December 2019
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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.