpapers. Frontispiece and 30 other plates. Spine minimally rolled and a little toned, extremities a little subitariae. Wittenberg: Mevius & Schumacher, rial prizes; this edition was issued in response to the rubbed, mild marginal foxing; a very good, fresh copy of this 1666 huge success of the BBC television series. uncommon book. Octavo (165 × 88 mm). Contemporary French red morocco, £1,500 [135824] first edition of the first of Greene’s travel books, triple gilt rule border to covers, spine elaborately decorated detailing a four week trek through Liberia in 1935 with gilt in compartments, with the arms of Jean-Baptiste Col- his cousin, Barbara Greene. His motives for this trip bert centrally stamped on both boards and his gilt initials were mixed, “an element of escape and adventure, in each spine compartment, red edges. Additional engraved and some investigation into the rumours of slavery in title page. Small worm track to top of front joint, and corner bruised. Damp mark to upper outer corner of both boards, Liberia . . . To avoid a mere recital of an A to Z jour- contents with a pale tide mark to first 150 pages; some spot- ney, Greene’s account includes many of his internal ting throughout, heavier in places, worming to lower margin ruminations on the trek” (Wise & Hill, p. 20). Barbara occasionally entering the text; withal a good copy. Green also wrote an account of the trip, Land Benight- first edition of Ziegler’s commentary on Grotius, ed, published in 1938. from the celebrated library of Jean-Baptiste Colbert, Wise & Hill, The Works of Graham Greene: A Reader’s Bibliography and minister of finance under Louis XIV from 1665 to Guide, Vol. 1 (2012). 1683, with the usual inscription “Bibliothecae Colber- £3,000 [127517] tinae” to the engraved title. Colbert’s was one of the finest and most famous libraries of the 17th century, Jean-Baptiste Colbert’s copy comprising some 22,000 volumes, sold at auction in 1728. Kaspar Ziegler, from 1654 until his death in 82 1690, was professor of law and eventually Rektor at (GROTIUS.) ZIEGLER, Kaspar. Casparis the University of Wittenberg and a prominent civic official there. Ziegleri . . . In Hugonis Grotii De jure belli ac pacis libros, quibus naturae & gentium £3,250 [126219] 80 jus explicavit, notae & animadversiones

All items are fully described and photographed at peterharrington.co.uk 41 James G. Nelson as “publisher to the decadents”, to establish the “Erotika Biblion Society, a fictitious organization modelled on [Richard] Burton’s own Kama Shastra Society. Under this imprint, Smithers and Nichols issued several erotic books . . . Despite Lady Burton’s insistence on editing her husband’s erotic books, Smithers and Nichols were able to gain control of The Thousand Nights and a Night, which they brought out in attractive and unexpurgated editions in 1894–5” (ODNB). The framing story here is the “Tale of King Shams Al-Din”, and incorporates five other tales: “History of Sharif Al-Din, son of the King of Ormuz, and of Gul-Hindi, Princess of Tuluphan”, “Tale of the Three Crump Twin-Brothers of Damascus”, “Tale of Ut- zim-Ochanti, Prince of China”, “Story of Al-Kuz, and the Miller”, and “Story of Faruk”.

83 £1,000 [126130] 84

The first crossing of the Sahara by motor vehicle, “Very lively, ingenious, and entertaining This copy is accompanied by a superb collec- with original, mostly unpublished photographs imitations of the ‘Arabian nights’”—one of five tion of 35 original silver gelatin photographs taken copies printed on Japanese vellum 84 during the expedition, 29 of which are apparently unpublished. The centrepiece is a group of 21 pho- 83 HAARDT, Georges-Marie, & Louis tographs (all but three in landscape format), showing Audouin-Dubreuil. Le Raid Citroën. La seven of the motorized convoy, eleven of landscapes GUEULLETTE, Thomas-Simon. The première traversée du Sahara en automobile or local peoples (including three equestrian studies), Thousand and One Quarters of an Hour. de Touggourt a Tombouctou par l’Atlantide. three of members of the expedition (one memora- (Tartarian Tales). London: H. S. Nichols and Co., ble image featuring an immaculately attired Haardt Introduction par M. André Citroën. Paris: 1893 standing with a local soldier in an arched doorway, of Librairie Plon, 1924 Tall octavo (246 × 151 mm). Contemporary green crushed what appears to be a building constructed of rammed morocco by Morrell, richly gilt spine with five raised bands, Quarto. Original cream-coloured wrappers printed in red earth). The sequence focusing on the vehicles is par- gilt lettered direct, sides with gilt French fillet border and and black. Photographs: various sizes from 137 × 82 mm up ticularly interesting and shows the provision cars decorative cornerpieces, red morocco doublures and free to 143 × 235 mm (both landscape and portrait), several with loaded with extra petrol and water, and the convoy pencil notes in French on verso, together with the original endpapers, green silk page marker, top edge gilt. Title page negotiating sand dunes and stopping at an oasis, all envelope of the “Atelier Photographique Ruffini” at Montar- printed in red and black. Gilt morocco Beeleigh Abbey book of which gives a flavour of the unforgiving terrain. labels of W. A. Foyle (1885–1963), founder of Foyles book- gis (Loiret, France). Half-tone portrait frontispiece photo- A further seven images, on printing-out paper, shop. Spine sunned, short split at foot of front joint, extrem- graph of the authors, 12 plates, 16 two-colour vignettes in the ities slightly rubbed, a few light abrasions to covers. A par- text after drawings by Bernard Boutet de Monvel, 171 illus- include one of Tuareg warriors with shields and two ticularly handsome copy. trations from photographs in text, two folding colour route of Haardt and Audouin-Dubreuil seated on a roof ter- maps at rear. Book: light signs of handling and peripheral race. Four of the largest images include one of Haardt first smithers edition, one of five on japa- toning to covers otherwise a very good copy, unopened. Pho- mounted on a camel, another showing the two ex- nese vellum. Originally published in 1715 as Mille et tographs: one larger image torn with loss, otherwise overall plorers posing with Tuaregs and their mounts, and a un quarts d’heure, contes tartares, these stories—referred in very good condition. fine view of Haardt and a group of Tuaregs mounted to by Smithers as “very lively, ingenious, and enter- first edition, presentation copy, of this fa- on camels set against a rocky outcrop. taining imitations of the ‘Arabian Nights’”—were the mous account of the first traversal of the Sahara by Of particular interest are two excellent, sharply-de- work of the lawyer, bibliophile and prolific compiler motor vehicle, the preferred quarto format (there was tailed images that show one of the modified Citroën of tales, Thomas-Simon Gueullette (1683–1766). The also an octavo issue); inscribed on the half-title: “A P2s, apparently in the yard of the Citroën works (wet anonymous translation is that of Thomas Flloyd, Monsieur Ferrel[?] Hommage de André Citroën and stamps on verso: “Service Commercial. Publicité”, and first published as Tartarian Tales: or, a Thousand and One G. Haardt”. numbered in the negative 476 and 478). This would ap- Quarters of Hours (London: Tonson, 1759). The pub- pear to be the famous scarabée d’or (golden scarab), the lisher, H. S. Nichols, had, in 1888, set up in business lead vehicle of the expedition, numbered “R.1”. The ve- with Smithers, described by the latter’s biographer

42 December 2019: Peter Harrington 84 hicle has recently been reconstructed and is on display crossing of Africa in 1924–25 by traversing Asia from at the Musee des arts et métiers in Paris. the Mediterranean to the Pacific in 1931–32. Six of the original photographs are reproduced This handsome quarto issue is uncommon both in the book: a Tuareg woman from the Adrar des If- in commerce and institutionally: Library Hub cites oghas mountains (p. 94), Tumbuktu (p. 115), a village copies at just three British and Irish institutional li- near Timbuktu (p. 129), villagers from the Niger bank braries (LSE, Oxford, Horniman; although we have performing the tam-tam dance (p. 173), a wife of a traced a copy in the Royal Collection, presented by chief from Bara (Niger River, p. 188), and Tuaregs in the Citroën team to George V and Queen Mary); the desert (p. 212). OCLC adds another 19 in international holdings. Georges-Marie Haardt (1884–1932) and Louis Howgego III H1. Audouin-Dubreuil (1887–1960) were pioneers of mo- £5,250 [125278] tor exploration. They followed their first automotive 84

84 84 84

All items are fully described and photographed at peterharrington.co.uk 43 85 HAMILTON, Richard. Richard Hamilton. London: Anthony d’Offay Gallery, 1991 Quarto. Original black cloth, spine and front cover lettered in blind, photographic endpapers. With the dust jacket. Housed in the original black cloth slipcase. Small mark to rear cover, else a fine copy. first edition, limited issue, number 78 of 100 copies with an original photograph numbered and signed by the photographer, entitled “Orange Order”, tipped into a white card portfolio and laid in the book. This work was produced to accompany an exhibition of Hamilton’s work at Anthony d’Offay Gallery in London from 20 June to 10 August 1991. £3,750 [126257]

86 HAMILTON, Sir William. Outlines from the Figures and Compositions upon the Greek,

Roman, and Etruscan Vases. London: published 86 86 by William Miller, printed by W. Bulmer and Co., 1804 racotta, trimmed to the image and mounted by William contemporary domestic design industry, notably the Quarto (286 × 229 mm). Contemporary red straight-grain Kirk, with plain tissue guards. With half-title. Spine rubbed, neo-classical designs of Wedgwood. morocco, sides with wide gilt borders, spine gilt in com- an excellent copy in a handsome neoclassical binding, un- Cohen-de Ricci 474. partments between double raised bands, red, white, and signed but in the manner of Kalthoeber. blue double headbands, turn-ins gilt all round, pale brown £4,500 [125592] endpapers, gilt edges. With 62 engraved plates in two states; first edition of this selection from d’Hancarville’s numbered and uncoloured; and coloured in black and ter- Collection of Etruscan, Greek, and Roman antiquities from the cabinet of the Honble. Wm. Hamilton, 1766–67, and Tisch- 87 bein’s Collection of engravings from ancient vases . . . in the HARDY, Thomas. The Mayor of Casterbridge. possession of Sir Wm. Hamilton, 1791–97, the third and London: Smith, Elder & Co., 1886 last volume of which appeared in 1797, after Kirk’s death. Kirk’s engravings were expressly intended to 2 volumes, octavo. Original blue cloth, decorative bands and floral decorations on front covers and spines in black, titles make the material in these expensive folio volumes to spines gilt, grey floral endpapers. Housed in a dark blue more widely available. The outline style of engraving flat-back cloth box by the Chelsea Bindery. Early ownership practised by Kirk had a significant influence on the inscriptions of J. D. Hunter to head of half-title of vol. II. Vol I. in bright cloth, vol. II darkened, extremities worn in places, a few areas of surface wear or pale blemishes to sides, hinges of vol. II skilfully repaired. A good set. first edition in book form, presentation copy of volume i, inscribed by the author on the front free endpaper, “To the Hon. Mrs Jeune, from Thomas Har- dy”. Presentation copies of this title are highly uncommon, with just two copies traced at auction. The recipient, Mary Jeune, later Baroness St Helier (1848–1931), was a prolific essayist (publishing around 50 periodical essays), vigorous philanthropist on behalf of women and poor children, and a notable London hostess, re- 85 86 nowned for her sparkling intellect and with “an insatia-

44 December 2019: Peter Harrington ble and imperturbable of hostesses, a sort of automatic entertaining machine, had a vigorous personality of her own, and the most generous and independent character”. Rideing recalled, “Fortunate were those who, visiting London, took with them a letter of introduction to Lady Jeune . . . She more than anybody else fused and liberalized London society, leading it out of the ruts of rank and class into a fellowship with art and letters, and surprising both elements by the results of her tact and magnetism. An introduction to her became a passport to many social privileges . . . Her intellectual and political influence was as great as the charm which made her salon so brilliant” (Rideing, p. 280). This is an assembled set, with St Helier’s cupid bookplate (as Mary Jeune) to the front pastedown of the first volume; the second volume is from the library of the bibliographer of Victorian novelists, Walter E. Smith, with his lightly pencilled ownership inscription to the front free endpaper. Purdy, pp. 50–1; Ferguson, Thomas Hardy’s Legal Fictions, 2013; Rid- eing, Many Celebrities and a Few Others: A Bundle of Reminiscences, 1912. £12,500 [119901] 88 88 HARDY, Thomas. Compassion. An ode in Quarto. Original cream wrappers, front wrapper printed celebration of the centenary of the Royal in black, stitched as issued. Housed in a custom blue cloth chemise and blue quarter morocco slipcase. Covers a little Society for the Prevention of Cruelty to fingermarked, else a fine copy. 87 Animals. Dorchester: Privately printed for Mrs. first edition, sole impression, signed by the author Thomas Hardy by Henry Ling, 1924 at the end of the poem, number 8 of 25 copies num- ble appetite for society”. Hardy called her “Mrs Jeune the bered and initialled by Florence Emily Hardy. Thom- irrepressible”, and, when visiting London, stayed at her as Hardy wrote this work at the request of the RSPCA and her husband’s house so frequently that he became as part of their centenary celebrations. It was printed known as their “dosser” (Ferguson, p. 7). St Helier wrote in The Times on 16 June 1924, where it was stated that a spirited defence of Hardy in a letter to the Daily Chron- there was no copyright. Florence Hardy moved to se- icle in May 1894, responding to a suggestion that his re- cure the copyright by rapidly producing her own copies cently published collection, Life’s Little Ironies, ought to be on the same day. In a letter to Sydney Cockerell on 21 suppressed on the ground of sexual frankness. As well June 1924, Florence Hardy said that she had discovered as Hardy, her guests included luminaries such as Mat- that others were planning to print their own copies. “I thew Arnold, Robert Browning, Somerset Maugham at once telephoned to our local printer, Mr. Ling . . . and Oscar Wilde; she also formed a somewhat unlike- and explained the situation, and he rushed up and got ly friendship with the reserved and society-averse Ed- the poem in print in less than an hour” (Purdy, p. 232). ith Wharton. In A Backward Glance, Wharton described This did not, however, prevent other separate print- meeting Thomas Hardy several times over luncheon at ings of the poem, including by the First Edition Club. St Helier’s: “I found it comparatively easy to carry on a Copies signed by Thomas Hardy are rare; the last to mild chat on literary matters . . . I felt he was complete- appear at auction was in 1956. ly closed in his own creative dream”), and wrote affec- Purdy pp. 231–2. tionately of St Helier herself: “Others have done justice to her tireless and intelligent activities on the London £3,750 [126133] County Council . . . I wish to record that this woman, who figured to hundreds merely as the most indefatiga- 87

All items are fully described and photographed at peterharrington.co.uk 45 89 90 91

89 statement of his political and economic outlook that first edition of the author’s best-known and most HAY, Michael. Bentley: The Vintage Years. Hayek ever achieved” (ODNB). Though in the short personal work, into which she believed she “had put term the book failed to halt the rapid extension of her heart and individual feelings more than in any- London: Dalton Watson, 1986 government power into economic life, over the next thing else she had written” (Hughes, p. 136). Quarto. Original green morocco, spine lettered in gilt, gilt few decades the book inspired countless proponents Hemans (1793–1835) was one of the most influen- Bentley device to front cover, gilt turn-ins, marbled endpa- of economic liberty, became a foundation of the reviv- tial and widely read poets of the 19th century. Writ- pers, gilt edges. Housed in the original green cloth slipcase. al of liberal economics, and at last triumphed in the ten at the height of her career, Records of Woman went Illustrated with black and white photographs throughout. A fine copy, in the slipcase with light rubbing. Thatcher and Reagan projects. through four British and several American editions Cody & Ostrem B–6. in the six years after publication, and supported He- first edition, deluxe issue, out of series from a mans’s family financially for a number of years. The stated limitation of 200 copies so bound, alongside £4,250 [136301] verse volume, which is dedicated to fellow author the regular trade issue in cloth. A lavish and compre- Joanna Baillie, opens with a series of 19 poems, each hensive overview of Bentley cars in the period 1919 to 91 focussed on female protagonists drawn from history 1931. HEMANS, Felicia. Records of Woman: With and contemporary life. Some are prominent figures, £2,250 [135845] Other Poems. Edinburgh: William Blackwood; like Properzia de’ Rossi, Joan of Arc, and Arabella Stuart, but many are relatively unknown or entirely and T. Cadell, London, 1828 90 anonymous (“The American Forest-Girl”, “Indian Duodecimo (164 × 104 mm). Contemporary greyish-brown Woman’s Death Song”). The section closes with one HAYEK, Friedrich August von. The Road to oblique-grain roan, red spine label, compartments elaborate- of the collection’s three personal lyrics, “The Grave of ly tooled in gilt with floral motifs, scrollwork fillets to spine Serfdom. London: George Routledge & Sons Ltd, ends and raised bands, sides with gilt single fillet enclosing a Poetess”. The remainder of the volume comprises 1944 an anthemion roll frame, blind triple fillet panel with corner “Miscellaneous Pieces”, including some of Hemans’s Octavo. Original black cloth, spine lettered in gilt. Very rosettes, blind ornamental cornerpieces, gilt lyre centrepiece, most famous poems, such as “The Homes of England” slight wear to spine ends, front board with some cockling to pale primrose-coated endpapers, gilt turn-ins and edges. and “The Graves of a Household”. cloth; a very good, clean and unmarked copy. Ownership signature, “D. Hallam[?]”, in pencil to front free “Recently interest has revived in [Hemans] as a fe- endpaper. A very attractively bound copy, the gilt particularly first edition, one of 2,000 copies printed. Hayek’s male voice within Romanticism, and as a vehicle for bright. Spine ends and corners lightly worn with small chip to bourgeois, domestic, and British hegemony that nev- classic polemic against centralization and collectiv- head of rear joint, one small area of worming to rear board, ertheless also critiques the very values and ideals for ism, among the most influential and popular exposi- the very occasional mark to contents. tions of classical liberalism and libertarianism, was which her work became a byword. Recognition of her “far and away the most eloquent and straightforward as a major poetic voice has accompanied a substantial

46 December 2019: Peter Harrington shift in the understanding of British Romanticism” (Orlando). See Harriet Hughes, The Works of Mrs Hemans; with a Memoir of Her Life by Her Sister, William Blackwood & Sons, 1839. £1,250 [135673]

“He came to think of Jane Mason as his very own Zelda” 92 HEMINGWAY, Ernest. Holograph revisions to the typescript short story “A High Wind- less Night in Jamaica” by his lover Jane Mason. Havana(?): c.mid–1930s 7 pages quarto, triple-spaced on seven sheets of white paper. Housed in a custom-made dark brown morocco solander box. Pale brown staining (mostly at left margin of each sheet), rust marks from paper clips, with some pencilled revisions by Jane Mason (one on verso of page 6). a remarkable survival that memorializes hemingway’s infatuation with the young and glamorous socialite jane mason, who was to become the model for the character of Helene Bradley in To Have and Have Not (1937), his last experi- mental work from the Key West years. The couple first met in the autumn of 1931, when Hemingway and his wife Pauline were returning to New York from Paris on the Ile de France. Mason “was the twenty-two-year-old wife of G. Grant Ma- son, the head of Pan American Airways in Cuba and the owner of a beautifully situated estate in Jaimani- tas, west of Havana. With her slender but curvy body and her strawberry blond hair, which she parted in the middle and pulled away from her oval face, she was the most beautiful woman whom Hemingway had ever gone after. A native of Tuxedo Park, New York, and a graduate of Briarcliff, she had made her 92 debut in Washington, D.C., just before her impulsive marriage to Mason. Dancing, drinking, and deep-sea ca” (the title echoes Richard Hughes’s A High Wind in and to whom I am generally rather rude.” Heming- fishing were among her current enthusiasms, and Jamaica, 1929) she draws upon Hemingway’s dictum way has revised the part in italics to read: “...one so was pigeon shooting at the Club de Cazadores, a of “write what you know” and tells the story, from the would not have felt sorry for her but simply classed sport in which few other women engaged . . . Con- point of view of an American woman, of a thoroughly her as a bitch without implying any condemnation.” ceivably, [Hemingway] came to think of Jane Mason unpleasant group of colonial Jamaicans drinking and The story was submitted to the New Yorker but turned as his very own Zelda, except that he proposed to dancing on a hotel veranda. down; it appears to remain unpublished. make her well by giving her lessons in marlin fishing Hemingway has corrected punctuation, changed On the verso of the first leaf is a pencil sketch of a and by telling her over and over that she wasn’t crazy verbs, tightened-up phrases, and in general polished bearded figure wearing a cap of the type favoured by [Mason suffered with manic depression]” (Kenneth the story. His longest revision occurs near the end Hemingway, the face of which is scribbled over, and a S. Lynn, Hemingway, 1987, p. 404). where Jane has written about her lead character: “I sketch of a bare foot. With Hemingway’s encouragement, Jane began felt strangely sorry for her, despite the fact that in £12,000 [109126] writing fiction. In “A High Wind-less Night in Jamai- England she was the type who always terrified me,

All items are fully described and photographed at peterharrington.co.uk 47 93 94

93 Bob Kriendler persuaded his brother Jack, one of One of 15 advance copies for presentation HEMINGWAY, Ernest. Death in the the club’s founders, to stock the books of their famous author-customers. “The books were put on sale at 94 Afternoon. New York: Charles Scribner’s Sons, the tobacco counter. Often, a customer who’d seen a HEMINGWAY, Ernest. For Whom the Bell 1932 book there discovered that the author was in the club, Tolls. New York: Charles Scribner’s Sons, 1940 Octavo. Original black cloth, titles and decoration to spine so he could depart not only with a good meal under Octavo (218 × 144 mm). Original coarse calico-grain cloth, gilt, facsimile signature to front board gilt. With the dust jack- his belt but also a signed first edition under his arm” et. Housed in a custom marbled flat-backed box. Colour fron- author’s facsimile signature stamped in black on front (Kriendler, p. 69). Kriendler was able to build a collec- board, spine lettered in black on red panels, edges un- tispiece by Juan Gris with tissue-guard, 64 black and white tion of first editions and manuscripts “of some of the plates. Front hinge cracked but holding, a very good, bright trimmed and largely unopened. Cloth a little marked, no country’s greatest writers who found time (often a lot copy in the slightly ragged and chipped dust jacket, expertly inscription or sign of ownership, internally fresh and clean, stabilised at folds, preserving the distinctive front panel. of time) to spend in ‘21’” (ibid.). Most of these formed a near-fine copy. the basis of the Robert Kriendler Collection, which he first edition, one of 15 advance copies for first edition, presentation copy, inscribed donated to his alma mater, Rutgers. by the author on the front free endpaper, “To Bob presentation, which, being untrimmed, measure Grissom A.10.1.a; Hanneman A10a. Kriendler, 21: Every Day Was slightly taller than the regular first edition, issued Kriendler with best wishes from his friend Ernest New Year’s Eve (1999). Hemingway”. The recipient was Robert Kriendler, without dust jacket. According to a note by Charles the youngest of the four Kriendler brothers who ran £15,000 [126539] Scribner laid into another copy we handled, the ad- the iconic speakeasy 21 Club, one of Hemingway’s vance copies were all given away, seven by Heming- favourite New York watering holes. In 1931, Heming- way and eight by Scribner. way was famously caught in the kitchen having sex Grissom A.17.1.g; Hanneman A18a. with gangster Legs Diamond’s girlfriend. £20,000 [135663]

48 December 2019: Peter Harrington 95

95 HETHERINGTON, Tim. Infidel. London: Chris Boot Ltd, 2010 Octavo. Original black thick leatherette wrappers, titles to spine and front wrapper white, pictorial endpapers. Colour photographs throughout. Some very mild rubbing and staining to wrappers. A near-fine copy. first edition, signed by the photographer on the title page. Hetherington spent a year with US soldiers stationed in Afghanistan, documenting their everyday life. The photographs are accompanied by interviews with the soldiers. £1,250 [125880]

96 HIRST, Damien. Spin Painting. Kiev: Pinchuk 96 Art Centre, 2009 Acrylic on heavy wove paper. Sheet size: 52cm diameter. Excellent condition. Presented in a white gesso frame with conservation acrylic glazing. unique spin painting, signed in felt tip by hirst. Stamped on the verso: “This painting was made by Roman to celebrate the opening of Damien Hirst, Requiem, at the Pinchuk Art Centre on April 24/04/09”. £20,000 [136260]

All items are fully described and photographed at peterharrington.co.uk 49 97

97 HOMER. Homeri Ilias & Odyssea. Cambridge: Cornelius Crownfield, 1711 98 99 2 volumes, quarto (252 × 199 mm). Early 19th-century diced calf by George Mullen of Dublin (with his ticket), raised bands to spine tooled in gilt, second and fourth compart- first edition, signed by the photographer 100 ments lettered in gilt, others elaborately tooled in blind, on the front free endpaper; one of 250 copies. double gilt border to covers, corners of boards gilt, double HUGHES, Ted. Recklings. London: Turret Parr & Badger III, p. 121. gilt border to turn-ins, green endpapers, silk page marker, Books, 1966 marbled edges. Engraved frontispiece to vol. 1. General ti- £750 [125462] Octavo. Original grey cloth, spine lettered in gilt, yellow tle page and half-title for Iliad in vol. 1, title page for Odyssey endpapers. With the dust jacket. Board edges slightly toned, in vol. 2. Bookplate of Sir Francis Hopkins, Bart., previous otherwise bright, a few spots of foxing to contents. A near- ownership inscription on title pages partially removed with 99 fine copy in the jacket, mainly faded to white, short closed resulting brown stain. Joints just starting, slight wear to ex- HUGHES, Ted. Lupercal. London: Faber and tear, a little negligible creasing. tremities, edges of frontispiece neatly folded, 75 mm closed horizontal tear to title page of vol. 2 with repair, very small Faber, 1960 first edition, number 130 of 150 copies only, hole from worm damage to first 13 pp. of vol. 1, a few dark Octavo. Original maroon cloth. With the dust jacket. A near- inscribed by the author to his sister on the marks to text block. Otherwise a fine, fresh copy. fine copy in the jacket, toned with small losses at extremities front free endpaper, “With love to Olwyn from Ted, first edition of Joshua Barnes’s Homer. This edi- of spine. January 1967”; number 130 of 150 copies only. Hughes tion contains considerable prefatory material, in- first edition, presentation copy, inscribed by was very close to his sister Olwyn. After Plath’s death cluding three traditional lives of Homer, the Contest the author a week prior to the official publication date Olwyn helped to bring up their children, became her of Homer and Hesiod, and the first book of the Homer- to his paternal uncle Walter and his family, “To Wal- brother’s literary agent, and established the Rainbow ic Questions of Porphyry. Edward Harwood commented ter & Alice & Barbara with love from Ted March 11th, Press with Ted in 1971 to produce fine press editions that “this Edition will ever maintain its distinction, 1960”, on the title page. Hughes received six author’s of his works. not merely for its magnificence and the erudition of copies from Faber on 23 February, some three weeks From the library of Frieda Hughes, daughter of the Editor, but from the complete Greek Scholia that before the official publication date; it is conceivable Ted Hughes and Sylvia Plath, though unmarked as are here subjoined to the text” (p. 2). that this copy is one of those half-dozen. Loosely in- such. Harwood, A View of the Various Editions of the Greek and Roman Classics serted is a copy of the poem “Groom’s Dream” (which Sagar & Tabor A10. (1775). also appears in Lupercal), as issued in November 1957 £1,250 [126118] £3,000 [125208] by the Grecourt Review, an undergraduate publication at Smith College, Northampton, Massachusetts. Sagar & Tabor A3a.1. 101 98 £2,500 [125866] HUGHES, Ted. Scapegoats and Rabies. HORNSTRA, Rob. Communism & Cowgirls. London: Poet & Printer, 1967 Utrecht: Privately printed, 2004 Octavo, pp. 8. Original pink wrappers, front wrapper let- Quarto. Original photographic boards, spine lettered in red, tered in black, stapled as issued. Wrappers slightly finger- black and green, front board lettered in white. Photographs marked, small dark spot on fore edge, contents clean. A throughout by Hornstra. A fine copy. very good copy.

50 December 2019: Peter Harrington 100, 101, 102, 103, 104, 105 first edition, presentation copy, from the 103 tion on the title page, “For Olwyn, much love, Ted 24 author to his sister less than a month after its HUGHES, Ted. Crow Wakes. Woodford Green, Aug 76”. This copy is number 58 of 250 copies only, publication on the title page, “With love to Olwyn of which numbers 1–50 were signed by the author. from Ted May 1st 1967”. This is copy C of 26 copies Essex: printed by Alan Tarling for Poet & Printer, From the library of Frieda Hughes, though unmarked lettered A-Z and signed by the author. A further 380 1971 as such. unsigned copies went on general sale. From the li- Small octavo. Original vellum-backed patterned boards, brary of Frieda Hughes, though unmarked as such. spine and front cover lettered in black. No dust jacket issued. Sagar & Tabor A49. Sagar & Tabor A11. Spine lightly sunned, else fine. £750 [126110] £750 [126113] first edition, presentation copy from the author to his sister, inscribed on the front free 105 endpaper “To Olwyn love from Ted Sept 20th 1971”, 102 with the inscription repeated upside down on the HUGHES, Ted. A Primer of Birds. Devon: The HUGHES, Ted. Crow. London: Faber and Faber, rear endpaper, no doubt by mistake, below Hughes’s Gehenna Press, 1981 1970 manuscript addition “author’s copy No. 2. Sept 20 Tall octavo. Original marbled boards, white paper labels to 1971”. Hughes and the printer each received 100 cop- spine and front board lettered in black and red, top edge Octavo. Original black cloth, spine lettered in gilt. With the ies for private circulation. trimmed, others uncut. With 6 woodcuts, one printed in dust jacket illustrated by Leonard Baskin. Spine ends lightly colour by Leonard Baskin. A fine copy. bumped, a few tiny marks to covers, else a very good copy Crow Wakes, composed of the poems Hughes de- in the dust jacket, a little soiled, very slightly chipped and cided not to put into Crow, was printed in a run of first edition, signed limited issue, presenta- creased at extremities. around 230 copies. tion copy, from the author to his sister on first edition, pre-publication presentation Sagar & Tabor A28. the front free endpaper, “For Olwyn, with love Xmas 1981 from Carol and Ted”, and with an original un- copy from the author to his sister, inscribed £1,350 [125955] on the front free endpaper “To Olwyn with lots of published 19-line manuscript poem on a rear blank love from Ted 30th Sept 70”, surrounded by a hand- entitled “Some Spare Cormorant for Olwyn”. This is 104 drawn long-tailed lizard upon a leaf by Hughes. Crow number 151 of 250 copies signed by both the author was published two weeks after this inscription, on 12 HUGHES, Ted. Eclipse. Knotting, Bedfordshire: and artist. From the library of Frieda Hughes, though October 1970. The Sceptre Press, 1976 unmarked as such. Sagar & Tabor A76. Sagar & Tabor A25. Octavo, pp. 4. Original purple wrappers, front wrapper let- £2,750 [125957] tered in black, stapled as issued. Small ink mark to front £3,000 [125873] wrapper and dark mark to rear wrapper, else a near-fine copy. first edition, presentation copy, from the author to his sister a month after its publica-

All items are fully described and photographed at peterharrington.co.uk 51 106

106 perforations, one neat horizontal cut across the final leaf of ogy of Pragmatism and Radical Empiricism” (1906), the 8 November letter not affecting any text. JAMES, William. Autograph letter signed heavily annotated by James and sent back to Russell an affectionate autograph letter signed in July of the same year, and James’s article, “Prag- from James to his friendly critic, the from james to john edward russell, professor matism’s Conception of Truth”, similarly closely an- American philosopher John Edward Russell; of philosophy at Williams College, Williamstown, notated by Russell. Appendix IV (“James and John E. written in response to a dictated letter from Massachusetts, with the letter from Russell to James, Russell”) of the 1976 edition of Essays in Radical Em- Russell to James, also present here, with in his wife’s hand, which prompted the aforemen- piricism records this exchange and more about their related correspondence from James’s wife tioned response, plus related correspondence from surviving letters in great detail, where the editors also note that “not all of the correspondence between the Alice to Mrs Russell. Rome: November-December, Alice James dated from their time spent abroad in Europe. two men has been preserved” (p. 272). 1900 Russell (1848–1917) was one of James’s friendly Russell’s letter to James, written from Geneva Together 5 letters. Comprising 1 autograph letter signed critics, favouring the traditional correspondence the- on 14 November 1900, details his ongoing struggles from James to Russell dated 26 November 1900, in ink on ory of truth over James’s pragmatic view. Famously, with illness, a situation which James commiserates plain paper covering just over six pages; 1 letter from Russell their correspondence on this topic would be printed with in his following letter: in 1900 both philoso- to James (dictated to his wife and docketed as such) dated phers were vacationing in Europe for health reasons. 19 November 1900, hand written in pencil on Grand Hotel, under the title “Controversy about Truth” in the Jour- Beau-Rivage, Geneva headed note paper covering five pag- nal of Philosophy, Psychology, and Scientific Methods (23 James’s missive is far more lively than Russell’s, of- es; 3 autograph letters signed from Alice H. James to Mrs May 1907). Though stern words were often exchanged fering a candid opinion of Rome (“really the greatest Russell dated 2 November, 8 November, and 29 December in their disagreements, they regularly reviewed each of prowling places, and unless Babylon or Nashipur 1900, in ink, the earliest on Hotel Hassler, Rome headed other’s work and clearly held each other’s opinions in beat it in that respect, it must be the place that of all note paper, the remaining two on plain blue paper, ranging high regard, sending offprints for the other to mark others falls back on its certainty of being all right in- between four and six pages in length. Overall in very good up. Harvard has two sets of manuscript documents side and backwards in time . . . what a sense of histo- condition, with the expected creasing and a few very small which evidence this collaborative relationship: Rus- ry one gets, and what a stratification of centuries of sell’s article, “Some Difficulties with the Epistemol- different sorts of corruption one feels”) and humor-

52 December 2019: Peter Harrington 107

first edition. The creation of the dictionary was Johnson’s greatest literary labour. Helped by a succession of needy amanuenses who worked in the surprisingly spacious garret of his house in Gough Square, he experienced the death of his mother and underwent agonies of procrastination before finally completing the task in his 46th year. Boswell called it a work of “superior excellence” and “much greater mental labour, than mere Lexicons, or Word Books as the Dutch call them” (Life of Johnson, p. 213). As his use of 114,000 illustrative quotations shows, Johnson clearly intended to combine lexi- cography with entertainment and instruction; this was the only work he called “my Book” (Letters I: 71). Since it was now owned by the booksellers who had paid him £1,575 in advance, publication by no means saved him from poverty. Yet it was always to 107 be called “Johnson’s Dictionary”—and was as much his greatest monument as St Paul’s was Christopher Wren’s. The national pride taken in the dictionary ous anecdotes, such as an account of his and Alice’s 107 was expressed by the poet Christopher Smart when attendance at an amusing musical soirée (“It was the JOHNSON, Samuel. A Dictionary of the he wrote in the Universel Visitor: “I look upon [it] with funniest mixture of a Yankee country town ‘sociable’ equal amazement, as I do upon St Paul’s Cathedral; and a roman solemnity, & my wife and I roared when English Language. London: by W. Strahan, for J. each the work of one man, each the work of an Eng- we got home over some of the incidents”). The letters and P. Knapton; T. and T. Longman; C. Hitch and lishman” (Dr Johnson’s Dictionary, pp. 199–200). from Alice James are similarly addressed from Hotel L. Hawes; A. Millar; and R. and J. Dodsley, 1755 Hassler and Hotel Primavera in Rome and discuss in Alston V 177; Courtney and Smith p. 54; Chapman & Hazen p. 2 volumes, folio (407 × 252 mm). Contemporary calf, skilfully 137; Fleeman 55.4D/1a; Printing and the Mind of Man 201; Rothschild further detail their husbands’ medical arrangements. rebacked to style with full gilt spines, red and green morocco 1237; Todd, “Variants in Johnson’s Dictionary, 1755”, The Book Col- labels, by Aquarius. Titles in red and black. Contemporary lector, vol. 14, no. 2, summer 1965, pp. 212–13; Waingrown, Life of £4,500 [126088] Scottish armorial bookplates of Charles Craigie (“Honeste Johnson: An Edition of the Original Manuscript. Vol I: 1709–1765. vivo”: Fairbairn, Crests, pl. 91, no. 4). Titles a little browned, a few trivial marks internally, but an excellent copy. £22,500 [90616]

All items are fully described and photographed at peterharrington.co.uk 53 108 109 110

108 Extremities lightly worn, head of spine skilfully restored, lished in the German magazine Die Weißen Blätter in contents occasionally spotted; a very good copy. JONES, David. In Parenthesis. London: Faber October 1915, under the title Die Verwandlung. first edition, in the deluxe binding; one of The translator A. L. “Bert” Lloyd came from a & Faber Limited, 1937 1,000 copies of Kafka’s short story set in an unnamed humble background, emigrating to Australia in the Octavo. Original beige cloth, title gilt to spine on a grey penal colony which he wrote in October 1914. The 20s and, after stints working as a farm-hand and ground. With the dust jacket. With 2 illustrated plates (one “relatively long time span between composition and shepherd, returned to England in the early 30s where as frontispiece) after etching by Jones, and a map plate, each he landed a job in Foyle’s foreign language depart- with tissue guard. Contemporary pencilled ownership sig- first publication is due in part to Kafka’s dissatisfac- nature to front free endpaper and rear panel of dust jacket. tion with the original conclusion of the story”, how- ment. A lifelong Communist, he fell in with the A little rolled, spine slightly darkened, covers with a few ever, “Kafka revised the end of the text in November Fitzrovia set and came to the attention of the pub- marks, else a very good copy in the scarce dust jacket, a little 1918” (Gray et al., p. 134). In November 1916 Kafka lisher, David Archer, one of the great figures of the soiled, spine panel darkened, a little creased and chipped at presented a version of the text “at a public reading— book scene during the inter-war years. In 1932 Archer extremities with slight loss to title on spine panel. something to which Kafka rarely agreed—at the opened a left-wing bookshop and printing press at 4 first edition of David Jones’s epic poetic memoir, Goltz Gallery in Munich” (ibid., p. 134). The work Parton Street, London. The shop was “a necessary tackling the trauma of his trench experiences in the was translated into English by Eugene Jolas in 1941; touchstone for any account of ‘30s politics and liter- First World War after his breakdown from shell-shock published in the Partisan Review as In the Penal Colony. ature” (ODNB). in 1932. In Parenthesis won Jones the Hawthornden Dietz 50. Gray, Richard T. et al., A Franz Kafka Encyclopedia, Green- £2,250 [135807] Prize and the praise of such writers as W. H. Auden, wood Press (2005). who considered it “a masterpiece” in which Jones did £3,750 [126467] 111 “for the British and Germans what Homer did for the Greeks and the Trojans”, and of T. S. Eliot, who de- KAUFFER, E. McKnight. Original litho 110 clared it was “a work of genius” in the preface to his graph, inscribed. 2 June, 1919 1961 Faber reissue. KAFKA, Franz. The Metamorphosis. Original lithograph print in blue, red, green and yellow. £1,500 [125671] Translated by A. L. Lloyd. London: The Parton Mounted and framed (252 × 307 mm). Single central crease Press, 1937 where folded, slight abrasions to verso, in excellent condition. 109 Octavo. Original blue cloth-backed dark brown boards, titles an original lithograph, inscribed by the art- to spine in black, titles to front board in black on blue paper ist, “June 2, 1919. I hereby assign to the Calico Print- KAFKA, Franz. In Der Strafkolonie. Leipzig: label. Spine ends a little darkened, light wear to extremities, ers Association the copyright of this Russian Ticket Kurl Wolff, 1919 faint stain to front board, a near-fine copy. design, E. McKnight Kauffer”. The Manchester-based Octavo. Original half roan, floral patterned paper boards, first english language edition of the au- Calico Printers’ Association, founded in 1899 from the top edge gilt, others uncut. Title printed in blue and black. thor’s masterpiece, which was originally pub- amalgamation of 46 textile printing companies and 13 textile merchants, regularly traded with Russia.

54 December 2019: Peter Harrington 112

112 KEROUAC, Jack. Excerpts from Visions of Cody. New York: New Directions, 1960 Octavo. Original purple cloth-backed white boards printed in purple and red, designed by Kerouac, titles to spine in silver, orange endpapers, with publisher’s loosely inserted separate insert, as issued. With the clear acetate dust jacket. Slight soiling to spine ends and along top and bottom edges, light browning and creasing to top edge of insert. A near- fine copy, in the very good dust jacket, small tears at corners, a little loss to spine ends. first edition, sole printing, signed by kerouac, one of 750 copies, this copy out of series. Rare with both the original dust jacket and publisher’s insert. Kerouac wrote the novel between 1951 and 1952, and this excerpt comprises around a third of the text. Although no further editions or printings were issued separately, sections from Visions of Cody were published in various magazines, such as Playboy, The Beats, Trans- atlantic Review, and a few others, until the publication in 1973 its first complete and separate edition. 111 Charters A9. £2,500 [135874] Kauffer’s design was intended for use on packages of Market Group. Kauffer’s real genius was in advertis- goods bound for Russia, with the Russian text reading ing art; he produced seminal posters for the London “The Calico Printers’ Association in Manchester. The Transport Board and for the Great Western Railway, Association of the Print Manufactory”. One other copy as well as book jackets and illustrations. “Kauffer’s of this label has been traced, at the V&A Museum. sprightly, jazzy, designs were part of the social fabric Kauffer (1890–1954) was born in the United States of progressive, forward-looking Britain in his time” and settled in England in 1914. He was a member of (ODNB). both Wyndham Lewis’s Group X and the Cumberland £650 [123757]

All items are fully described and photographed at peterharrington.co.uk 55 114 115

ed portrait of Kipling on the following leaf. Spines slightly brother Bohuslav] sister married a Czech and thus darkened and bumped at ends, light soiling to japon, more returned to the country from which the father came”. substantially so on rear cover of vol. II, else a very good set. 113 £1,500 [125586] first and signed limited u.s. edition, volume I signed by the author, number 232 of 525 sets; 12 113 presentation sets were also issued. This is one of the 116 KESEY, Ken. One Flew Over The Cuckoo’s finest editions of Kipling’s verse, handsomely printed KONEN, Valentina. Puti amerikanskoi on handmade paper. Nest. London: Methuen & Co Ltd, 1962 muziki (The ways of American music). Stewart 575; Richards A396. Octavo. Original red-purple cloth, spine lettered in silver Moscow: Sovietskii kompozitor, 1961 with light blue device. With the dust jacket. Spine slightly £1,375 [125430] Octavo. Original ecru cloth, title to spine and front board rolled, pale spotting to top edge, extremities lightly rubbed. in gilt and blue. Illustrations and notation to the text, A very good copy indeed in the very slightly chipped jacket, 115 47 pages of notation at the rear. A little rubbed, slightly spine panel toned. cocked, two damp-spots to the rear board, light browning, first uk edition, inscribed by the author on (KOKOSCHKA, Oskar.) HOFFMAN, Edith. overall very good. the title page, “For Erik, Kesey”. The recipient, Erik Kokoschka. Life and Work. With two essays by first edition of this detailed overview of Amer- Arthur, ran Fantasy Centre bookshop along with Ted Oskar Kokoschka and a foreword by Herbert ican jazz. Soviet musicologist Valentina Konen Ball, until its closure in 2009. One Flew Over the Cuckoo’s Read. London: Faber and Faber Limited, 1947 (1909–1991) was one of the leading authorities on jazz culture in USSR. Born in Baku she left Russia Nest was first published in the US the same year. Octavo. Original yellow cloth, spine lettered in gilt on red after the October Revolution and spent 10 years in £1,500 [124972] ground. With the dust jacket. Colour frontispiece, 4 colour plates, 30 black and white plates, illustrations in the text. USA, studying at Juilliard (1924–9) specialising in Spine very slightly darkened, extending onto edges of cov- piano. During her time in America she was part of 114 ers, spine ends and tips lightly rubbed. A very good copy in the circle that gathered around Charles Seeger, who KIPLING, Rudyard. Poems 1886–1929. New the chipped dust jacket, spine slightly faded, short closed was lecturing at both Julliard and the New School tears, a little loss to ends of joints, 3 small rips and dark York: Doubleday, Doran & Company, Inc., 1930 for Social Research. Konen returned in USSR in 1931 marking to rear panel. to study at the history and theory department of the 3 volumes, large octavo. Original japon-backed boards, red first edition, presentation copy, inscribed Moscow Conservatory, graduating in 1938 with a paper labels to spines printed gilt, gilt motifs to front covers, top edges gilt. Title pages printed in red and black, facsim- by the artist to his sister, “For my beloved sister doctoral thesis on the musical culture in USA. She ile frontispiece in volume I of a holograph poem by Kipling Biboschl at Xmas 1947 with thousand kisses from her lectured in the history of foreign music at the Con- (specially reproduced for this edition). A couple of pasted brother Oskar, London, 16.xii.47”, on the front free servatory between 1938 and 1949 also teaching at the photographs of Kipling with Canadian railway magnate D. endpaper. Berta Kokoschka (b.1889) is mentioned Gnesin Music Teachers College from 1944. In 1949 J. McDougal to front endpapers of vol. I, along with a past- briefly in this biography at p. 26: “their [Oskar and she was accused of being a “cosmopolite” and fired,

56 December 2019: Peter Harrington 116 118 119 being exiled to the Urals, where she was a professor 117 first edition of the sixth instalment in Lang’s at the Urals Conservatory, 1949–51. In 1960, reha- LACHAPELLE, David. Artists and Fairy Book series, with tales “deriving from many bilitated, Konen became a senior research worker countries—Lithuania, various parts of Africa, Ger- at the Institute of the History of the Arts, under the Prostitutes. London: Taschen, 2005 many, France, Greece, and other regions of the aegis of the Ministry of Culture of the USSR. The Folio. Original pink and black cloth. Housed in contrasting world” (Lang’s preface), many of them highly phan- somewhat neutral title of this work can be account- black and pink solander box. A fine copy. tasmagorical and strange. Lang’s preface contains ed for by Konen’s troubled career path, which shad- limited edition of 2,500 copies, numbered the intriguing observation, “The stories, as usual, ows the vexed history of jazz in the Soviet Union. An and signed by the photographer. A superb illustrate the method of popular fiction. A certain attractive piece of 60s Russian book production with large-format Taschen publication showcasing the number of incidents are shaken into many varying stylish line-drawn illustrations by L. Witte. vibrant colour-saturated photography of David combinations, like the fragments of coloured glass £950 [135739] LaChapelle. Once dubbed the Fellini of photogra- in the kaleidoscope. Probably the possible combi- phy, LaChapelle has worked for the most prestig- nations, like possible musical combinations, are not ious international publications and has been the unlimited in number”. subject of exhibitions in both commercial galleries £550 [124326] and leading public institutions around the world. The full-bleed colour illustrations are colour-separated and reproduced in Pan4C, a modern reproduc- 119 tion technique which provides unequalled intensity LANG, Andrew (ed.) The Olive Fairy Book. and colour range. London: Longmans, Green and Co., 1907 £2,500 [127752] Octavo. Original olive green cloth, spine lettered in gilt, gilt pictorial decoration to front cover, pictorial endpapers, 118 edges gilt. Frontispiece with tissue guard, 7 colour plates, 20 black and white plates, illustrations in the text. Spine ends LANG, Andrew (ed.) The Grey Fairy Book. slightly rubbed. A very good copy indeed. London: Longmans, Green, and Co., 1900 first edition, of the eleventh and penultimate of Octavo. Original grey cloth, titles and pictorial decoration Lang’s “Fairy Books”. This work contains 29 fairy to spine and front board gilt, black endpapers, all edges gilt. tales such as “The Green Knight”, “The Satin Sur- Illustrated frontispiece with tissue guard, vignette title page, geon”, and “The Silent Princess”. 31 plates, and illustrations in the text throughout by Ford. Spine ends and tips a little rubbed, foxing to the text block, £750 [124677] dark dampstain to pp. 87–94, not affecting text, worm dam- 117 age p. 137. A very good copy.

All items are fully described and photographed at peterharrington.co.uk 57 satisfied with incomplete copies are such eminent names as the Houghton Library (Harvard), Lilly Li- brary (Bloomington), Osborne Collection (Toronto Public Library), Gordon N Ray (Pierpont Morgan), Arents Collection (New York Public Library), John Shaw’s Childhood in Poetry Collection (Florida State University), Paul Mellon Collection (Yale Center for British Art), British Library, and the Beinecke Library (Yale University). Only three complete copies appear in auction records since 1975, the other two being: (a) contemporary half calf, original pictorial front wrappers bound in; some spotting throughout; marginal stains to 2 plates in vol. I; Kildare & Ischia cropped at head; So- theby’s, Nov 18, 1999, lot 142, £28,000; (b) near-contemporary half calf, original front wrappers bound in; some foxing & minor stains; 4 plates in vol. II with neat repairs to slight marginal tears; pencil scribble on verso of last plate; with 3 ALs’s; California, Jan 24, 1988, lot 59, $22,000. This copy was formerly in the library of the British author and publisher John Hadfield (1907–1999), best known for his 1959 comic novel Love on a Branch Line. Tipped-in to the rear pastedown is a typed letter signed from the bibliographer, book-collector, and antiquari- an bookseller John Carter (1905–1975), in his capacity as London agent for Scribners of New York, dated 19 120 November 1951, sending a collation of the book (not present), and noting “If yours is complete and if you 120 very faint tidemark to last five plates; overall an acceptable ever think of selling it, I hope you will remember that copy of a noted rarity. we should be glad to give you a good price for it”. [LEAR, Edward.] A Book of Nonsense. By first edition of lear’s famous nonsense lim- Ray, The Illustrator and the Book in England from 1790 to 1914, no. 92 Derry Down Derry. [London:] Thomas McLean, ericks, including three poems suppressed (incomplete). 1846 after the second edition of 1855. In this original com- £17,500 [125720] 2 volumes bound in 1, oblong quarto (210 × 142 mm). Contem- pilation most of the verses are printed in three lines. porary dark purple calf, neatly rebacked with original spine The second edition, also lithographed, regularized 121 laid down, marbled paper sides, relined to style. Housed in a this to the familiar five-line form, emphasizing the black quarter morocco solander box by the Chelsea Bindery. AABBA rhyme scheme. The first trade edition (the LEE, Harper. To Kill a Mockingbird. Lithographic titles and 72 lithographic plates by Lear, comprising in total 73 nonsense limericks with pictures. Three third printing) of 1861 was expanded to 113 limericks Philadelphia: J. B. Lippincott Company, 1960 plates supplied (“Old Man of Berlin,” “Young Lady of Troy” reproduced as woodcuts, but with three of the origi- Octavo. Original green cloth-backed brown boards, title to and “Old Sailor of Compton”) from two different sources nals from this first edition omitted. spine brown. With the dust jacket. Housed in a green quarter (each with three-line limericks); “Old Person of Ems” bound The absolute rarity of this original version has morocco solander box by the Chelsea Bindery. Bookseller’s upside-down. Boards rubbed in places and worn at edges, been documented in Nonsensus (Catalpa Press, 1988) ticket to front pastedown. Spine slightly faded and very gen- bookplate removed from front pastedown, pencil marks which provides a census of this 1846 first edition: 23 tly rolled, touch of wear to tips, a very good, clean copy in erased from front free endpaper, plates faintly foxed, edges copies were located in total, of which only 11 copies the price-clipped jacket, minor loss to spine ends and tips, worn; “Old Person of Ems,” “Old Person of Chester,” “Young extremities nicked, creased, and rubbed, but overall a quite were textually complete, and of those only seven still Lady whose Eyes” and “Old Man of Kilkenny” fore edges with bright example of a jacket prone to fading. retained the original pictorial covers. old paper repairs; “Old Person of Chester” with a small chip first edition, first issue jacket, with the Tru- to the lower margin, “Young Lady” with two closed tears in “The first edition of A Book of Nonsense . . . is a book lower edge with old tape repairs and two soft vertical creases; of the very greatest rarity. Some scholars feel that its man Capote blurb printed in green on the front flap small hole to “Old Man of Nepaul” just below the caption; 3 bibliographical complexities are almost as mysteri- and the Jonathan Daniels blurb on the rear flap. plates following second title-leaf with faint dampstain to up- ous as the origins of the limerick” (Pierpont Morgan £9,750 [125700] per margin, only slightly affecting illustrations; sizeable but Library). Among the collections that have had to be

58 December 2019: Peter Harrington 122

Some scuffing to spine, hinges taped, short split to front endpaper. A tall, internally clean copy. first edition, Lowndes recording that only 150 copies were printed. The first biography of Caxton, Lewis’s work is notable for its accuracy and detail, and remained the best biography of the printer until Wil- 121 liam Blades’s two-volume biography was published in 1861–3. Thomas Frognall Dibdin inserted the entirety of Lewis’s study in his Typographical Antiquities. 122 has also seen several adaptations, including a film, a ESTC T40961; Lowndes 1128. L’ENGLE, Madeleine. A Wrinkle in Time. play, an opera, and a graphic novel. A Wrinkle in Time is particularly notable as a sci-fi novel with a female £3,750 [125059] London: Constable Young Books Ltd, 1963 author and a female protagonist. Octavo. Original red and black patterned boards, titles to spine in gilt. With the pictorial dust jacket. Dust jacket design £2,000 [135806] by Antony Maitland. Bookseller’s ticket of Hall’s Book Store in Melbourne and Prahran to front pastedown; neat ownership 123 inscription of R. J. Lane to front free endpaper, dated 1964. Spine ends gently bumped, some abrasion and glue residue LEWIS, John. The life of Mayster Wyllyam to pastedowns, faint partial toning to free endpapers. A very Caxton, of the Weald of Kent; the first printer good copy indeed, in the near-fine dust jacket, price-clipped, in England. In which is given an account of a trifle creased at extremities, minor soiling. the rise and progress of the art of pryntyng first uk edition of the first instalment in the Time Quintet. A Wrinkle In Time is an important and classic in England, during his time, till 1493. London: children’s fantasy work by Madeline L’Engle (1918– [no publisher stated,] 1737 2007), originally aimed at young female readers but Octavo (238 × 145 mm). Mid-19th-century red half morocco, with major crossover appeal. Upon publication, it discreetly rebacked, spine lettered in gilt, marbled sides and won numerous awards, including the 1963 Newbery endpapers, top edge gilt, bottom edge untrimmed. Portrait Medal, the Sequoyah Book Award, and the Lewis Car- frontispiece of Caxton after Bagford, 2 woodcut illustrations of Caxton’s printers mark, 2 inserted errata leaves at rear roll Shelf Award, as well as being a runner-up for the rather than the one called for, the latter possibly inserted Hans Christian Andersen Award. Having sold more from another copy. A few contemporary ink annotations. than ten million copies worldwide, L’Engle’s novel 123

All items are fully described and photographed at peterharrington.co.uk 59 124 LOWRY, L. S. Two Brothers. Cheshire: Adam Collection Ltd, 1972 Offset lithograph on heavy wove paper. Image size: 65 × 30.4 cm. Sheet size: 72.4 × 39.9 cm. Tape residue to extreme upper edge, hidden by the mount, otherwise in excellent condition. Presented in a contemporary brown wood and gilt frame with conservation acrylic glazing. edition of 850, signed in pencil by the artist. With the Fine Art Trade Guild blindstamp to lower left of print. £6,500 [135917]

125 LUCRETIUS, Titus. Of the Nature of Things. London: Printed by J. Matthews for G. Sawbridge; and sold by J. Churchill and W. Taylor [& 11 others in London], 1714 2 volumes, octavo in half-sheets (191 × 116 mm), in 6 parts. Mid-19th-century vellum, titles in gilt on black morocco labels decorated with a zig-zag roll, edges red, marbled endpapers. Engraved frontispiece of Lucretius by Michael Burghers after Creech, woodcut title ornament of “Minerva Londinensis” in vol. 1, wood-engraved decorative initials, headpieces and culs- de-lampe; continuous pagination. Spine ends a little bumped, bindings showing general light signs of handling, scattered foxing, marginal tear to fore edge of leaf Zz2. A remarkably well preserved set, clean and crisp. first edition to include “all the verses in the text which Mr. Creech had left untranslated . . . and many new notes added, and intermixed by another hand” (Lowndes). The success of Creech’s translation was as immediate as it was sensational. First published in 1682, it was reprinted several times in the succeeding decades, and became required reading at Oxford, where, as the freethinker and religious controversial- ist Matthew Tindal says, “he was look’d on as a raw Lad that had not read the Lucretius of Creech” (The Nation Vindicated from the Aspersions Cast on it in a Late Pamphlet, pt 2, 1712, 39). Lucretius’ philosophy, which includes disbelief in any kind of afterlife and in any divinity concerned with man’s welfare, was a favourite with the deists and atheists of the Enlightenment. This 1714 edition was something of a watershed in that “Creech’s translation was made to serve a growing consensus ideology of Newtonian providentialism, and so the text was augmented by voluminous notes, thick with explanations and annotations (lately attributed to the 124 scholar John Digby), and arguments attempting to

60 December 2019: Peter Harrington 125 126 127 reward Lucretius’ atomism and his poetic skill, and the British. His health declined in 1865, and he was slipcase. A fine copy, in the slipcase with slight wear around undermine his dismissive view of the gods, either by sent home by the medical board in August, dying on extremities. disproving his atheism or when there was no choice, the journey back to Ireland. Together the correspond- signed limited edition, number 9 of 250 cop- disapproving of it” (Anne Janowitz, “The Sublime ence provides a fascinating insight into the day-to- ies signed by the author, printed on art laid pa- Plurality of Worlds: Lucretius in the Eighteenth Cen- day activities organising the “Ever Victorious Army”, per, and specially bound. tury”, Tate Papers, No. 13, Spring 2010). including visits to Nankin, “the great rebel strong- £1,250 [125079] ESTC N49575 or N71531; Lowndes V, 1411. hold”, and their reception by the imperial general. This edition is uncommon, with only six institutional £1,000 [135877] locations on Library Hub. 126 £1,250 [125439]

LYSTER, E. A. (ed.) With Gordon in China. 127 Letters from Thomas Lyster, Lieutenant 128 Royal Engineers. London: T. Fisher Unwin, 1891 McCARTHY, Cormac. Blood Meridian or The Evening Redness in The West. New York: Octavo. Original black cloth, gilt lettered spine, front cover titled in yellow with dragon motif and seal or “chop”, pale Random House, 1985 orange coated endpapers. Portrait frontispiece with tis- Octavo. Original red quarter cloth, spine lettered in gilt, red sue-guard. Portrait frontispiece with tissue-guard. Spine paper-covered sides. With the dust jacket. Very faint stain to gently rolled and touch of wear to extremities, light discol- top edge. A very good copy in the dust jacket, very lightly ouration of cloth, top edge dust toned, faint marks to fore rubbed, very slight creasing at extremities, tiny chip at front edge, front inner hinge just starting yet a very good copy. top tips, red stain to head of spine panel verso. first edition. Thomas Lyster (1840–1865) was an first edition of McCarthy’s acclaimed fifth novel. Anglo-Irish British Army officer and aide to Gordon during his Chinese service. The work, compiled by £2,500 [135764] Lyster’s sister, contains a memoir, letters from his numerous commissions in China, of condolence to 128 the family from Gordon and others, and a laudatory MCMURTRY, Larry. In a Narrow Grave. “Memorandum Respecting the Services of the Late Austin: The Encino Press, 1968 Lieutenant Lyster, Royal Engineers”, provided by Gor- Octavo. Original quarter brown suede, black morocco label don. Lyster first arrived in China in August 1862, and to spine, brown paper boards, front cover lettered in blind was active both in a military role during the Taiping on black background, publisher’s device printed in black rebellion, and in surveying the countryside around to rear cover, fore edge uncut. Housed in the original cloth Shanghai, which was previously undocumented by 128

All items are fully described and photographed at peterharrington.co.uk 61 129 130 132

129 130 132 MALTHUS, Thomas Robert. Definitions in MAMET, David. Glengarry Glen Ross. A Play. MARTIN, George. Playback. An Illustrated Political Economy, Preceded by an inquiry New York: Grove Press, Inc., 1984 Memoir. Guildford: Genesis Publications Limited, into the rules which ought to guide political Octavo. Original black cloth, titles to spine in silver, red 2002 economists in the definition and use of their endpapers. With the dust jacket. A fine copy in the fine dust Quarto. Original full black leather, titles on chromium plate jacket. terms. London: John Murray, 1827 to front cover and in silver to spine, all edges silver, pictorial first edition, review copy, inscribed by the endpapers. Housed in a black cloth solander box with speaker Octavo (184 × 101 mm). Mid-19th-century calf, triple black illustration inlaid to the cover and titles to chromium plate, morocco labels to spine, the third with shelfmark, single gilt author on the title page: “Best Wishes, David Ma- met”, with the review copy slip from the publisher titles to spine in silver, the inside is fashioned to resemble part fillet to covers, marbled endpapers and sides. Treasury li- of a control desk and turntable. With the original packing box. and a press cutting for the 1988 show in Paris, starring brary bookplate to pastedown, manuscript contents page to With Playback CD and additional six-CD box set. A fine copy. binder’s blank with short tear. Bound without the half-title. Pierre Mondy and Francis Perrin, loosely inserted. Lightly scuffed, joints cracking at foot, small nick to binder’s blank and title page, internally clean; still a very good copy. £2,500 [136167] first edition of “a valiant attempt to resolve differ- ences of opinion in political economy by codifying its 131 terminology and establishing rules for the definition MANDELA, Nelson. The Long Walk to of terms. It could be regarded as one of the earliest Freedom. The Autobiography. London: Little, works on the methodology of economics” (ODNB). Brown and Company, 1994 Malthus devotes separate chapters to, among others, Octavo. Original black quarter morocco, green cloth sides, the French economists, Adam Smith, Say, Ricardo, spine lettered in gilt, map of South Africa to pastedowns and James Mill, McCulloch, and Samuel Bailey (although endpapers. With numerous photographic illustrations. Very the latter’s name was not known to him). The work is light orange marking to front cover. A near-fine copy. bound with an offprint of J. R. McCulloch’s hostile re- first uk edition, signed limited issue, num- view of the work, from the Scotsman, 10 March 1827, in ber 578 of 1,000 copies signed by mandela. The which McCulloch questions Malthus’s qualifications South African edition was published earlier that year. for the office of “Dictator in the Economical Repub- lic”. £3,500 [136334] Goldsmiths’ 25180; Kress C.1924. £3,750 [127338] 131

62 December 2019: Peter Harrington signed limited edition, number 225 of 250 deluxe copies signed by george martin, the record producer, arranger, composer, conductor, audio engineer, and musician best known for his work with the Beatles, together with the six-CD box set produced and signed by Martin. Also included are two pieces of sheet music by Martin, “The Spider’s Dance” and “Waltz in C Minor”. £2,500 [136080]

133 MARX, Karl. Herr Vogt. London: A. Petsch & Co, deutsche Buchhandlung, 1860 Octavo (212 × 138 mm). Contemporary black cloth-backed blue marbled paper boards, rebacked preserving the original spine, edges sprinkled black. Extremities worn, corners bruised, contents lightly browned, more severely in places, else a very good copy. first edition of the work which Marx took the best part of a year away from the writing of Capital to complete, bound first in a volume of two works, the other being the second edition of Marx’s Der achtzehnte Brumaire des Louis Bonaparte (Hamburg: Otto Meissner, 1869; first published 1852 in Die Revolution). Herr Vogt is an answer to the slanders against himself, Engels, and their supporters that appeared in Karl Vogt’s 1859 pamphlet, Mein Prozess gegen die Allgemeine Zeitung. “Herr Vogt is Marx’s ‘forgotten’ work. Mentioned in passing—if at all—in biographical studies, and scarcely at all in discussions of his writings, it has remained for over a century largely neglected . . . Marx spares neither wit nor invective in demolishing his opponent” (R. A. Archer, in the preface to his English translation of Herr Vogt [1982]). Karl Vogt was “quietly teaching in Switzerland when an obscure German refugee newspaper in Lon- don accused him of being a paid agent of Napoleon III. The matter might have been forgotten if Liebkne- 133 cht had not sent the accusation to the Allgemeine Zei- tung, which was published in Augsburg. Liebknecht small book appeared in Germany bearing the title Mein in precise and objective testimony. There were no ap- was the London representative of the German news- Prozess gegen die Allgemeine Zeitung. It was Vogt’s account peals to the gallery, only the documents. Vogt’s pres- paper. The Allgemeine Zeitung published the story. Vogt of his lawsuit against the Allgemeine Zeitung with a sten- entation was masterly, and no one reading the book was incensed, sued the newspaper for libel, and al- ographic record of the court proceedings and whatever casually could imagine that it would be possible to though the case was dismissed, he was able to claim explanatory and contributory documents the author rebut the evidence” (Payne, Marx, a Biography, p. 318). a technical victory. He suspected, quite wrongly, that could lay his hands on. Vogt was a scientist, and he Marx, outraged at the attack, replied in 1860 with Herr Marx was behind the attack. In fact Marx found lit- took care that the documents should be quoted with Vogt, in which he denounced Vogt for intrigue, slander, tle pleasure in the affair which dragged on for many exemplary accuracy. Occasionally he would give ini- and double-dealing. weeks, and was relieved when it was over. tials rather than full names, but he was careful not to Draper ST/M 51; Rubel 567. See Francis Wheen, Karl Marx, p. Matters might have rested in the peace of exhaus- tamper with anything else. Here, finally, was the full 238ff. tion, but late in 1859 the bitterness flared up again. A evidence for Marx’s treachery and duplicity as revealed £12,500 [126478]

All items are fully described and photographed at peterharrington.co.uk 63 134 134 136

134 first edition of mill’s great treatise on po- 137 MAUGHAM, W. Somerset. The Painted Veil. litical economy, unrestored in the original MILLER, Henry. Tropic of Capricorn. Paris: cloth. “From the moment of publication, Mill’s New York: George H. Doran Company, 1925 Principles was hailed as a classic, far more congenial The Obelisk Press, 1939 Octavo. Original red cloth, spine lettered in gilt, front cover to the public than earlier economic textbooks, and Octavo. Original white and red wrappers, titles printed in lettered in blind. With the dust jacket. Top edge lightly spot- far more readable than the Logic” (ODNB). “To many black to spine and front cover, top edge rough-trimmed, oth- ted, else a very good copy in the scarce dust jacket, lightly generations of students, Mill’s Principles was the un- ers untrimmed. Small tears to spine head, a few edge-splits foxed with a few short closed tears. and light chipping along top and bottom, faint dust-soiling, disputed bible of economic doctrine” (Roll, History of first trade edition, preceding the English trade front hinge starting but firm; a fresh and very good copy in- Economic Thought, p. 353). deed. edition by around a month, in a very nice example of Einaudi 3907; Goldsmiths’ 35525; Jevons, p. 280; Kress C.7500; the scarce dust jacket. It was the basis for the 2006 Mattioli 2408. first edition, first issue, with “60 frs” to the spine and the yellow errata slip tipped-in as issued, film of the same title. £7,500 [136186] Stott A33b.

£2,250 [130072] 136 135 MILLER, Harland. In Shadows I Boogie. (Blue.) London: Phaidon, 2019 MILL, John Stuart. Principles of Political Quarto. Original illustrated boards, titles to spine in grey Economy with some of their Applications to and red. With the original signed print. 190 illustrations Social Philosophy. London: John W. Parker, 1848 throughout with a loose original colour etching and relief 2 volumes, octavo. Original grey-green vertical fine-ribbed print titled In Shadows I Boogie (31.7 × 22.3 cm.) All in excellent cloth, printed paper spine labels, double frames to covers in condition. blind, pale yellow endpapers, edges untrimmed. With 4 pag- first edition, one of 100 copies signed by the es of advertisements at end of vol. I and 2 pages at the end of artist in felt tip on the limitation page, original vol. II. Neat contemporary ownership signature to front free print signed by the artist in pencil lower left, num- endpapers, a few very minor early annotations (crosses and question marks in ink and pencil). Minor chipping to labels, bered on the verso. The most comprehensive mon- light rubbing to cloth, faint ring-stain to front cover of vol. I, ograph to date on the British artist and writer best front hinge of vol. II just beginning to split, light wear to joints known for his paintings based on the dust jackets of and spine ends, some foxing to initial and final leaves but oth- early Penguin paperbacks. erwise clean, faint central crease to first few leaves of vol. I. A very good copy. £7,500 [136175] 137

64 December 2019: Peter Harrington 138 variant state with the paper wrappers not having fold-over flaps. This is the prequel to Miller’s first 139 published novel, The Tropic Of Cancer. It was “originally scheduled for publication in February but delayed 4 volumes, octavo (181 × 118 mm). Finely bound by Sangorski first edition, one of 100 copies only. The only for three months, as a result of which few copies were & Sutcliffe in contemporary half morocco, in their respec- other book of his poetry to be published during Jim sold before the beginning of the war, the death of Ka- tive published colours, titles and Winnie-the-Pooh motifs Morrison’s lifetime was The Lords. Both titles were hane, and the shutting down of the Obelisk Press. On to spines in gilt in compartments, raised bands ruled in first published at the author’s expense in 1969, and gilt, front covers small vignettes based on Shepard’s illus- these copies the original printed price on the spine later issued together in a single volume by Simon and and both flaps has not been inked out” (Pearson). trations blocked in gilt to upper left corner, marbled sides and endpapers, top edges gilt. Illustrated in black and white Schuster. Rare: WorldCat lists five copies only world- Pearson A60. by Ernest E. Shepard. Binder’s stamp to front free endpaper wide, four in the US and one in Canada. £1,250 [136146] versos. Spines uniformly a little sunned, negligible rubbing to edges, scuff to leather at front cover of When We Were Very £4,000 [136127] Young; else a near-fine set. 138 a beautiful set of the four winnie-the- MILNE, A. A. The House at Pooh Corner. pooh books, bound by Sangorski and Sutcliffe for London: Methuen, 1928 Wakefield Young Books. The first in the series, When Quarto. Finely bound by the Chelsea Bindery in pink moroc- We Were Very Young, was originally published in 1924, co, titles and decoration to spine gilt, raised bands, multiple followed by Winnie-the-Pooh in 1926, and Now We Are pictorial blocks to boards gilt, decoration to turn-ins gilt, Six in 1927. The final work in the series,The House at silk moirè doblures, top edge gilt, others untrimmed. Illus- Pooh Corner, was published in 1928. trated by E. H. Shepard. A fine copy. £1,750 [136620] signed limited edition, large paper copy, number 85 of 350 copies signed by both the artist and the author. 140 £5,750 [131996] MORRISON, James Douglas (Jim). The New Creatures. [No place: no printer,] 1969 139 Octavo. Original green cloth-backed brown boards, titles in gilt to front board. Ink ownership inscription of Christine MILNE, A. A. The Winnie-the-Pooh books. ?Mobley dated 1969 to rear free endpaper. Corners gently London: Methuen & Co.; E. P. Dutton & Co., New bumped, a touch rubbed, faint ring to front board, a near- fine copy. York, 1960–65 140

All items are fully described and photographed at peterharrington.co.uk 65 143

143 141 (NIELSEN, Kay.) ANDERSEN, Hans. Fairy Tales. London: Hodder and Stoughton Limited, 141 7 volumes, octavo (209 × 129 mm). Contemporary brown [1924] half calf, richly gilt spines, black morocco labels, marbled MUSAEUS. Hero & Leander. Translated from sides, edges and endpapers. Portrait frontispiece of Nelson Quarto. Original blue cloth, spine and front cover lettered by Freeman after Abbott (vol. I), 4 facsimile letters, 3 plans and decorated in gilt. With the dust jacket. Colour frontspiece the Greek by F. L. Lucas. London: Christopher and 11 colour plates, all tipped-in and with captioned tissue Sandford [at the Golden Cockerel Press], 1949 (2 folding). Spines lightly sunned, a few scrapes, a couple of minor bumps to fore-edge of boards. A very good set. guards, uncoloured illustrations in the text. Spine a little fad- Octavo. Deluxe vellum by Sangorski & Sutcliffe, title in gilt ed, spine ends and tips slightly worn, boards bowed, cloth to spine, illustrative designs by Buckland-Wright to boards first edition. “This is the standard work of refer- bright, contents lightly foxed, particularly prelims. A very in gilt, single gilt fillet to turn-ins, top edge gilt, others un- ence for Nelson’s correspondence and is the principal good copy in the scarce, unrepaired jacket, spine panel toned, trimmed. In the original orange cloth slipcase. With 12 etch- source from which his biographers have drawn (and a few nicks to extremities, a little foxing to panels. ings by John Buckland-Wright, including the title page and still do draw) their material” (Cowie). A reprint in signed limited edition, numbered and frontispiece, all but 2 full-page. A fine copy, from the library paperback was issued in 1997–8; in its foreword, Mi- signed by the artist, number 412 of 500 copies. of Buckland-Wright’s bibliographer Anthony Reid, with his chael Nash noted that “The ‘Nicolas’, as it is generally etched bookplate designed by Buckland-Wright. This is the cloth issue, with an unstated part of the known, has never been superseded”. edition issued in vellum. signed limited edition, signed by lucas and Cowie 144. buckland-wright, number 87 of 100 specially £3,500 [126520] bound copies, from the entire edition of 500. Lucas’s £1,500 [127286] translation of the sixth-century Greek poet Musaeus’s 144 famous poem was designed by Christopher Sandford (NIJINSKY.) BARBIER, Georges, & Francis and finely printed at the Golden Cockerel Press, with etched illustrations by John Buckland-Wright. de Miomandre. Dessins sur les danses de Vaslav Nijinsky. Paris: A la Belle Édition, 1913 £3,500 [135803] Folio (325 × 265 mm). Later tan half morocco in art deco style, black paper-covered boards sprinkled in gilt and old 142 gold, lettered in black, sans serif, gilt rules to spine and front board, wrappers and spine bound in, mustard yellow endpa- (NELSON, Horatio.) NICOLAS, Sir Nicholas pers, top edge gilt. 12 line-block plates coloured en pochoir Harris (ed.) The Dispatches and Letters of and 3 vignettes in black. A little rubbed, joints professionally Vice Admiral Lord Viscount Nelson. With repaired, some scrapes on the boards carefully recoloured, a very good copy. notes. London: Henry Colburn, 1844–6 142

66 December 2019: Peter Harrington 144

The ideal Fokine interpreter, he was able to expand a simple choreographic design into a rich dramatic portrait, using, in keeping with Fokine’s dicta, the whole body as an expressive instrument . . . Nijin- sky’s influence as a dancer was immediate and huge. That ballet, nearly extinguished artistically in western Europe, was revived in this century is due to him and other great dancers of his generation, such as Anna Pavlova and Karsavina . . . That male ballet, utterly extinguished, was also revived is due to him pre-eminently. Nijinsky was the first real ballet star of the male sex that Europe had seen since the re- tirement of Auguste Vestris nearly a century earlier. He initiated a renaissance” (Cohen, The International Encyclopaedia of Dance IV, pp. 646–8). This superb tribute to the art of Nijinsky, produced at the height of his fame, is illustrated with plates of his most renowned performances to date—Schéhéraza- de, Prélude à l’Après-midi d’un faune, L’Oiseau de feu, Le Spec- tre de la Rose, Pétrouchka, and Les Sylphides. And who better to capture the innovative spirit of this great artist 144 than Georges Barbier, the acknowledged master of the elegantly flexed deco line, and its finest exponent first edition, number 260 of 340 copies on And all is forgotten. Not forgotten, suspended . . . in the illustrative manner? Barbier began his career wove paper, from an edition of 390. Barbier’s first An enchantment suspends the course of our life. Ni- as a costume and set designer for the Ballet Russes book was inspired by the impact of the Ballets Russ- jinsky dances” (Francis de Miomandre). During his and was inspired Nijinsky’s performances to produce es’ first seasons in Paris, and of their phenomenal brief career Nijinsky was without doubt “the most this, his first book. Barbier’s later publications were male lead in particular. “We have our despair, our famous male dancer in the world, a pre-eminence notable for the superb quality of the pochoir printing. sadness, our violated love and this thing, the most due in part to his extraordinary virtuosity . . . But it This is a simpler production by far, but it is difficult to dread of all—the passing of the days between our was not his virtuosity alone that made him such a imagine a more strongly evocative homage. hands, helpless to cherish aught they give. But in powerful stage presence. As contemporary reports the spring, the Russian Ballets and Nijinsky return. make clear, Nijinsky was a great and unusual actor. £5,000 [136225]

All items are fully described and photographed at peterharrington.co.uk 67 145 147

145 146 more desirable long-form before the switch. The fu- NIXON, Richard. 1999. Victory without War. OBAMA, Barack. Dreams From My Father. ture president’s first book, Dreams From My Father, was published as Obama began his run for the Illinois New York: Simon and Schuster, 1988 New York: Kodansha International, 1996 senate, and helped to establish his reputation and Octavo. Original black quarter cloth, spine lettered in gilt, Octavo. Original wrappers. Bump at foot of spine with short image. This edition follows the initial publication by black paper-covered sides, light green endpapers. With the nick, other instances of very minor creasing at wrapper ex- Random House in hardback the previous year. dust jacket. A good copy in the toned dust jacket, spine panel tremities, otherwise a very good copy. heavily sunned with slight nicking at head, short split at foot first paperback edition, inscribed by the au- £2,250 [136159] of rear flap fold. thor on the half-title: “To Audrey—Wishing you all first edition, presentation copy to peter the best! Barack Obama 5.21.04”. As Obama’s name 147 carrington, inscribed by the author on the half-ti- recognition increased following his famous address O’BRIAN, Patrick. Complete set of Jack tle: “To Lord Carrington with great respect from to the Democratic National Convention in 2004, he Aubrey and Stephen Maturin novels. London: Richard Nixon”; with Carrington’s bookplate to the switched to a short-form signature; this example, Collins [&] Harper Collins, 1970–99 front free endpaper. The Conservative politician and preceding the speech by two months, retains the hereditary peer Peter Carrington (1919–2018) served 20 volumes, octavo. Attractively bound in recent dark blue mo- as defence secretary from 1970 to 1974, foreign secre- rocco, titles and decoration to spines gilt, raised bands, single tary from 1979 to 1982, and secretary general of NATO rule to boards, marbled endpapers, gilt edges. A fine set. from 1984 to 1988. As defence secretary, Carrington first editions, a complete set of this celebrated had much contact with the US government under sequence of novels capturing life in the Royal Navy Nixon’s second presidential term. The relationship during the Napoleonic Wars, a naval adventure series between the UK and US was somewhat strained in to rival C. S. Forester. this time, as the prime minister Edward Heath was £10,000 [127569] more hostile to the US than his predecessors, and disposed to closer unity with Europe, a view that Car- rington shared, although his strong commitment to 148 the UK nuclear deterrent pleased the US. OPIE, Julian. Julian Opie. Victoria: National £750 [135603] Gallery of Victoria, 2018 Quarto. Original black boards with a lenticular to the front cover, titles to spine in white. With the wraparound band. Illustrated throughout with an original lenticular print to the rear pocket titled “Amelia” (27 × 15 cm.) All in excellent condition. first edition, signed by opie, one of 50 copies with the original loose lenticular; a limit- 146

68 December 2019: Peter Harrington 149 150

blemishes, tiny hole to 2E grazing a couple of letters. An ex- both volumes inscribed by the author on the cellent, clean copy. front free endpaper “With best wishes—Dorothy first edition of this collection of verses by Oxford Parker”. These are later printings, first published in men celebrating the restoration of Charles II to the 1926 and 1928 respectively. “Her first book of poems, 148 throne, written in Latin, Arabic, Hebrew, Greek, French Enough Rope (1926), centers on the theme of aban- and English. Oxford, Charles I’s capital during the Civil donment and of women’s subordination, and the ed-edition catalogue produced to coincide with the War, had remained a bastion of royalism, and by all ac- tone becomes increasingly rueful and painful; both exhibition at the National Gallery of Victoria. counts the University welcomed the Stuarts’ return. themes intensify in the second collection of poems, The collection sees the first appearance in print of Sunset Gun, published in 1928, the year in which she £6,000 [135981] John Wilmot, 2nd Earl of Rochester, then a 13-year divorced [Edwin Pond] Parker on grounds of incom- old student at Wadham, and the second appearance patibility” (American National Biography). 149 in print by John Locke. Edward Pococke, the notable £600 [136231] ORWELL, George. Nineteen Eighty-Four. A orientalist and first holder of Oxford Chair of Arabic, Novel. London: Secker & Warburg, 1949 contributes both an Arabic and a Hebrew poem. ESTC R203103; Madan, III, 2466; Wing (2nd ed.), O863. Octavo (178 × 113 mm). Finely bound by Bayntun-Riviere in burgundy morocco, titles and decoration to spine gilt, raised £3,250 [126794] bands, single rule to boards gilt, twin rule to turn-ins gilt, decorative endpapers, gilt edges. A fine copy. 151 first edition. PARKER, Dorothy. Enough Rope; [together £1,375 [135766] with:] — Sunset Gun. New York: The Sun Dial 150 Press, 1940 & 1941 Together 2 works, octavo. Original brown and black cloth (OXONIA.) Britannia Rediviva. Oxford: A. & L. respectively, spines lettered in gilt. With the clipped dust Lichfield, 1660 jackets. Bookseller’s ticket to rear free endpaper of Enough Rope. Faint toning to endpapers, light wear to spine ends of Small quarto (180 × 141 mm). 20th-century red half moroc- Sunset Gun, Enough Rope with light crease to final few leaves. co, spine lettered in gilt, brown cloth sides, marbled endpa- A very good pair in the good jackets, chipped and creased, pers, top edge gilt. Woodcut insignia of Oxford University lightly soiled and sunned, tape repair on head of spine panel and Charles II. Contemporary price notation on title page verso of Sunset Gun. (1s. 4d), two contemporary ink corrections to M2v. Close- ly cropped at times never affecting text, a few insignificant 151

All items are fully described and photographed at peterharrington.co.uk 69 152

152 PATERSON, Isabel. The God of the Machine. New York: G. P. Putnam’s Sons, 1943 Octavo. Original red cloth, spine lettered and blocked in blue, top edge blue, fore edge untrimmed. With the dust jacket. Ownership signature of John L. Kenney, dated 1945, to front 153 free endpaper. Spine ends bumped, extremities rubbed, endpapers a little browned; a very good copy, the contents notably See Michael S. Berliner, ed, Letters of Ayn Rand (Penguin, 1997); Drinking is Peabody’s expanded popularisation of his bright and clean. Jacket good only; chipped and creased, spine Jennifer Burns, “The Three ‘Furies’ of Libertarianism: Rose Wild- original scientific study, “Psychotherapeutic Proce- panel faded with some loss at ends (touching two letters of er Lane, Isabel Paterson, and Ayn Rand”, Journal of American Histo- the author’s name and obscuring one of the publisher’s) and a ry, Vol. 102, Issue 3, Dec. 2015, pp. 746–74. dure in the Treatment of Chronic Alcoholism”, read perforation to middle of spine, verso foxed. before the Harvard Psychological Society, the Bos- £1,250 [135834] ton Society of Psychiatry and Neurology, and first first edition of the author’s best-known work. A published in the January 1930 issue of Mental Hygiene. leading Canadian-American journalist and esteemed 153 Peabody was the first husband of Caresse Crosby, literary critic, Paterson (1886–1961) is credited as founder of the Black Sun Press with her second hus- one of the “three furies” of the American libertarian PEABODY, Richard R. The Common Sense band Harry Crosby. He came by a secular and scien- movement alongside Ayn Rand and Rose Wilder Lane of Drinking. Boston: Little, Brown, and Company, tific approach to the famous conclusion that “Suffice (William F. Buckley Jr. quoted by Burns, p. 746). In a April 1931 it to say, once a drunkard always a drunkard—or a lengthy and strongly-worded letter to Earle H. Balch, Octavo. Original red cloth, titles in black and illustrations teetotaler! A fairly exhaustive inquiry has elicited no an editor at G. P. Putnam’s Sons, Rand stressed the in yellow to spine and front board. With the illustrated dust exceptions to this rule”. In a poignant end to his life, importance of Paterson’s book and advised in great jacket. Spine minimally cocked, slight rubbing to spine Peabody died of alcoholism five years after the publi- detail the best methods of publicizing its release, ar- ends, small mark to top edge of front board near tip, oth- cation of this book, at the age of 44. guing that “The God of the Machine is a document that erwise cloth notably bright, paper offsetting to pp. 110–11; could literally save the world—if enough people knew else a near-fine copy in the lightly browned jacket with small £2,750 [136282] of it and read it. [It] does for capitalism what the Bible nicks to extremities. did for Christianity—and, forgive the comparison, first edition of the best-selling book which had a 154 what Das Kapital did for Communism or Mein Kampf major influence on supplying Bill Wilson, the Chris- PETERSEN, Anders. Café Lehmitz. Text von for Nazism. It takes a book to save or destroy the tian founder of Alcoholics Anonymous, with the sci- world” (28 November, 1943). The God of the Machine was entific and psychological understanding of alcohol- Roger Anderson. Munich: Schirmer/Mosel, 1978 published the same year as Rand’s The Fountainhead . ism that he combined with his own piety in shaping Quarto. Printed card wrappers, as issued. Black and white the principles of the movement. The Common Sense of photographs in the text throughout. Fine.

70 December 2019: Peter Harrington 154 156 first edition, signed by the author, of his first edition, inscribed by the author, quoting most significant work, the result of a three year pro- the first line of Dante’s Divina Commedia, on the front ject in which the photographer captured the lives of free endpaper, “To Catherine Boyle with the author’s the denizens of a Hamburg bar. It is regarded as a homage to one so happily met ‘nel mezzo dei cammin seminal work in the development of European pho- di nostra vita [in the middle of our life’s journey]!’, H. tography for its intimacy. Petersen himself said that 155 St. J. B. Philby, 20/3/50”. This is the second impression, “the people at the Café Lehmitz had a presence and issued two months after the first. The book tells “the a sincerity that I myself lacked. It was okay to be des- remarkable story of Philby’s transformation from an perate, to be tender, to sit all alone or share the com- first issued. Writing from Wells, Phelps dedicated the official of the Indian Civil Service into an anti-impe- pany of others. There was a great warmth and toler- calendar to Mrs Beadon, the wife of Richard Beadon rialist, converted Muslim, confidant and agent of Ibn ance in this destitute setting.” (1737–1824), Bishop of Bath and Wells. She was “a Saud” (Foreign Affairs, October 1949). sedulous and extensive cultivator both of English and £975 [125358] With the later ownership inscription of Hasan exotic plants” (dedication). The plates were engraved Karmi, the Palestinian linguist and broadcaster. by George Johnson of Bristol and are bound in the or- Karmi’s family fled the 1948 Nakba settling, perhaps 155 der pl. II–V, followed by pl. I. Phelps would later pub- counter-intuitively to Golders Green, and joined the PHELPS, William. Calendarum Botanicum. lish an elaborate eight-part History and Antiquities of BBC’s Arabic Service, becoming a “stalwart as a lan- Somersetshire, issued between 1835 and 1839, for which guage supervisor, rationalising the babel of often Or A Botanical Calendar: Exhibiting, at One he is best known. View, the Generic and Specific Name, the poor or indifferent Arabic he found on his arrival” £1,100 [117284] (ODNB), and working as a broadcaster for nearly 40 Class, Order and Habitat of all the British years. He returned to the Middle East in 1989, choos- Plants. London: Lackington, Allen, and Co., 1810 156 ing to concentrate on his various dictionary projects, Octavo in fours (215 × 133 mm). Contemporary red straight- and over time becoming embittered with events in grain half morocco, marbled paper boards ruled in gilt, spine PHILBY, Harry St John Bridger. Arabian the region. “He was not a man to tangle with with: lettered and ruled in gilt, brown endpapers. With the inserted Days. An Autobiography. London: Robert Hale disagreement with him tended to convince him one abbreviations slip to p. 187 and 2 pp. of publisher’s advertise- was either thick or anti-Arab. He had trodden an os- ments. With 5 hand coloured plates. Bookplate to front paste- Limited, 1948 down, sketches in pencil to rear endpapers. Wear to extremi- Octavo. Original blue cloth, title gilt to spine, three-quarter tensibly apolitical path through a practical and prag- ties and boards, marbled paper partially peeled especially near profile portrait in gilt to the front board. With the unclipped matic life, but his soul burned for Palestine and the corners, marks to front endpapers, light foxing throughout, dust jacket. Portrait frontispiece and 48 plates. Light shelf- indignities visited upon the Arab people” (Guardian lower edges of sig. AA trimmed, a good copy. wear, spine mildly sunned through the jacket, free endpa- obituary, 7 May 2007). pers browned, text-block toned, a very good copy in a slight- first and only edition of phelps’s first book, ly rubbed jacket. £1,250 [135557] with the printer’s error on p. 166 (numbered 466) as

All items are fully described and photographed at peterharrington.co.uk 71 158

159 (PLATH, Sylvia.) HUGHES, Ted, & others. About Sylvia. Wallingford, Pennsylvania: The Elm Press, 1996 Folio. Original black wrappers, title to front cover in silver. Housed in the original black solander box, spine lettered in silver, with inlaid “cracked mirror” panel, both designed by Sarah Creighton. With 10 colour lithographed plates by Enid Mark, tissue guards. With the publisher’s prospectus and “thank you” letter from the artist to Ted Hughes loosely 157 inserted. A fine copy. ted hughes’s artist’s proof, signed by the 157 158 illustrator enid mark, one of ten such from an edition limited to 60 copies. Comprises poems (PICASSO.) ARISTOPHANES. Lysistrata. New PIRELLI, Giulia, & Carlo Orsi. Milano. “About Sylvia” by Diane Ackerman, John Berryman, York: The Limited Editions Club, 1934 Milan: Bruno Alfieri, 1965 Peter Davison, Luciana Frezza, Rachel Hadas, Judith Quarto. Original pictorial patterned boards, spine and front Folio. Original cloth-backed photographic boards. With Herzberg, Ted Hughes, Robert Lowell, Anne Sex- cover lettered in white, fore and lower edges untrimmed. 54 black and white photographs. Corners and spine a little ton, and Richard Wilbur. The lithographs are by the Housed in the original blue paper-covered slipcase and che- bumped, spine a touch worn and gently rolled, boards light- mise. Illustrated by Picasso with 6 original etchings and 34 ly rubbed. A very good copy. lithographed drawings. Spine a little sunned, else a fine copy first edition. Moving away from the post-war in the box, neatly repaired to bottom edge, with 6 cm loss. angst of the 1950s, Pirelli and Orsi managed to cap- first and limited edition, signed by picasso, ture a vibrant, swinging Milan in the 60s. number 1,103 of 1,500 copies. This finely produced Parr & Badger I, pp. 224–5. work features Picasso’s sensitive line drawings, which carefully “capture the braggadocio of both the men £750 [125473] and women in the play” (Rutledge, p. 36). Harry C. Rutledge, The Guernica Bull: Studies in the Classical Tradition in the Twentieth Century (2008). £5,750 [125683] 159

72 December 2019: Peter Harrington 159 160 founder of the press, Enid Mark, a Smith College con- although unmarked as such. Tares is the first edition, Tares includes “Walter Llywarch”, one of Thomas’s temporary and friend of Plath. first impression; Song at the Year’s Turning, first edition, most anthologized poems (“I am, as you know, Wal- £3,000 [125872] fourth impression. Plath mentions Hughes’s gifts in a ter Llywarch, Born in Wales of approved parents”). letter to her mother dated 30 October. “Had a lovely Hughes was one of the very few modern poets whom birthday. Ted bought me a lot of fancy cans of octopus Thomas respected. He marked Hughes’s death in 160 and caviar at a delicatessen, two poetry books, a Parker 1998 with the elegy “In Memory of Ted Hughes”, read (PLATH, Sylvia, & Ted Hughes.) THOMAS, pen, and a big wicker basket for my laundry” (Sylvia at the 2011 dedication of the Ted Hughes memorial in R. S. Song at the Year’s Turning, Poems 1942– Plath, Letters Home, 1975, p. 434). Poet’s Corner, Westminster Abbey. 1954. London: Rupert Hart-Davis, 1960; [with:] The year 1961 was a significant one for the couple: £5,750 [126085] “in February . . . [Plath] suffered a miscarriage (the — Tares. London: Rupert Hart-Davis, 1961 subject of ‘Parliament Hill Fields’), and in the follow- Together 2 works, octavo. Both in original boards, Song at ing month had an appendectomy; her stay in hospital the Year’s Turning with the dust jacket. Tares: small superfi- produced the acclaimed poems ‘Tulips’ and ‘In Plas- cial split to paper on front board, head of rear joint slightly ter’. That summer her poem ‘Insomniac’, completed cracked, a little soiling to boards, contents lightly foxed. A very good copy. Song: faint scattered foxing to edges and con- in May, was awarded first prize at the annual Chelten- tents, spine of jacket lightly toned, a few minor nicks and ham festival and she started writing what became The chips. A very good copy. Bell Jar, which she dismissed in October 1962 as a ‘pot- presentation copies from ted hughes to boiler and just practice’. By June she was once again sylvia plath on her 29th birthday, each in- pregnant, and in August the family moved out of scribed respectively on the front free end- London, to Court Green, a former manor house and paper: “To Sylvia on her birthday, with love, from Ted, rectory in North Tawton, Devon, with 2 acres of land. Oct 27th 1961” and “To Sylvia on her birthday, from During their first months there Hughes reviewed Ted, with love, October 27th 1961”. Tares is accompa- books, continued to write for the BBC, and had sto- nied by two scraps of manuscript in Hughes’s hand, ries and poems published in British and American once used as bookmarks. Both volumes are from the magazines; Plath sold poems to the New Yorker and library of Frieda Hughes (b. 1960), their first child, the New Statesman” (ODNB). 160

All items are fully described and photographed at peterharrington.co.uk 73 162

gion, then into Ogaden. The party bagged elephant, lion, leopard, rhinoceros, aoul, gazelle, hartebeest and beisa (oryx). The excellent artwork in the book is from the talented Polish illustrator Piotr Stachie- wicz”. A luxurious vanity project, this “sumptuous work” was printed using the most innovative and expensive processes, the text printed on coated art paper with spot illustration in colour throughout. The plates are photogravures on india paper. The frontispiece, a 161 wonderful portrait of the author, is a colour photogravure printed in facsimile of a water-colour sketch 161 first edition in english, one of 200 copies by the distinguished Viennese studio of J. Löwy, photographer to the imperial and royal courts. POTOCKI, Count Joseph. Sport in signed by ward, this copy designated “Presenta- tion Copy No. 4” on the initial blank verso: “One of Czech, p. 133. Somaliland, Being an Account of a Hunting the rarest of all African big game hunting books” £15,000 [126123] Trip to that Region. London: Rowland Ward, (Czech). Limited, 1900 The work was first published in Polish in 1897. 162 Folio. Original light tan pictorial buckram, title gilt to spine Józef Mikolaj Potocki (1862–1922) inherited extensive and front board, image of “Our Biggest Lion” in black to estates in his native Poland, which he much improved (POUND, Ezra.) ELIOT, T. S. The Elder front board, embossed snakeskin effect endpapers, linen with forestation and farming projects. He established Statesman. A Play. London: Faber and Faber Ltd, hinges. Tissue-guarded coloured photogravure portrait an Arabian stud at the family palace at Antoniny, 1959 frontispiece, and 18 photogravures printed on india pa- now in the Ukraine, which provided Skowronek, the Octavo. Original red cloth, titles to spine gilt. With the dust per and mounted on light card leaves hinged with linen, 5 foundation stallion of Lady Wentworth’s renowned of them double page, all but 2 of the latter with the origi- jacket. Housed in a grey cloth folding case. Jacket somewhat nal tissue-guards, numerous illustrations to the text, some Crabbet Arabian Stud. Potocki was a prodigious art sunned, small chips to ends and corners, still a smart copy full-page, most tinted, large folding hand-coloured map, collector and bibliophile, amassing a library of some in very good condition. 20,000 volumes, all lost when the house was looted title page in red and black. A little rubbed and soiled, spine first edition, ezra pound’s copy, of this T. S. mildly tanned, some foxing as usual, particularly to the pho- during the Polish-Bolshevik War in 1919. Potocki also Eliot play which was first produced at the Edinburgh togravures and associated tissue-guards, list of illustrations underwrote a number of expeditions to India, Cey- Festival 1958, with the ownership inscription “Pound” has been loose now reattached, but soiled at the margins lon, the Sudan, and in 1895 to Somaliland. “Potocki to the front free endpaper in the hand of Pound’s wife and with a few splits, remains very good. and his comrades travelled to Somaliland’s Haud re- Olivia Shakespear, and the Brunnenberg castle blind-

74 December 2019: Peter Harrington 163 164 164 stamp to the title page, the home of Pound’s daughter She worked at the Dimitri Palace in St Petersburg, the foot of spine, one tip slightly bumped. A very good copy Mary de Rachewiltz, where he stayed following his main Anglo-Russian Hospital, and a photograph al- in the slightly soiled and rubbed jacket, spine panel toned, release from St Elizabeth’s hospital in 1958. bum relating to her time there is held by the Imperial chips and short closed tears to spine ends, text unaffected, a This play was first performed at the Edinburgh War Museum. couple of ink splashes to rear panel, a few nicks and creases to extremities. Festival in the same year that Pound left St Elizabeth’s. Violet Powell, reminiscing about Philip, her fa- Gallup A70. ther-in-law, noted that “he had not been without his first edition, presentation copy, inscribed by partisans, mostly ladies with whom he had been on the author to his father’s lover on the front free end- £1,250 [130187] flirtatious terms” (A Stone in the Shade, 2002). Anthony paper, after whom he named the book’s female pro- Powell “accepted their relationship and was fond of tagonist: “For Lucy Hayes, With the best wishes of the 163 Lucy. She greatly enjoyed his novels”. He inscribed author, Tony Powell Oct. 11 1932. In the hope that she POWELL, Anthony. Afternoon Men. London: several of his books to her. Powell was a reluctant and will forgive the borrowing of her name”. (For Lucy Hayes, see previous item.) Duckworth, 1931 at times ungracious signer of his own books, even for friends; this is a notably warm inscription. Loosely inserted is a typescript of a letter from Octavo. Original pale green cloth, spine lettered in gilt. With Loosely inserted is a portrait photograph of Phil- Harold Nicholson to Powell, dated 8 October 1932, the supplied first printing dust jacket, designed by Misha stating that “I have read [Venusberg] with the utmost Black. Spine rolled and darkened, cloth somewhat marked ip, signed by the photographer Bassano, together enjoyment . . . Your deftness of composition makes and stained, a little foxing to contents. A good copy, in a with a small dried flower. slightly rubbed and faintly soiled jacket with toned spine and Lilley A.1. all my fingers feel like thumbs”. couple of small chips to spine ends. Lilley A.2 (a). £6,500 [126543] first edition, presentation copy of powell’s £3,750 [126592] debut novel, inscribed by the author to his father’s 164 lover in the month of publication on the front free endpaper, “For Lucy Hayes, with love, (from the au- POWELL, Anthony. Venusberg. London: thor!) Tony Powell. June 1st 1931”. Lucy Hayes was “a Duckworth, 1932 great love and lifelong friend” of Anthony Powell’s Octavo. Original grey cloth, spine lettered in gilt. With the father Philip, whom she met in the early 1920s. Hayes dust jacket designed by Misha Black. Spine rolled, spine (1878–1965) served as a nurse in the First World War. ends and a couple of tips lightly rubbed, a little toning to 164

All items are fully described and photographed at peterharrington.co.uk 75 165 POWELL, Anthony. Dance to the Music of Time. London: William Heinemann Ltd, 1951–75 Together 12 serially published works, octavo. Attractively bound in recent burgundy morocco, titles and decoration to spines gilt, raised bands, single rule to boards, marbled endpapers, gilt edges. The occasional minor blemish, an excellent set. first editions of the complete series of 12 novels in Powell’s celebrated novel sequence, with a postcard signed by the author tipped into A Buyer’s Market. £4,500 [125257]

166 PUZO, Mario. The Godfather. New York: G. P. Putnam’s Sons, 1969 166 167 Octavo. Original black quarter cloth, spine lettered in gilt, gilt block of puppeteer’s hand to front cover, fore edge Puzo’s bestseller “launched a series of other nov- 167 untrimmed, orange-red endpapers. With the dust jack- els, films, and American icons” (Hamilton, American et. Housed in a custom black cloth slipcase. Light soiling Popular Fiction, p. 282). He later co-adapted the book (RACKHAM, Arthur.) BARRIE, J. M. Peter to covers, else a very good copy in the dust jacket, a little Pan in Kensington Gardens (From “The Little rubbed, extremities creased and a little nicked and chipped, into a three-part film saga directed by Francis Ford 9 cm tear to rear panel, light staining on verso. Coppola. He received the Academy Award for Best White Bird”). London: Hodder & Stoughton, 1906 Adapted Screenplay for the first film in 1972 and Part Quarto. Original vellum, titles to spine and front cover gilt, first edition, presentation copy, inscribed by II in 1974. design blocked in gilt to front cover, map endpapers, top the author on the front free endpaper: “For Patty & edge gilt, others untrimmed, yellow ribbon ties renewed. Julie with whom I spent one of my most pleasant eve- £7,500 [126014] Colour frontispiece and 49 colour plates mounted on brown nings in Hollywood Best Mario Puzo”. Presentation paper with captioned tissue guards, black and white illustra- copies of Puzo’s key novel are remarkably scarce. tions in the text, all by Rackham. Spine ends a little darkened, tiny split to head of spine, covers a little bowed (as often), text leaves with slight wave and faint scattered foxing, plates bright and clean. A very good copy. signed limited edition, number 267 of 500 copies signed by the artist. After the enormous success of the play Peter Pan, which opened on 27 December 1904 and broke all previous theatrical records, Barrie sanctioned this publication, in collaboration with Rackham as illustrator. The text was extracted, with minor revisions, from Barrie’s book-within-a-book in his London story-collection for adults,The Little White Bird (1902), and it was published specifically as a children’s gift book. (The play was unpublished until 1928.) Latimore & Haskell, pp. 27–28; Riall, p. 74. £6,000 [125705]

165

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168 170 Quarto. Original grey cloth, spine lettered in gilt, pictorial gilt titles on a white background to front cover, pictorial (RACKHAM, Arthur.) BROWNING, Robert. endpapers, top edge gilt, others untrimmed. Housed in a The Pied Piper of Hamelin. London: George G. tape residue to endpapers, else a near-fine copy in the slip- custom quarter morocco slipcase. Colour frontispiece and Harrap & Co. Ltd, 1934 case, with ink notation to one panel. 12 colour plates with tissue guards, black and white illustra- signed limited edition, number 89 of 410 copies tions in the text. Slight rubbing to extremities, front hinge Octavo. Original limp vellum, front cover lettered in gilt, pic- cracked but holding, rear hinge just partially cracked, con- torial endpapers, top edge gilt, others untrimmed. Housed signed by the illustrator. tents slightly foxed. A very good copy. in the original slipcase, hand-numbered label to spine. Latimore & Haskell p. 71; Riall, p. 186. Colour frontispiece and 3 colour plates, illustrations in the deluxe signed limited issue, number 21 of 525 text. Spine lightly toned, head of spine and lower tips a little £950 [126126] copies signed by the illustrator and with an ex- bumped, covers and endpapers slightly cockled, as usual, tra plate signed by Rackham in its original printed en- 169 velope, tipped in at rear. The plate is a repeat of the one facing p. 178 (“He hurried away with long strides”). (RACKHAM, Arthur.) CARROLL, Lewis. Latimore & Haskell, pp. 46–7; Riall, p. 129. Alice’s Adventures in Wonderland. With a Proem by Austin Dobson. London: William £2,750 [125959] Heinemann, [1907] 171 Octavo. Original green cloth, titles to spine and front board in dark green, pictorial design to front board in gilt, top (RACKHAM, Arthur.) STEPHENS, James. edge green, pictorial endpapers. Colour frontispiece and Irish Fairy Tales. London: Macmillan and Co. 12 plates, line drawings in the text. Spine a little sunned, corners gently bumped, light scattered foxing to edges and Ltd, 1920 contents; a very good copy. Quarto. Original quarter vellum, spine and front cover first rackham edition, trade issue. lettered in gilt, cream boards, top edges gilt, others untrimmed. Colour frontispiece and 15 colour plates with Riall, p. 77. captioned tissue guards, illustrations in the text. Spine very £500 [136162] slightly soiled, a bit of wear to tips, pale foxing to endpapers, closed tear to last few pages. A very good copy. 170 signed limited edition, one of 520 copies signed by the artist. (RACKHAM, Arthur.) GRIMM, The Hudson, p. 170; Latimore & Haskell, pp. 52–3. Brothers. Little Brother & Little Sister and £2,250 [125913] 169 Other Tales. London: Constable & Co. Ltd, 1917

All items are fully described and photographed at peterharrington.co.uk 77 173

through which Rand resolved to expose the “noble ideal” of collectivism. Richard E. Ralston, “Publishing We the Living” in Mayhew (ed.), Essays on Ayn Rand’s “We the Living”, 2012, pp. 160–162. £12,500 [125120]

173 RAVILIOUS, Eric, & J. M. Richards. High Street. London: Country Life Ltd, 1938 172 Octavo. Original lithographic boards printed in brown, blue and black, titles to spine black. With the original glassine dust jacket with printed card flaps. Housed in a black cloth 172 years. She issued a revised edition in 1959, following flat-back box by the Chelsea Bindery. Monochrome vignette RAND, Ayn. We the Living. New York: The the success of Atlas Shrugged (1957). Since then, it has titlepage and 24 colour lithograph plates by Ravilious. Cor- never been out of print, and has sold over 3 million ners lightly bumped, small chip to head of spine, only slight Macmillan Company, 1936 copies. rubbing to extremities, a couple of chips to glassine jacket, Octavo. Original buff cloth, titles to spine and front cov- While searching for a publisher for We the Living, otherwise a superb copy. er in blue, top edge yellow. Housed in a turquoise quarter Rand commented that the book, originally titled first edition, highly uncommon in the morocco solander box by the Chelsea Bindery. Spine a little “Airtight”, “is the first novel on Russia written in fragile glassine jacket. Published in an edition browned, light spotting to covers, internally fresh and clean. A very nice copy. English by a Russian. Throughout the entire book, I thought to be of 2,000 copies, High Street was never have tried to write it from the viewpoint of and for reprinted, as the original lithograph stones were first edition, sole printing, presentation the American public . . . Our American readers have destroyed during the Blitz when the Curwen Press copy of rand’s first novel, inscribed by the au- been crammed full, too full, of Russian aims, pro- premises in Plaistow, east London, received two di- thor on the front free endpaper just a few days after jects and slogans on red banners. No-one—to the rect hits (reported by Message: Belgian Review in 1945, publication on 7 April, “Johnny and Lucille—who best of my knowledge—has spoken of what goes on a periodical printed by the press). The Country Life sympathize with my cause—Ayn. 4–13–1936”. every day and in every home and kitchen behind the warehouse was also bombed, another loss being the The first printing of 3,000 copies sold out within red banners” (Ralston, p. 160). Set in Soviet Russia, original edition of Mervyn Peake’s Captain Slaughter- 18 months of the book’s publication, but in the mean- whence Rand had emigrated ten years earlier, it is board Drops Anchor (1939). time Macmillan had destroyed the plates, violating the semi-autobiographic story of three young people Ravilious’s beautiful and evocative book “had their contract. The rights reverted to Rand, and the whose lives are sacrificed by an all-powerful state, a long gestation, starting from an idea of Helen book remained out of print in the US for more than 20 Binyon [a contemporary of Ravilious at the Royal

78 December 2019: Peter Harrington This was the first edition of the Pulitzer Prize-winning classic to be illustrated by Wyeth, and includes two additional black-and-white illustrations done in charcoal and wash, and a facsimile of a letter written by Wyeth during a trip to Florida with Rawlings. It was preceded by the trade editions published in the US and UK in 1938. £2,500 [126004]

175 READ, Samuel. Political Economy. An Inquiry into the Natural Grounds of Right to Vendible Property or Wealth. Edinburgh: printed for the author, 1829 Large octavo (225 × 140 mm). Original dark reddish-purple ribbed cloth, rebacked preserving the original spine and pa- 174 per label, partly unopened. Housed in a light grey cloth flat- back box. Some wear and scuffs to boards and extremities, a single knock to right edge of front board (evidently from some College of Art] for an alphabet of shops, but also re- previous tie or string), contents browned and foxed (predom- sembling certain of the lithographed ‘Père Castor’ inately to first and last few gatherings but occasionally else- children’s books from Paris that Ravilious collected, where), a small number of leaves creased at corners, withal a such as Faites votre marché, by Natalie Parin, of 1935, very good, well-preserved copy. which was intended to be instructive as well as dec- first edition of the anti-ricardian economist’s major work. Uncommon: the title is re- orative. Ravilious deliberately looked for odd shops 175 with special and often Victorian visual appeal” (Alan corded as having appeared just four times at auction Powers, Eric Ravilious: Imagined Realities, 2012, p. 22). in the past 50 years—one in cloth similarly rebacked, some of the weak points in the classical theory of dis- £6,000 [123951] another in contemporary half calf rebacked and re- cornered, and two in original boards. tribution; he is the first economist to show the con- Read (fl. 1816–29), of whom very little is known, nection between Ricardian economics and Ricardi- 174 was a great admirer of Adam Smith, and a vehement an socialism; he is in part the originator of the risk RAWLINGS, Marjorie Kinnan. The Yearling. critic of David Ricardo. In Political Economy he disa- theory of profits, and he is above all the first English New York: Charles Scribner’s Sons, 1939 grees with Ricardo’s statement that labour is the sole economist who, while unreservedly recognising the cause of wealth, arguing instead that wealth is neces- function of capital, emphasises the fact that the capi- Quarto. Original blue-green cloth, spine lettered in gilt, talist has duties as well as rights, and that economics roundel to front cover in gilt, pictorial endpapers, top edge sarily the result of both labour and capital. Challeng- is a science not only of what is, but also of what ought gilt, fore edge untrimmed. No dust jacket issued. With the ing the Ricardian theories of natural wages and rent, publisher’s green card slipcase and chemise. Housed in a Read also “tried to put certain moral laws against the to be” (Seligman, p. 106). custom blue quarter morocco solander box. 14 full page col- importance that economists attributed to material Despite believing Read’s work to be full of “doubt- our illustrations, 2 black and white illustrations and a fac- wealth. He used the utilitarian calculus as the basis ful speculations”, Schumpeter concurs and names simile letter from N. C. Wyeth. Provenance: from the James for human action and the determination of economic Read, alongside Torrens and Senior, as “the most im- C. Seacrest Collection. A few slight marks to cloth, front justice, which included the natural right of the poor portant of the economists” to establish capital as a dis- hinge starting but text block sound, contents clean. A near- to public support . . . Read was also somewhat ahead tinct factor in English economics (p. 560). fine copy in bright cloth, with the original slipcase, joints Goldsmiths’ 25768; Kress C2342; Sraffa 4858. Not in Einaudi or discreetly repaired. of the economists of his time in urging nationalisa- tion of local poor rates”, though Samuel Whitbread Mattioli. See Edwin R. A. Seligman, Essays in Economics, Macmil- first signed limited edition, first issue lan Company, 1925; Joseph A. Schumpeter, History of Economic had already proposed the regularisation of poor relief binding, one of 770 unnumbered copies signed by Analysis, Routledge, 1994. rates previously (New Palgrave, p. 97). the author and illustrator. This copy is also inscribed Seligman believed that Read “merits further £7,500 [126586] by the son of the illustrator on the second blank, “To study. Although in the main a conservative and al- Mary Oppenheimer Christmas 1949 from Nathaniel most an orthodox economist, notwithstanding his Wyeth”. objections to the Malthusian theory, Read deserves recognition in four particulars: he is an acute critic of

All items are fully described and photographed at peterharrington.co.uk 79 176 177 178

176 light creases to covers, laminate just starting to lift at edges, 179 top corner of book a trifle curled, slight toning to contents as (ROBINSON, Charles.) SHAKESPEARE, usual, small pale damp stain to fore edge of half-title; a very SACRÉ, Lester Howard. Sidelights. Being William. The Songs and Sonnets. London: good copy indeed. an Official Series of Caricature Portraits. Duckworth & Co, [1915] first edition, paperback issue, one of 5,150 cop- Military. First Series [all published]. London: Quarto (238 × 175 mm). Later 20th-century blue crushed mo- ies issued in wrappers, with all the requisite points of Constable & Co. Ltd, 1918 rocco by Bayntun-Riviere, spine gilt to compartments and the first printing: Bloomsbury imprint, 10-down-to-1 Folio. Original green buckram, lettered in black on the lettered in gilt, covers panelled in gilt, gilt turn-ins, marbled number line, the list of equipment on p. 53 with “1 front board. 10 pages of letterpress, introduction and plate endpapers, gilt edges. Frontispiece and 12 tipped-in colour wand” appearing twice in the list, and the misprint list, 16 colour plates tipped onto mid-green light card plates with captioned tissue guards, illustrations and deco- “Philospher’s” on the back cover. It was published si- stock leaves, plain tissue guards, stub-mounted through- rations printed in pale green throughout, all by Charles Rob- multaneously with the casebound issue of 500 copies. out, second suite of plates, each signed by the artist, loose inson. Minor creasing to a few tissue-guards. A fine copy. Errington A1 (aa). with accompanying tissue-guards in end-pocket. Slightly first edition illustrated by charles robin- rubbed, some light foxing to the prelims and endpapers, son, in a handsome binding. Robinson’s “style was £7,750 [135894] the rear free endpaper particularly spotted, but the plates very decorative, flowing and imaginative scenes were untouched, a very good copy. surrounded by elaborate borders and in the faces and 178 first edition, one of an unspecified small forms of children he recaptured something of the in- ROWLING, J. K. Harry Potter and the Goblet number of special copies accompanied by a nocence of childhood . . . his colouring and fantasy second suite of 16 loose plates each signed by are often highly original” (Houfe, p. 280). of Fire. London: Bloomsbury, 2000 the artist in an end-pocket, all with accompanying Octavo. Original pictorial boards, titles to spine and front £1,500 [124755] tissue-guards. Uncommon, with just nine locations cover in blue and black. With the dust jacket. An excellent traced in online institutional holdings. One of the copy in the dust jacket, tiny indentation on front panel. IWM’s two copies is of this special edition, but lacks 177 first edition, inscribed by the author on the four of the extra suite of plates; only the NPG seems ROWLING, J. K. Harry Potter and the title page: “To George, J. K. Rowling”. It is uncom- to have it complete. The book comprises an attractive Philosopher’s Stone. London: Bloomsbury, 1997 mon to encounter this title inscribed: Rowling did a suite of caricature portraits of leading British military signing tour for Goblet of Fire and the vast majority of figures, including “Wullie” Robertson, Capper, Allen- Octavo. Original pictorial wrappers, titles to front cover in autographed copies were simply signed. yellow, white and dark green, titles to spine yellow, white by, Cowan, and Cockerill. and black. Issued without a dust jacket. Housed in a red cloth Errington A9(a). Little is known about L. H. Sacré (1892–1974) be- flat-back box by the Chelsea Bindery. Spine, so prone to fad- £3,000 [124530] yond the basic facts of his life. He was born in Salford, ing, notably bright, extremities a little rubbed, a couple of settled in Essex, where he trained as an architect in

80 December 2019: Peter Harrington 179 180

Chelmsford, and is listed as ARIBA in later docu- houettes in black and gilt, large block of “King Munza in full ropeans”, including extensive notes on the flora and mentation. During the First World War he served as a dress” within panelling in black to front boards, moderate fauna of Central Africa and the first survey of the captain with the Essex Regiment in France; during the brown surface-paper endpapers. Wood-engraved frontis- Bahr el Ghazal (modern South Sudan). His discovery Second World War he commanded the 59th (Warwick- piece to each volume and 23 similar plates, one tinted litho- of the Aka people “settled conclusively the question graphic plate, wood-engravings in text, 2 maps, one of them shire) Searchlight Regiment, Royal Artillery (TA). folding. A little rubbed and soiled, spines a touch a dull, of the existence of dwarf races in tropical Africa” £2,500 [136132] crumpled head and tail, corners bumped, hinges slightly (Howgego). Schweinfurth sailed from Suez in Au- cracked and with some repairs. Light browning, scattered gust 1868, disembarked at Suakin, and by November foxing, a couple of short splits to the folding map repaired was in Khartoum, whence he began his ascent of the 180 verso with archival tissue, overall very good. Nile, spending time among the Dinka, Bongo, and SCHWEINFURTH, Georg. The Heart of first edition, preceding the German first by a Mangbetu peoples during his researches. Uncom- Africa. London: Sampson Low, Marston, Low, and year. Schweinfurth’s narrative of his expedition to mon in the cloth. Searle, 1873 the western tributaries of the Upper Nile is “a most Czech pp. 248–9; Howgego IV S14. valuable accumulation of geographical and ethno- 2 volumes, octavo. Original green sand-grain cloth over £1,500 [126037] bevelled boards, title gilt to spine together with native sil- graphic data for regions never before visited by Eu-

All items are fully described and photographed at peterharrington.co.uk 81 181 182

181 182 [SCOTT, Robert Falcon, et al.] South Polar SCROPE, George Poulett. Volcanos. London: Times 1902–1911. Centenary Edition. London: Longman, Green, Longmans, and Roberts, 1862 182 Orskey–Bonham–Niner, 2002 [together with:] Octavo. Original red vertical-rib cloth sometime neatly re- Volume IV. Cambridge: Bonham, 2010 backed with the original spine laid-down, gilt lettered spine “This influential work on volcanic phenomena in- with decorative band at head and tail, sides with blind orna- 4 volumes quarto. Original blue cloth, title gilt to spines and cludes a substantial catalogue of ‘all known volcanos mental panel, front cover with gilt stamp of the eruption of and volcanic formations’ as well as a dramatic illus- front boards, front boards with mounted colour illustrations Vesuvius in 1822, drab pale brown-coated endpapers. Tinted within gilt panel, blue silk page-markers. Numerous illustra- lithographic frontispiece of the eruption of Vesuvius in 1822, tration of Vesuvius. It was translated into French and tions in colour and black and white. Fine. coloured folding map of the volcanic regions of the globe, German, went into a second English edition in 1872, facsimile edition; the first three volumes out of numerous wood-engravings in the text. Spine a little dulled, and was one of the foundational texts of volcanology” series from an edition of 350 copies, the fourth out binding slightly rubbed, corners a touch softened, clipping (Cambridge ed. 2014). of series from an edition of 500. The facsimile repro- from old German bookseller’s catalogue to verso of front free endpaper, yet still a very good copy, clean and sound. £685 [135654] duces the South Polar Times as originally published, second edition, presentation copy inscribed together with a supplementary volume: an extensive 183 introduction by Ann Savours details the production on the front free endpaper, “from the Author”, above of the original book, there is a comprehensive biog- the ownership inscription of “T. Rupert Jones, April SENDAK, Maurice. Max and the Wild Things raphy of the original explorers who contributed to it, 2 [18]62”; a revised and enlarged edition of Scrope’s having a Rumpus. New York: Harper & Row, 1971 and a brief overview of the tradition of polar publish- pioneering Considerations on Volcanos (1825). Professor Sheet size: 26.5 × 58.0 cm. Original process lithograph on ing. Thomas Rupert Jones (1819–1911), FRS, FGS, was white wove paper. Excellent condition. Presented in a lime The South Polar Times was originally produced to president of the Geologists’ Association from 1879 to ash frame with conservation acrylic glazing. relieve the boredom of the cold, dark winter nights 1881, an indefatigable contributor of articles to, and edition of 200, signed by the artist in pen to and raise the spirits of the men on Captain Scott’s editor of, the Manual of the Natural History, Geology, and the lower right. two expeditions to the Antarctic: on the ship Discovery Physics of Greenland (1875, reissued Cambridge Univer- in 1901–4 and the Terra Nova in 1910–13. As well as es- sity Press 2014). £2,250 [136042] says on seals, whales and penguins, there were comic With the later ink signature-stamp (showing poems, puzzles, stories and cartoons. through to frontispiece) and pencilled ownership inscriptions of Dr A. M. Cockburn, who gave his name £1,250 [135559] to the Cockburn Geological Museum, University of Edinburgh, with his pencilled marginalia and notes on the rear free endpaper recto. A most appealing concatenation of provenance.

82 December 2019: Peter Harrington 183 185

first edition, second impression, issued a month after the first and printed on superior paper stock, making it less prone to the heavy browning which tends to mar the first impression. “The failure of Shackleton’s Imperial Trans-Antarctic Expedition to even reach the Antarctic continent, much less to cross it via the South Pole, has become the great polar success story of the twentieth century” (Books on Ice). In 1914 Shackleton embarked on the Endurance to make the first traverse of the Antarctic continent; a journey of some 1800 miles from sea to sea. But 1915 turned into an unusually icy year in Antarctica; after drifting trapped in the ice for nine months, the En- durance was crushed in the ice on 27 October. Amaz- ingly, all members of the Endurance party survived the ordeal, attributing their survival to Shackleton. As Apsley Cherry-Garrard remarked: “For a joint sci- 184 entific and geographical piece of organization, give me Scott; for a Winter Journey, Wilson; for a dash to the Pole and nothing else, Amundsen; and if I am in 184 185 the devil of a hole and want to get out of it, give me SENDAK, Maurice. Max and the Wild Things SHACKLETON, Ernest Henry. South. The Shackleton every time”. Hanging from Branches. New York: Harper & Story of Shackleton’s Last Expedition 1914– For first impression:Books on Ice 7.8; Conrad p. 224; Spence 1107; Row, 1971 1917. London: William Heinemann, 1919 Taurus 105. Sheet size: 26.5 × 58.0 cm. Original process lithograph on Octavo. Original dark blue cloth, spines and front cover let- £1,000 [136023] white wove paper. Excellent condition. Presented in a lime tered in silver, front cover with large silver block of Endurance ash frame with conservation acrylic glazing. stuck in ice, publisher’s device in blind to rear cover, top edition of 200, signed by the artist in pen to edge blue. Colour frontispiece and 87 half-tone plates, folding map at the rear. Ownership signature to front free end- the lower right. paper. Extremities bumped and lightly rubbed, some foxing £2,250 [136043] to edges and contents. A very good copy.

All items are fully described and photographed at peterharrington.co.uk 83 187

the firm of A. W. Penrose & Co. in Ramón y Cajal’s Fo- tografía de los Colores (Madrid, 1912). According to The British Journal of Photography (vol. 98, 1951) “he opened photographic studios in Westcliff and Surbiton in the early 1900s and later was associated with Hunter-Pen- rose in the development of collodion emulsions and lectured for them in the USA”. The outbreak of war in 1914 caused him to close down his two studios and join the optical instrument maker Adam Hilger Ltd, where he specialised in the making of fine scales and graticules, pellicle mirrors and diffraction gratings. 186 He taught three-colour photography in Spain, Swit- zerland, Germany and Austria and translated into 186 March 1913 Shackleton had received this news, and English Baron Von Hubl’s Three Colour Photography (SHACKLETON, Ernest Henry.) KLEIN, asserted that the next great objective of polar explo- (1915), a recognized textbook. He also wrote the only ration would be a transcontinental journey via the Heinrich Adolf Oskar, known as Henry English textbook on collodion emulsion (Penrose & pole. Shackleton began fundraising for the imperial Co., 1905) and later The Applications of Collodion Emul- Oscar. Exhibition size photographic portrait. trans-Antarctic expedition, which would leave Britain sion to Three-Colour Photography (Penrose & Co., 1910). London: 1912 just at the outbreak of war in 1914. The BJP describes him as “one of the pioneers in col- Original silver gelatin print (370 × 270 mm), mounted on This striking portrait may have been commis- our photography, and, so far as we are aware, the first board, signed and dated in pencil by the photographer top sioned by Lord Northcliffe for publication in the Daily to produce pellicle mirrors in this country”. right-hand corner. Vertical crack, perhaps caused by mount- Mail. The only online version that we have traced is ing, running three-quarters of the length of the portrait, that used by the Daily Mail, which shows Shackleton £2,850 [125531] largely unobtrusive, other signs of retouching perhaps for half-length, left hand resting on hip. The newspaper reproduction, but overall remains very good. was established by Northcliffe in 1896 and played a 187 a powerful full-face bust portrait tak- key role in the promotion of Shackleton’s iconic sta- SHAKESPEARE, William. The Tragedy of en sometime between the first two of the tus. We have been unable to find any further copies, Romeo and Juliet. London: George Bell & Sons; three expeditions to the antarctic com- or any other images of Shackleton by Klein. manded by shackleton. The Nimrod Expedition Henry Oscar Klein FRPS (1871–1951) was an Aus- The Abbey Press, Edinburgh, 1902 (1907–9) had set the record for the furthest south, trian, naturalized as British in 1931, described in the Quarto (222 × 174 mm). Near-contemporary green moroc- but this held for less than three years, Amundsen Gazette as a photochemist based in Camden Town, co (spine dated 1912), spine lettered in gilt with gilt floral motifs, elaborate gilt panelling to front cover enclosing tan achieving the South Pole on 15 December 1912. By north London, and as a “scientific collaborator” with

84 December 2019: Peter Harrington 188 [SHELLEY, Mary & Percy Bysshe.] History of a Six Weeks’ Tour through a part of France, Switzerland, Germany, and Holland: with letters descriptive of a sail round the lake of Geneva, and of the Glaciers of Chamouni. London: published by T. Hookham, Jun.; and C. and J. Olliver, [November] 1817 Small octavo (167 × 100). Finely bound by Root & Son in early 20th-century blue half morocco, spine gilt in compartments with titles direct, blue cloth sides with double gilt rule border, blue coated endpapers, top edge gilt, others barely trimmed. With the half-title. With the armorial bookplate of F. E. Smith, 1st Earl Birkenhead (1872–1930), writer, wit, Conservative politician, and close friend of Winston Churchill, who attained the office of Lord Chancellor; and the later library label of Pulitzer prize-winning poet William Rose Benét (1886–1950) and his fourth wife the children’s writer Marjorie Flack. Some light scuffing to extremities, only a few trivial spots within, otherwise a clean copy, notably tall with the fore-edge and lower margin barely trimmed, a near-fine copy.

188 first edition of mary shelley’s first book, 189 compiled at Marlowe, where she also finished Frankenstein, which was published on 1 January 1818. morocco onlay, gilt floral roundel to rear cover, green endpapers, top edge gilt, others untrimmed. Front board lightly It comprises Mary’s 81-page journal account of her bowed, slight rubbing to spine, rear cover unevenly sunned, travels through Europe after her elopement with Per- small red pen mark to p. 7. A very good copy. cy, accompanied by her stepsister Claire Clairmont, first abbey press edition, large type and large from July to September 1814. To this she added her paper issue printed on handmade paper, number and Percy’s letters, his all to Thomas Love Peacock, 189 431 of 500 copies only, presented here in an appren- relating their second European sojourn, in the sum- tice-work binding—a little maladroit but all the more mer of 1816, around Lake Geneva and the vale of it as it deserves—or I should not like to part with it”, appealing for that—clearly showing the influence Chamouni, Switzerland. The final addition is Shel- she adds. The relationship between the women had of the great arts and crafts bookbinder, T. J. Cob- ley’s powerful and mysterious poem “Mont Blanc”, been, and continued to be, awkward. At the time of den-Sanderson. which finds its first appearance in print here. this exchange Mary was living in uncomfortable rent- provenance: bookplate of W. T. Shuttleworth £6,500 [125127] ed rooms in South Audley Street, still dependent on (signed with his monogram), who taught bookbind- Sir Timothy Shelley’s whim, but Percy Shelley’s repu- ing, textile design and craft at Skipton School of Art 189 tation was on the rise, his atheism largely forgotten, his radicalism beginning to look far-sighted, and his and Science (now Craven College) in Yorkshire. In SHELLEY, Mary. Autograph letter signed 1946 The Studio described him as one of the “unsung” poetry widely read and discussed. Claire meanwhile teachers of craft bookbinding “who inculcated the to Claire Clairmont, together with a clipped was usually in Paris, working as a governess. It was appreciation and possibilities of this noble craft into signature of Percy Bysshe Shelley. [24 South perhaps to impress some contact there that she want- art students, apprentices and amateurs alike”. One of Audley Street:] 2 May 1837 ed a sample of Shelley’s signature. In the event, Claire did not give the signature away these apprentices, a native of Skipton, has signed his Single leaf (235 × 185 mm), thrice folded. Some glue residue name on the front pastedown, “Bound by D. Lister”. to blank portion from having been tipped into an album, a to another person. Famously, in her later years she Gunner Dean Lister (b. 1892) was killed in action on few other very faint marks, very good condition. became the guardian of a significant amount of valuable Shelley memorabilia and the target of insincere 14 April 1918. His name is recorded on the Skipton Mary writes tersely to her stepsister, in response to suitors on account of it, the situation that inspired War Memorial, on whose organising committee a request, enclosing a clipped signature of her late Henry James’s novella, The Aspern Papers. Shuttleworth sat. husband (“Yours ever faithfully, Percy B. Shelley”): “I £1,250 [135856] hope the person to whom you give it will appreciate £25,000 [120615]

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

190 translation. Seventeen of the playbills collected here page. By the end of the year five different versions of [SHELLEY, Mary, & Richard Brinsley Peake.] advertise shows in that second run. the tale had appeared in theatres throughout Europe. The play debuted at the Theatre Royal on 28 July One notable double-bill for 3 August 1827 features [Collection of playbills:] Presumption! Or, 1823, the initial run consisting of 37 performances in both “Presumption!”, and “The Vampire, Or, Bride the Fate of Frankenstein. London: Theatre three months. Mary Shelley saw the play on her re- of the Isles”, by James Robinson Planche. The latter Royal, English Opera House, Strand, 1820–7 turn to England in August 1823. She wrote to Leigh was a two-act melodrama adapted from Charles No- Together 215 playbills, 210 single leaf broadsides (approx. Hunt on 9 September, “But lo & behold! I found my- dier’s play Le Vampire (1820), itself based on Polidori’s 320 × 215 mm), printed in black to recto only; 5 double-width self famous!—Frankenstein has prodigious success as a novella The Vampyre (1819), the other product of the folded broadsides (approx. 325 × 425 mm unfolded), printed drama & was about to be repeated for the 23rd night at same competitive storytelling evening as Shelley’s in black to recto only. Creasing and nicks to extremities; nev- the English opera house. The play bill amused me ex- Frankenstein. A full breakdown of the dates is available ertheless a remarkably retained set of these delicate items. tremely, for in the list of dramatis personae came,— on request. a remarkable collection of playbills from by Mr T. Cooke: this nameless mode of naming the Henry R. Viets, The London Editions of Polidori’s “The Vampy- the theatre royal, English Opera House, includ- unnameable is rather good. On Friday Aug. 29th Jane re” (1969); James Wierzbicki, How Frankenstein’s Monster Became a ing 23 playbills advertising “Presumption! Or, the My father William & I went to the theatre to see it . . . I Music Lover (2013). Fate of Frankenstein”, Richard Brinsley Peake’s fa- was much amused & it appeared to excite a breathless £17,500 [127807] mous theatre adaptation of Mary Shelley’s novel. Five eagerness in the audience . . . They continue to play are from the original 1823 run, advertising the 26th, it even now.” Peake’s production did a huge amount 29th, 30th, 31st and 32nd performances. Its 1826 re- to spread the fame of the Frankenstein story, but Mary turn to London was eagerly anticipated, following Shelley received no credit or remuneration for it. In the return of star actor Thomas Potter Cooke (as the response to the success of Peake’s production, her nameless monster) after a successful run in a French father William Godwin published the second edition of the novel in 1823, including her name on the title

86 December 2019: Peter Harrington 191

The complete run 192 191 SMITH, Adam. Essays on Philosophical Subjects. Dublin: Printed for Messrs. Wogan, SITWELL, Edith, Wilfred Owen, Nancy Byrne, J. Moore [and 5 others in Dublin], 1795 Cunard, Aldous Huxley, Iris Tree, and Octavo (205 × 125 mm). Early 19th-century tan calf and others. Wheels. An Anthology of Verse. marbled boards, neatly rebacked, using a piece of diced [Cycles 1 to 6.] Oxford: B. H. Blackwell, 1916–21 Russia, gilt roll decoration to head and tail of spine, gilt 6 volumes, octavo. Publisher’s cloth-backed pictorial paper device stamped around the spine. Ownership stamp of Wil- boards, vols. 2–6 with titles to printed spine labels, vols. 3–5 liam Brough to rear free endpaper. Somewhat inelegantly with pictorial endpapers, vols. 1–3 untrimmed and partly rebacked with diced russia salvaged from another binding, 192 unopened. Boards illustrated by Futurist Gino Severini, C. inner hinges cracked but firm, corners worn, some toning to W. Beaumont, and Vorticists William Roberts and Lawrence leaf edges and a few small spots; overall a good copy. Atkinson. Extremities bumped and worn, rubbed, lightly first dublin edition, same year as the first ers at the time had a well-established exemption from soiled, vol. 1 with light foxing; still a very good set. london edition. The Essays were published five the copyright laws and could legally reprint any new first editions, the sixth volume with “presenta- years after Smith’s death and edited by the Scottish publication first published in London, without hav- tion copy” embossed on the title page. Edith Sitwell’s philosopher Dugald Stewart (1753–1828). Stewart’s ing to pay for copy. The London edition precedes this annual anthology was her first serious venture as “Account of the Life and Writings of Adam Smith” legal Dublin reprint. poet and editor. The anthology’s six issues, or cycles, is one of the earliest biographical notices of Smith, Scarce: neither Einaudi nor Goldsmiths’ list this include work by the Sitwell siblings, Nancy Cunard, and “until [Stewart’s] Biographical Memoir of 1811 . . . Dublin edition. Iris Tree, Aldous Huxley, and Wilfred Owen (the 1919 formed the basis upon which everyone drew for the Jessop, p. 172; Kress B.3037; Tribe 56; Vanderblue, p. 43. fourth cycle is dedicated to his memory, preceding biographies of Smith that began to appear in the ear- the 1920 first edition of his poems edited by Siegfried ly 19th century” (Tribe). The editors, Joseph Black £2,500 [126439] Sassoon), among others. and James Hutton, state that Smith’s essays were Complete sets are very scarce. Only 500 copies of intended as parts of “a connected history of the lib- the first volume were printed (followed by a second eral sciences and elegant arts”, but that Smith “long edition, in red cloth, also of 500 copies), 750 for the since . . . found it necessary to abandon that plan as second, and 1,000 for the following two. Fifoot notes far too extensive”. The essays range over philosophy, that the printers and publishers’ records of the print aesthetics and the history of science. Most were prob- run for the last two volumes were either lost or de- ably written before the appearance of the Theory of stroyed. Moral Sentiments in 1759, but were withheld from pub- Eschelbach & Shober, Huxley, pp. 57–66; Fifoot, Sitwells, EB1–2, lication as part of Smith’s “extensive plan”. EB4–5, and EB7–8; Sullivan pp. 489–496. Kress lists the Dublin printing first and calls the £1,250 [135843] London “another issue”, while Tribe calls the Dublin edition a piracy. Neither is correct. Dublin booksell-

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

193 194 governor of Equatoria who was supposedly besieged SNOOK, J. F. Gun Fodder. London: George Allen SPARK, Muriel. The Prime of Miss Jean by Mahdist forces. Stanley’s dealings with Emin Pa- sha (who proved resistant to being “rescued”), his & Unwin Ltd, 1930 Brodie. London: Macmillan & Co Ltd, 1961 abandonment of his own rear column, and his wider Octavo. Original pink cloth, spine and front cover lettered in Octavo. Original green cloth, titles to spine in gilt. With the motives for his mission have all come into question black. With the dust jacket designed by Dorothy Burroughes. pictorial dust jacket. Spine ends a trifle bumped, faint wear then and since, but the book remains a classic of Afri- Jacket spine toned, a few nicks, chips and small tears, spine of to corners. A near-fine copy in the near-fine dust jacket, faint can exploration. In the course of the journey Stanley binding cocked, touch of foxing to edges of book block. An ex- wear to corners. cellent copy, clean, sound and sharp-cornered. met Roger Casement, then in service on the Congo, first edition. The Prime of Miss Jean Brodie was first discovered the great snow-capped range of Ruwen- first edition of this “grim and intensely realistic pic- published in the New Yorker on 14 October 1961, in zori, the Mountains of the Moon, a new lake which ture of the war as seen through the eyes of a typical Brit- a slightly abridged version. It was published in the he named the Albert Edward Nyanza, and a large ish ‘tommy’” (jacket). John Francis Snook (1897–1970) same year in book form to wide critical acclaim. In south-western extension of Lake Victoria. Transla- was born in Limehouse and worked in a factory in the 2005 the novel was chosen by Time magazine as one tions of In Darkest Africa appeared quickly in French, East End before enlisting in 1914, aged 17. He served of the 100 best English language novels from 1923 to German, Italian, Spanish, and Dutch while sales of with the Essex Regiment throughout the war, seeing ac- the present. the English trade editions reached 150,000 copies. tion at Loos, Ypres, and the Somme. In 1917 he received Howgego IV, S60. the DCM and was promoted to lance-corporal in charge £500 [135810] of a Lewis gun section; after Arras and Cambrai he end- £975 [135768] ed the war as a sergeant. The blurb states that after the 195 war Snook became known as an “active political worker STANLEY, Henry Morton. In Darkest Africa. 196 and a passionate anti-war propagandist and organiser”. London: Sampson Low, Marston, Searle and STEVENSON, Robert Louis. The Strange In 1927, as “J. Snook”, he published To Hell with War! originally put out by the National Committee for the Decla- Rivington Limited, 1890 Case of Dr. Jekyll and Mr. Hyde. New York: ration of Ex-Servicemen Against War (Library Hub lists 2 volumes, octavo (217 × 136 mm). Mid-20th-century brown Charles Scribner’s Sons, 1886 half morocco, spines lettered in gilt, marbled sides and end- it under “Snooks”). Octavo. Original green cloth, titles to front board and spine papers, top edges gilt. Frontispieces, 36 plates, 3 folded col- in gilt, top edge gilt. 4 pp. publisher’s advertisements at end. Copies in the striking dust jacket designed by Dor- our maps, folded table, numerous illustrations in the text, Spine ends softened, extremities rubbed, front joint and fore othy Burroughes are uncommon. many full page. Very lightly rubbed, patch of stripping to edges touched up in green, slight finger-soiling to endpa- Not in Lengel. rear cover of vol. I, some faint foxing, taped closed tear to pers. A very good copy. two of the folding maps. A very good copy. £975 [135906] first edition, in second-issue cloth. This author- first edition of stanley’s famous account ized US edition preceded its UK counterpart by four of his 1886–9 expedition to relieve Emin Pasha, the days after Longmans decided to delay the publication

88 December 2019: Peter Harrington 198 until January, as it was feared the book would be lost 197 foxing to edges and first and last few pages; a very good copy indeed. in the Christmas rush. Both the US and UK printings STEVENSON, Robert Louis. Kidnapped. were issued in wrappers and cloth, “as if to echo the first edition, first issue. The first issue was also strange double act of Dr Jekyll and Mr Hyde” (Luck- Being Memoirs of the Adventure of David bound in green, red and blue cloth, with no apparent hurst). Balfour in the Year 1751. London: Cassell and priority. Bleiler 1532 for the 1886 US pirate edition; Luckhurst, “Strange Company, Limited, 1886 £1,750 [136137] Case of Dr Jekyll and Mr Hyde and Other Tales”, OUP, p. xii; Octavo. Original brown cloth, titles to spine in gilt, edges Magill 1834; Prideaux 17. untrimmed, black coated endpapers. Folding map frontis- £2,250 [135905] piece coloured in outline, 15 pp. of publisher’s advertise- 198 ments at end. Contemporary ink ownership inscription to SWINBURNE, Algernon Charles. The half-title. Light wear to corners, slightly cocked, scattered Complete Works. London: William Heineman Ltd, 1925 20 volumes (230 × 153 mm). Contemporary dark blue crushed morocco by the Harcourt Bindery of Boston, raised bands to spines, compartments lettered and tooled in gilt, gilt panelling to sides, turn-ins tooled in gilt, blue endpapers, cream silk page markers, top edges gilt. Spines consistently faded to brown, tips a little rubbed. A handsomely bound set. the bonchurch edition, number 7 of 780 copies, of which 750 were for sale, an attractive set of what remains the standard edition, including a revision of Gosse’s 1912 biography, the first “life”. £4,500 [126511]

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199 201 minister; it followed The Downing Street Years,published TESTINO, Mario. Kate Moss. Cologne: Taschen, THATCHER, Margaret. The Path to Power. in 1993, which detailed her time in office. 2010 London: Harper Collins, 1995 £1,250 [135975] Folio. Original silver boards, lettering taken from a photo Octavo. Original blue morocco, spine lettered in gilt, blue of Kate Moss, in the unopened shrink-wrap. Housed in the endpapers, gilt edges, blue silk page marker. In the original “One of the most elaborate pieces of bookmaking publisher’s acrylic box and with the packaging as issued. A blue cloth slipcase. Original purchaser’s invoice, from Wa- of the period” fine copy. terstones in Bath, laid in. A fine copy. first, signed limited edition, one of 1,500 cop- signed limited edition, number 409 of 500 202 ies signed and numbered by Testino. copies signed by the author on the title page. THAXTER, Celia. An Island Garden. With £1,500 [127756] This is the second volume of Thatcher’s autobiogra- pictures and illuminations by Childe Hassam. phy, covering her childhood to her election as prime Boston: Houghton Mifflin, 1894 200 Octavo. Original green cloth, spine and covers decorated THATCHER, Margaret. The Downing Street in gilt, top edge gilt, others untrimmed. Illustrated colour frontispiece and 11 plates, all with captioned tissue Years. London: Harper Collins, 1993 guards, illustrations in the text. Ownership inscription to Octavo. Original blue morocco, spine lettered in gilt, blue front blank. Spine slightly rolled, spine ends and tips light- endpapers, gilt edges, blue silk page marker. In the original ly rubbed with wear to foot of spine, fore tip of front cover blue cloth slipcase. A fine copy. bumped, a few marks to covers, a couple of spots of foxing to contents, occasional offsetting from illustrations. Other- signed limited edition, number 212 of 250 wise a very good, bright copy. copies signed by margaret thatcher on the title page. The Downing Street Years was the first volume first edition, with a card signed by the au- of Thatcher’s autobiography, covering her years as thor tipped onto the front free endpaper. Poet and prime minister, to be followed in 1995 by The Path to writer Celia Thaxter (1835–1894) spent the majority of Power, which went back to chronicle her childhood her life on the Isles of Shoals off the coast of Maine and life until her election as premier. living and working with her father at his Appledore Hotel, a setting which inspired many of her works. £2,750 [135598] This work is described by BAL as being “one of the most elaborate pieces of bookmaking of the period”. “Critics are usually in agreement that Celia’s finest writing is in An Island Garden, a distillation of her abid- 201 ing love affair with Appledore. There she planted,

90 December 2019: Peter Harrington 204

cocked, a little foxing to cloth and edges of book block and endpapers, else clean internally; very good indeed in the mildly toned but bright jacket, lightly rubbed with some nicks to spine ends, small chip to head of spine and tiny repair to head of rear panel. first edition, in the first issue jacket with the hand-correction to “Dodgeson” on the rear inside flap. The first edition was published on 21 September 1937 and the first impression of 1,500 copies was sold out by December. Hammond & Anderson A3a. £45,000 [135545]

204 TWAIN, Mark. The Adventures of Huckleberry Finn. London: Chatto & Windus, 1884 Octavo. Original red cloth, spine and front cover lettered in gilt, designs blocked in black to covers and spine, brown patterned endpapers; publisher’s catalogue dated October 1884 at end. Frontispiece and illustrations by E. W. Kemble. Cloth 203 very lightly soiled with faint ringstain to front cover, 6.5 cm tear without loss discreetly taped to pp. 271/2, short closed experimented with, and nurtured a spectrum of flow- 203 tears to pp. 125/6 and 17/18, creasing to some page corners, pp. 311–14 neatly re-inserted. Notwithstanding these minor ers, uncannily prevailing against inimical insects, TOLKIEN, J. R. R. The Hobbit or There and internal repairs, a good copy presenting well on the shelf. fungi, and slugs, and fenced her blossoms against the adverse winds” (American National Biography). Back Again. London: George Allen & Unwin Ltd, first edition, preceding the first US edition by a BAL 19923. 1937 few months, of one of the most iconic and best-loved Octavo. Original green cloth, spine and covers blocked in works of American fiction. £1,500 [125680] black, top edge green, map endpapers printed in black and BAL 3414. red. With the dust jacket. Frontispiece and 9 full-page uncoloured illustrations after drawings by the author. Spine £1,250 [135798]

All items are fully described and photographed at peterharrington.co.uk 91 206

206 leaf of volume 1, engraved colour, sepia, and black and white frontispieces with captioned tissue guards to each volume, VERNE, Jules. The Works. New York: Vincent numerous plates to contents. Park and Company, 1911 the prince edward of wales edition, one of 15 volumes, octavo (232 × 157 mm). Attractively bound in re- 500 numbered sets, this set out of series, signed by cent green morocco, burgundy morocco labels, centre tool the registrar R. G. Lancaster. Edited by the American to spines gilt separated by raised bands, roll to boards gilt, scholar Charles F. Horne, this edition includes 36 marbled endpapers, top edges gilt, others untrimmed. En- graved colour portrait of the Prince of Wales to limitation stories and short stories, including Twenty Thousand Leagues Under the Sea, Journey to the Center of the Earth, 205 and Around the World In Eighty Days. The publication here of Verne’s later novel, The Master of the World, 205 precedes the first separate British and American edi- TURGENEV, Ivan. Russian Life in the tions of 1914. Interior or the Experiences of a Sportsman. £5,000 [125646] Edinburgh: Adam and Charles Black, 1855 Octavo. Publisher’s blue ribbed cloth, titles and tree design A fine example of Wain’s kaleidoscope cats in gilt to spine, huntsman design gilt to front and blind to rear board, pastedowns printed in red with publisher’s ad- 207 vertisements. 8 pp. publisher’s advertisement. Ink owner- WAIN, Louis. Kaleidoscope cat. c.1930s ship inscription of Thomas Knowles to half-title; binder’s ticket of Alexander Banks Jr of Edinburgh to rear pastedown. Original gouache watercolour on paper (188 × 128 mm). Spine restored, tips a little bumped, light wear to extremi- Glazed and framed. Stab holes visible at top edge of sheet, ties, free endpapers renewed. Still a very good copy. else in fine condition, the colours bright and entirely unfaded. first edition in english of turgenev’s first a rare, superbly coloured “kaleidoscope” major work, the short story collection. A Sports- cat, presumed to have been created during Wain’s man’s Sketches, here translated by James Meiklejohn later years at Napsbury Asylum when his fluctuating from the 1854 French translation, after its first ap- psychological state was profoundly transforming his pearance in 1852 as Zapiski Okhotnika. This, the first art. In this case, the image retains the realistic form appearance in English of any complete work by Tur- of a mischievous cat but with the psychotic gleam genev, is scarce in commerce, with only one copy in and unnaturally bright colouring typical of the artist’s recent auction records, from 1995. more abstracted work, straddling the divide between Line, A Bibliography of Russian Literature in English Translation to 1900, the two facets of Wain’s artistry; a “flashback” or pre- Turgenev 18. cursor of an altered state. Wain began to produce dis- cordant works which experimented with geometric £1,500 [135879] 206

92 December 2019: Peter Harrington patterns, distortions of form, and vivid colours, often creating almost completely abstracted drawings. Many of these drawings were gifted to his warders and the specialists who took care of him, such as Noel Gordon Harris, a consultant at Springfield whose two Wain drawings were presented to the Wellcome Li- brary in 1985. Art critic Geoff Cox described these so-called “psychotic cats” as being “riotous and grinning or sublimely poised and inscrutable, their many-hued bright saucer eyes gaze from vistas of tangled foliage and pink-jeweled mountains. When shut indoors, they are set against intricate curlicues of wallpaper. On occasion, they fracture, shimmering into their ornate backgrounds. These are otherworld cats; always strange, joyous, unknowable and trou- bling” (Brottman). After 15 years spent in psychiatric asylums Wain died, aged 78, in July 1939, leaving behind an incredibly varied body of work. Despite his eventual fame as “the man who drew cats”, Wain (1860–1939) regarded himself as a “dog artist” at the start of his career, providing numerous spreads for journals such as the Illustrated London News reporting on kennel club and dog shows. Cats were, however, his first love, and he obsessively illustrated them for the rest of his life. Persuaded by his ailing wife Emily, Wain volunteered sketches of their black and white kitten, Peter, to the ILN, which were received positively. These early drawings soon gave way to the “definitive Louis Wain cat”: instantly recognisable anthropomorphic felines in evening dress, sporting monocles and cigars, or playing cricket. His illustration, “The Kitten’s Christmas Party”, featuring more than 150 cats, appeared in the Christmas issue of the ILN in 1886 to great acclaim. When the time came to commission an artist to capture the likenesses of the bloodhound duo, Barnaby and Burgho, assigned to the Jack the Ripper case after the “Double Event”, Wain was the obvious choice. His full-page spread was printed in the ILN on 20 October 1888 and captured Sir Charles War- ren trialling the pair in Hyde Park in preparation for their use at Ripper crime scenes. provenance: from an album dispersed at Christie’s South Kensington, January 1997. Rodney Dale, The Man Who Drew Cats (Chris Beetles Ltd, 2000). See also Mikita Brottman, Funny Peculiar: Gershon Legman and the Psychopathology of Humor (Routledge, 2004); The Oxford Handbook of Clinical Specialities. 10th edition (Oxford: Oxford University Press, 2016); Diane Waller, Becoming a Profession: The History of Art Therapy in Britain, 1940–82 (Routledge: 2013). £18,500 [125094] 207

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209 WHITE, E. B. Charlotte’s Web. Pictures by Garth Williams. New York: Harper and Brothers, 1952 Octavo. Original light brown cloth, spine and front cover lettered in black and blue, blue and white spider-web patterned endpapers. With the dust jacket. Illustrated throughout by Williams. Foot of spine slightly bumped, somewhat darkened, slight toning to edges. A near-fine copy in the near- fine dust jacket, slight wear to corners, a little rubbed. first edition, a lovely copy. E. B. White won the Laura Ingalls Wilder Medal in 1970 for Charlotte’s Web and his first children’s book, Stuart Little, which was 208 published in 1945. £2,000 [136193] 208 Hardy, Yeats, and Barrie among others, and early in his career he collaborated with his friend Robert Lou- WELLS, H. G. The Invisible Man. A Grotesque 210 is Stevenson on four plays. Henley encouraged Wells Romance. London: Pearson, 1897 to develop a series of time travelling stories into what WHITEHEAD, Alfred North, & Bertrand Octavo. Original red cloth, front cover stamped in gilt and would later become The Time Machine. Henley seri- Russell. Principia Mathematica. Second black. Bookseller’s ticket of Sotheran’s; bookplate of Eu- alized the work and secured a generous publication edition. Cambridge: at the University Press, 1925 gene Plunkett and pencilled inventory number on front agreement with Heinemann. “In making friends with pastedown. Slight lean, spine faded and stained with wear & 1927 to ends, hinges starting, endpapers and contents browned. Henley he had made the contact that was to launch his career” (MacKenzie, H. G. Wells, p. 105). 3 volumes (258 × 168 mm), large octavo. Attractively bound in recent dark blue morocco, titles and decoration to spines first edition, presentation copy, inscribed This copy has the relevant first issue points: page gilt, raised bands, roll to boards gilt, marbled endpapers, by wells to his literary mentor on the half-ti- 1 incorrectly numbered 2, and two pages of advertise- tle, “W. E. Henley from H. G. Wells (with apologies)”. gilt edges. Vol 1: short tears to top edges of pp. 245–6 and ments at rear. 271–2, one small puncture to fore edge of pp. 319–40 not af- William Ernest Henley (1849–1903), poet, critic, jour- Currey, p. 520; Wells 11; Hammond B4. fecting text, a near-fine set. nalist and influential editor of the National Observer and other papers, “had a gift for finding and encouraging £18,000 [115742] second edition, first impression, one of 1,000 new talent” (ODNB). He published works by Kipling, copies printed. Supervised by Russell, this expanded

94 December 2019: Peter Harrington 210 211 213 edition includes a new introduction which reflects first edition of Wilde’s collected essays on aes- District with the author’s best wishes, Patrick Forbes, the advances made in the years since the publication thetics, originally published in journals from 1885 Oct. 1st 1971” to title page. Prince William of Glouces- of the first edition (1910–12–13). In this work, White- to 1890, and here revised by Wilde. Of this edition ter (1941–1972) was a grandson of King George V and head and Russell attempted to construct “the whole 1,500 copies were printed, of which 600 were issued paternal cousin of Elizabeth II. He died, aged 30, in body of mathematical doctrine by logical deduction in America. an air crash while piloting his plane in a competition. from the basis of a small number of primitive ideas Mason 341. £500 [135861] and a small number of primitive principles of logical inference” (DSB, XII, p. 14). The belief that mathe- £1,375 [126063] matics can be derived from logic is not only one of the 213 principal philosophical theories of the foundation of 212 (WINE.) SIMON, André L. Wines of the mathematics, it has also provided some of the most (WINE.) FORBES, Patrick. Champagne. The World. London: The Arcadia Press, 1969 important results in the formal analysis of mathe- Wine, The Land, The People. London: Victor Large octavo (262 × 185 mm). Original red morocco by matical concepts (cf. Frege, Peano). This belief found Gollancz Ltd, 1967 Zaehnsdorf, spine lettered in gilt, five raised bands, grape- its fullest expression in Principia Mathematica. A fourth vine design to front cover in gilt with green and turquoise Octavo (212 × 138 mm). Specially bound in contemporary volume, dealing with the applications to geometry, onlay, marbled endpapers, gilt vine roll to turn-in, all edges brown morocco dated 1971, original front wrapper preserved, was planned but never finished, as both men turned gilt. With many full-page maps, diagrams and colour photo- titles to spine in gilt, single gilt fillet frame to front board, top graphs. A fine copy. their attention away from mathematics and towards edge gilt, marbled endpapers. Housed in a matching custom philosophy. brown-cloth and morocco slipcase. With 7 leaves of mono- signed limited edition, number 8 of 265 cop- Blackwell & Ruja A9.2a. chrome photographic illustrations on both sides, one dou- ies signed by the author and finely bound by ble-page map printed in brownish-red. A fine copy. £3,750 [124543] Zaehnsdorf. André Louis Simon (1877–1970) “was first edition, presentation copy, inscribed by the charismatic leader of the English wine trade for almost all of the first half of the 20th century, and the 211 the author, “For H.R.H. Prince William of Glouces- ter upon the occasion of his visit to the Champagne grand old man of literate connoisseurship for a fur- WILDE, Oscar. Intentions. The Decay of ther 20 years. In 66 years of authorship, he wrote 104 Lying; Pen Pencil and Poison; The Critic as books” (Robinson & Harding, The Oxford Companion to Artist; The Truth of Masks. London: James A. Wine, p. 668). In the present book, published the year before he died, Simon offers an opinionated guide to Osgood, McIlvaine & Co., 1891 the wines of each major wine-growing region of the Octavo. Original green cloth, spine and front cover lettered world, extensively illustrated. in gilt. Bookplate to pastedown. A little rolled, spine slightly darkened and bumped at ends, else a very good copy. £1,250 [136171] 212

All items are fully described and photographed at peterharrington.co.uk 95 214 215

214 215 which appeared soon after in the Hogarth Press pub- (WOLLSTONECRAFT, Mary.) GODWIN, WOOLF, Virginia. Autograph letter signed lication Stavrogin’s Confession and The Plan of the Great Sinner. William. Memoirs of the Author of a to T. S. Eliot. Hogarth House, Paradise Road, This letter comes in the wake of that Hogarth pub- Vindication of the Rights of Woman. London: Richmond, Surrey: Sunday [12? November 1922] lication, with Woolf thanking Eliot for his support: J. Johnson and G. G. and J. Robinson, 1798 Single page letter on Hogarth House stationery (c. 270 × 210 “We’re very glad you like the Dostoevsky. I think it is Octavo (175 × 105 mm). Uncut in the original boards, sympa- mm). Letter folded thrice with creases and tape repair to far the best thing we have done, but none of the re- thetically rebacked. Housed in a custom blue cloth solander verso quite badly tanned. Ink faded, almost but not quite to viewers seem to see anything in it. We are glad you case, paper label to spine. Engraved frontispiece portrait by illegibility in some places. had it. The publicity seemed to me very great.” She Heath after Opie. Pasted auction catalogue descriptions of an exceptional letter connecting two of then promises to send Eliot a new story, before com- different copies of the book to front pastedown, small ink the key figures of the english modernist plaining of her lack of leisure: “We are in the middle jotting to rear pastedown. Half-title, errata and advertise- movement, here in their capacity as publisher/edi- of the General Election and the publishing and so I ments preserved. A few marks to covers, offset from frontis- tors in the annus mirabilis of modernist publishing. piece, occasional tiny blemishes to contents. An excellent, have no time to read the Criterion as I wish to, nor to well-preserved copy. Woolf writes to T. S. Eliot, addressing him familiarly write an intelligible letter.” She closes “ever yours, as “Tom”, on Hogarth House stationery towards the Virginia Woolf ”, before sending best wishes for first edition. Godwin’s touching and frank ac- end of 1922, the year in which the Woolfs began to his wife Vivienne’s health and wishing they “have a count of his wife Mary Wollstonecraft’s life marks run the Hogarth Press as a serious publishing con- chance of a holiday”. an important step in the development of the art of cern—starting with Woolf ’s first full-length novel Though the letter is dated only “Sunday”, the biography. The details of her liaison with Imlay, the Jacob’s Room in October of that year. Woolf and Eliot likely date is 12 November 1922, from the mention of birth of her illegitimate daughter, and her suicide were close literary collaborators around this time: the being “in the middle of the General Election”, which attempts, all scandalized contemporary readers for Hogarth Press had published Eliot’s collection Poems was held on Wednesday, 15 November and won by Bo- whom biographies were expected to be glowing ac- in 1919, and would print the first UK edition of The nar Law for the Conservatives. counts of admirable qualities. Godwin, the grieving Waste Land in 1923 (though it first appeared in Eliot’s Letters of this associative calibre are rare. We can widower, was determined that the public deserved to magazine The Criterion in October 1922). Eliot, for his trace no letters from Woolf to Eliot at auction, and know the whole truth about this remarkable woman. part, published in the very same October issue of The have only ever handled one other. Goldsmiths’ 17406; ESTC T94267. Criterion a joint English translation of a Dostoevsky £7,500 [126655] £3,500 [125420] short story by Virginia Woolf and S. S. Koteliansky,

96 December 2019: Peter Harrington 216 217 219

216 first edition, number 3 of 861 copies signed 218 WOOLF, Virginia. The Common Reader: by the author on the verso of the half-title in her WOOLF, Virginia. On Being Ill. London: The customary purple ink. This edition, produced by First and Second Series. London: Published by Crosby Gaige, the pioneering publisher of modern Hogarth Press, 1930 Leonard & Virginia Woolf at the Hogarth Press, 1925 literature in fine-press editions, preceded the first Octavo. Original vellum-backed blue-green cloth boards, & 1932 trade edition, published in the UK, by nine days. spine lettered in gilt, marbled endpapers. Covers a little soiled and foxed, a couple of bumps to board edges, con- Kirkpatrick A11.a. 2 volumes, octavo. First Series: original cloth-backed decorat- tents clean. A near-fine copy. ed paper boards; with the dust jacket designed by Vanessa Bell. Second Series: original green cloth, titles to spine gilt; £2,750 [135854] first separate edition, number 148 of 250 copies with the dust jacket designed by Vanessa Bell. First Series: only, the entire edition, signed and numbered by the boards slightly marked and foxed but still bright, a little author in her typical purple ink. Written by Woolf foxing to edges. Second Series: cloth a little darkened, boards after experiencing a period of severe manic-depres- slightly toned. A very good set in the scarce jackets, spine sion, On Being Ill was first published in essay form in panels toned, edges slightly darkened, but front panels still T. S. Eliot’s New Criterion in January 1926. bright, jacket of First Series expertly stabilised with a little tissue at head of spine, spine fold and front fold. Woolmer 245. first editions, particularly tough to find in collect- £2,000 [126083] able condition. Kirkpatrick A8a & A18a; Woolmer 81 & 315. Stuart N. Clarke (ed.), 219 The Essays of Virginia Woolf, Volume 5: 1929–1932. YEATS, W. B. The Secret Rose. London: £4,500 [125945] Lawrence & Bullen, Limited, 1897 Octavo. Original blue cloth, title and pictorial decoration to 217 spine and boards gilt. Frontispiece and 6 plates by Jack B. WOOLF, Virginia. Orlando. A Biography. Yeats. A very good copy indeed, bright and clean with a little wear to the spine ends. New York: Crosby Gaige, 1928 first edition, first issue binding, with “Law- Octavo. Original black cloth, titles and English rose decora- rence & Bullen” at the foot of spine, scarce in such tion to spine in gilt, publisher’s device to front cover in gilt, cream endpapers, top edge gilt, others untrimmed. Frontis- nice condition. piece and 7 photographic illustrations, including one of Vir- £1,250 [135709] ginia Woolf as Orlando. Spine dulled with light wear at head, rear cover rubbed. A very good copy. 218

All items are fully described and photographed at peterharrington.co.uk 97 mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff www.peterharrington.co.uk London sw3 6hs 98 December 2019: Peter Harrington