BLACKWELL’S RARE BOOKS & illustrated books Blackwell’s Rare Books 48-51 Broad Street, Oxford, OX1 3BQ

Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792 Email: [email protected] Fax: +44 (0) 1865 794143 www.blackwell.co.uk/rarebooks

Our premises are in the main Blackwell book- shop at 48-51 Broad Street, one of the largest and best known in the world, housing over 200,000 new book titles, covering every subject, discipline and interest, as well as a large second- hand books department. There is lift access to each floor. The bookshop is in the centre of the city, opposite the Bodleian Library and Sheldo- nian Theatre, and close to several of the colleges and other university buildings, with on street parking close by.

Oxford is at the centre of an excellent road and rail network, close to the - (M40) motorway and is served by a frequent train service from London (Paddington).

Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.)

Purchases: We are always keen to purchase books, whether single works or in quantity, and will be pleased to make arrangements to view them.

Auction commissions: We attend a number of auction sales and will be happy to exe- cute commissions on your behalf.

Blackwell’s Rare Books online blackwell.co.uk/rarebooks

Our website contains listings of our stock with full descriptions and photographs, along with links to PDF copies of previous catalogues, and full details for contacting us with enquiries about buying or selling rare books.

Please mention Private Press catalogue when ordering.

All books subject to prior sale.

Cover illustration: Item 133 1. (Acorn Press.) SHAKESPEARE (William) The Sonnets. 1982, 328/350 COPIES printed on Zerkall mouldmade , wood-engraved head-piece by Hellmuth Weissenborn to each of the Sonnets and on the title-page printed in various shades of brown, purple and orange, with the title printed in black and orange, pp. [176], 4to, original quarter dark brown cloth with mustard-yellow sides reproducing the wood-engraved head-pieces overall in brown and orange, backstrip with printed label, untrimmed, cloth and board slipcase, fine £245

Printed at the Rocket Press.

2. (Acorn Press.) WEISSENBORN (Hellmuth) Fantasy. Hand-Coloured Linocuts. 1978, ONE OF 100 NUMBERED COPIES signed by the artist (this copy neither numbered nor signed) printed on Wookey Hole handmade paper, with 21 linocuts by Weissenborn printed in blue or brown and finished with handcolouring, each with a printed title, the linocuts and text pages all printed on rectos only, pp. [44], large 4to, original mid green boards with faded backstrip, printed front cover label, untrimmed, matching board slipcase with printed label, near fine £50

3. (Acorn Press.) WEISSENBORN (Helmuth, Illustrator) An Anthology of Love. With Linocuts by Helmuth Weissenborn. 1985, 45/100 COPIES, 15 linocuts printed in brown or blue,printed on buff Zerkall moulmade paper, pp. [44], square 8vo, original oatmeal cloth with printed label inset to upper board, edges untrimmed, fine (Carter 195) £80

Designed and printed by Sebastian Carter at the Rampant Lions Press.

A beautifully produced example of Catalan modernism 4. (Albéniz.) MARQUINA (Eduardo) Elegías. Punta Secas por Laura Albéniz. Barcelona: Gustavo Gili, 1935, FIRST ILLUSTRATED EDITION, 1/5 COPIES (from an edition of 176 copies) on Japon nacarado paper with an original drawing signed by the artist, the original metal plates of two of the illustrations, and a separate suite of prints on China paper, titles and decorations printed in orange, illustration at head of each poem, the occasional foxspot, pp. 233, [2], 4to, original wrappers, small tear at foot, unbound as issued, edges untrimmed, the suite of prints and plates enclosed in their own folders, prospectus laid in, all housed in quarter vellum folder with blue sides, lettered in gilt to backstrip, faint handling marks, original slipcase a little rubbed and lightly dustsoiled, very good £2,000

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Originally published in 1905, this lavish new edition in the publisher’s ‘La Cometa’ series enhances the original text with drypoint etchings by fellow Catalan Laura Albéniz; her illustrations are also provided as a separate suite of prints with two of her original plates and an original drawing.

5. (.) DUNCAN (Robert) Structure of Rime. San Francisco, 2008, 175/275 COPIES, mouldmade paper, pp. [iv], 96, 4to, original brick-red cloth with inlaid prints by Frank Lobdell, grey paper backstrip label with black lettering, top edge trimmed, paper and cloth slipcase, excellent [with:] An Etching with aquatint by Frank Lobdell, ‘Untitled, 5,15,87’, 26/35 copies, loose with the book £600

With a copy of the Prospectus.

6. (Arion Press.) FERLINGHETTI (Lawrence) A Coney Island of the Mind. San Francisco, 2005, 218/300 COPIES, signed by the author and the artist, frontispiece portrait by R. B. Kitaj, pp. [x], 29, 4to, original quarter grey cloth with illustration by Kitaj, paper label lettered in black, paper and cloth slipcase, near fine £300

With prospectus for the same laid in at front.

7. (Arion Press.) ROTH (Henry) Call it Sleep. San Francisco, 1995, 246/300 COPIES, signed by the author, 48 period photographs alongside text, pp. [vii], 429, 8vo, original quarter green morocco with green cloth sides, window design stamped in green to both boards, backstrip lettered in green, top edge trimmed, slipcase, fine £300

The Kelmscott Chaucer in sheets 8. (Basilisk Press.) CHAUCER (Geoffrey) Works, now newly Imprinted. [A Facsimile of the Kelmscott Press Edition of 1896, Edited by F.S. Ellis]. 1974, ONE OF 515 COPIES printed in black and red, pp. [iv], 554, [1], folio, original unbound sheets, untrimmed, additional trial page with binding instructions pinned at head, stored in wax paper, near fine £1,500

The sheets of the Kelmscott Chaucer, in the Basilisk Press’s lauded facsimile version - one of a small number of copies presented in this form to those involved in the production of this project. Carefully stored and ripe for binding.

9. (Binding.) BROCKMAN (Stuart, binder) ISHERWOOD (Christopher) A Single Man. The Land Press, 1980 LIMITED EDITION OF 400, this one out of series, signed by Christopher Isherwood, pp. [iv], 133, [4], 8vo, uncut, bound by Stuart Brockman (with his ticket) in full fabric over cushioned boards with silver plated and crystal bosses, spine in compartments, stained vellum palladium tooled lettering label, red Japanese tissue endleaves, housed in black full cloth box with velvet lining, excellent £1,500

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A singular binding. The copy is perhaps out of series in that Isherwood’s signature seems to have been executed with a faulty pen, or perhaps the (red) ink disagrees with the paper.

Items 9 & 10

10. (Binding.) BROCKMAN (Stuart, binder) STRONG (L.A.G.) The Hansom Cab and the Pigeons. being random reflections upon the silver jubilee of King George V. , 1935, FIRST EDITION, ONE OF 1,000 COPIES (of an edition of 1,212 copies) printed on machine-made paper, wood-engraved frontispiece and 16 other engravings in the text by , pp. [ii], 46, [4], 8vo bound by Stuart Brockman (with his ticket) in full black goatskin over cushioned boards with gold tooling and lettering, red, purple and yellow goatskin onlays, black and red calf onlays, housed in black full cloth box lined in velvet £1,650

The design of the binding (that on the lower cover mirroring the front) is based on the hansom cab which features in the frontispiece.

11. (Birmingham School of Printing.) POPE (Alexander) The Rape of the Lock. An Heroi-Comical Poem, 1712. Birmingham: [Printed for private distribution by Leonard Jay,] [1944,] ONE OF 65 COPIES, title-page, initial letters and decorations in green with printed in copper, printed on Malling Mills Toned paper, 6 full-page illustrations, pp. 44, imperial 8vo, original brick-red cloth, backstrip and upper board lettered in gilt with very slight lean to spine, a little dustiness with some very faint spotting to endpapers, good £80

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12. (Birmingham School of Printing.) RUDLAND (E.M.) Selection from Ballads of Old Birmingham. (Printed for Private Distribution), Leonard Jay, Birmingham. 1945, FIRST SELECTED EDITION, ONE OF 85 COPIES, printed in black and red, the typographic border to the title-page and the armorial-bearings by A. Michael Fletcher also printed in red, pp.72, small folio, original qtr. tan cloth, backstrip gilt-lettered, grey-green boards, foxed endpapers and edges, good £75

With an inspiring inscription by Leonard Jay, ‘Presented to George Kenneth Boyden on the completion of his course in the Birmingham School of Printing, in the hope that he will honour, serve, & love his craft, and will continue to foster the habit of doing things well for the joy of the work & the pleasure of achievement. Leonard Jay 18.vii.45’, unfortunately written out upside down on the rear free endpaper.

One of the few books designed by Leonard Jay rather than by students under his direction. 85 copies were printed and not 65 as stated in Wallis.

13. Blake (Peter) Alphabets. Text by Mel Gooding. D3 Editions, Nottingham. 2010, FIRST EDITION, 68/100 COPIES (of an edition of 600 copies) signed by Peter Blake, with the signed numbered print by Blake, in its red card folder, loosely inserted in the book, over 200 pages of colour reproductions of photographs of the artist’s work and including 2 folding leaves, pp. [ii], 224, 4to, original crimson cloth, backstrip longitudinally gilt lettered, printed front cover label within a gilt frame, cotton-marker, matching board slipcase and label, fine £500

Peter Blake’s love of letters and collecting enthusiasm come together in this work to illustrate the 18 unique alphabets he has produced, some of them previously unpublished.

Inscribed to May Sinclair 14. (Bosschère.) THE GOLDEN ASSE OF LUCIUS APULEIUS. Translated out of Latin by William Adlington, with an Introduction by E.B. Osborn and Illustrated in Colour and Black and White by Jean de Bosschère. John Lane The Bodley Head, 1923, ONE OF 3,000 COPIES, this marked ‘Complimentary’, colour frontispiece and 15 further plates by Bosschère with tissue guards present to those in colour, title-page printed in black and red, faint foxing to prelims, pp. xxv, 282, [4], 8vo, original brick-red cloth stamped in gilt to upper board, backstrip lettered and decorated in gilt with rubbing at tips, indentation at foot of upper board with bumping to corners and tips of backstrip, t.e.g., others untrimmed and faintly toned, endpapers faintly browned with a little spotting, good £180

Inscribed on the flyleaf, ‘To May Sinclair from Jean de Bosschère, 1923’.

Sinclair had provided the introduction to Bosschère’s The Closed Door in 1917, whilst he had illustrated her Uncanny Stories from 1923.

15. Brangwyn (Frank) The Way of the Cross. An Interpretation. With a Commentary by Gilbert Keith Chesterton. Hodder and Stoughton, [1935,] FIRST EDITION, 118/250 COPIES signed by Chesterton and Brangwyn, tiny gift inscription to inner top corner of initial blank, contents and title-page printed in black and brown, initial letter brown, 14 plates onlaid to stiff paper backing with preceding

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caption-pages, printed rectos only, one or two very small foxspots to gutters or margins, pp. 51 + plates, folio, original cream vellum lettered in gilt to upper board, tiny scuff to lower board, slightest of bumps to top corner of upper board, t.e.g., others untrimmed, very good (Sullivan 98) £800

16. (Brangwyn.) PHILLPOTTS (Eden) The Girl and the Faun. Palmer & Hayward. 1917, FIRST EDITION, 171/350 COPIES printed on handmade paper and signed by the author and artist, 4 tipped-in colourprinted Item 15 plates, tissue-guards present, half- title, title-page, 3 full-page illustrations and the text border designs throughout by Brangwyn printed in yellow, pp. [xii], 116, large 4to, original qtr. white vellum a little lightly spotted, backstrip and front cover lettered and decorated in gilt, grey boards, t.e.g., others untrimmed, very good £285

Including Hughes and Heaney 17. (Breckness Press.) FOUR POETS FOR ST MAGNUS: George Mackay Brown, Ted Hughes, Seamus Heaney, Christopher Fry. Orkney: [Printed at the September Press,] 1987, FIRST EDITION, 27/80 COPIES (of an edition of 100 copies) signed by each of the contributors, 5 tipped-in facsimiles taken from the four original manuscript contributions, and 2 drawing of by Bryce Wilson taken from those in St Magnus Cathedral and reproduced in maroon, the title printed in black and red, ff. [24], large 4to, original quarter white vellum, backstrip gilt-lettered, dull pink boards, the front cover with a design reproducing a cathedral aspect and printed in black, cloth slipcase with pictorial label, fine £1,500

The contributions are: ‘The Kirk and the Ship’ by George Mackay Brown, ‘The Zodiac in the Form of a Crown’ by Ted Hughes, ‘In memoriam’ by Seamus Heaney and ‘Hymn at Lauds’ translated from the Latin by Christopher Fry.

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18. (Brett.) PRICE (Jonathan) Private View. With a by Simon Brett. Valerie Parry, 1985, ONE OF 230 COPIES signed by the illustrator, printed on Zerkall mould-made paper, title-page printed in blue and black wood-engraving, pp. [14], royal 8vo, original sewn wrappers, printed label to front, edges untrimmed, fine £35

Printed at The Rocket Press.

19. (Brewhouse Press.) RIGBY GRAHAM. A Retrospective Exhibition of Paintings held at Wymondham Art Gallery, Leicestershire. (With a Foreword by the Artist). 1979, 109/200 COPIES, 3 line-drawings and 23 reproductions of paintings by Graham, artist’s signature reproduced in red on title-page, pp. 64, 8vo, original khaki boards, covers gilt blocked, rear cover with a design by Graham, dustjacket with a short tear, has an overall design by Graham, near fine (Battye 58) £40

20. (Buckland Wright.) REID (Anthony) A Check-List of the Book Illustrations of John Buckland Wright. Together with a Personal Memoir. Pinner: Private Libraries Association, 1968, FIRST EDITION, ONE OF 700 COPIES (from an edition of 1,400 copies), 20 illustrations with the majority full-page as well as 16 further plates at rear, pp. 94, plates, 8vo, original blue cloth with Buckland Wright design to upper board, backstrip lettered in gilt against a red ground, top edge pale blue, original tissue wrapper just a little frayed, very good £50

21. ( Christmas Book.) A DISTRACTION OF WITS nurtured in Elizabethan Cambridge. An Anthology selected and introduced by George Rylands. With drawings by Michael Ayrton. Cambridge, printed by the University printer for friends in printing & publishing. 1958, ONE OF 500 COPIES, first two leaves printed in black and pink, 11 full-page illustrations printed in black and grey, pp. [60], 8vo, original beige boards ‘comb’ patterned in black, backstrip lettered in gilt on a red ground, fine (Crutchley p.29) £30

22. (Cambridge Christmas Book 1967.) SPARROW (John, Compiler.) Line upon Line: an Epigraphical Anthology. [Preface by Brooke Crutchley]. Printed by the University Printer for his Friends at Christmas, Cambridge. 1967, ONE OF 500 COPIES, title within a ruled border, 46 inscriptions reproduced typographically, each within an ornamental rule border, each inscription faced by a short note on its location and history, the 12-page India paper crib of translations of the Latin, Italian and French inscriptions in the pocket of the rear pastedown, pp. 24, ff. [48], demy 8vo, original pale grey boards flat-backed with dark blue buckram, backstrip lettered in gilt, sides lettered in white, the cover designed by , matching slipcase, fine (Crutchley pp.33/34) £40

23. (Cambridge Christmas Books.) WALKER (Alice) Aristology, or the Art of Dining. [Preface by Brooke Crutchley]. Cambridge. 1964, ONE OF 500 COPIES, title- vignette and 10 other full-page illustrations by Lynton Lamb, pp. viii, 64, small 4to, original brown cloth-backed olive boards with black pattern between vertical orange stripes, backstrip gilt lettered, slight discolouration to tail of backstrip, near fine £40

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24. (Celtic Cross Press.) MACKAY BROWN (George) The Poor Man in his Castle. A Christmas story. Linocuts by Rosemary Roberts. Lastingham, 2004, 105/135 COPIES, title-page vignette and 5 further linocuts printed in two shades of brown with 4 of these full-page, pp. [27], small 4to, original quarter olive-green cloth with tan cloth sides, fish motif stamped in gilt to upper board, backstrip lettered in gilt, edges untrimmed, fine £60

25. (Cherub Press.) The Cardinal Rules of Writing Style. Solihull, 1988, ONE OF 65 COPIES, pp. [1], 24mo, single piece of trimmed card, very good £20

An amusing list of five merrily violated precepts. With two other pieces of ephemera from the Press, a prospectus and a business card, all attractively printed.

26. (Cherub Press.) VEDIC LEGEND. Solihull, 1987, 66/100 COPIES printed on Rakusui Japanese handmade paper of varying shades, with a hand-coloured frontispiece by Kim Butcher, pp. [7], 7 x 6 cm, original stab-bound wrappers of blue handmade paper, printed in blue to front, merest hint of fading to rear cover, protective sleeve, near fine £70

27. (Cherub Press.) BUTCHER (David) Chinese Papercuts. Styles, Symbolism, Techniques. Solihull, 1985, 31/120 COPIES (from an edition of 148 copies) printed on Zerkall mouldmade paper, 5 beautiful examples of Chinese papercuts tipped in and tissue-guarded, pp. [20], foolscap 8vo, original sewn orange wrappers, near fine [with:] (Cherub Press.) BUTCHER (David) Chinese Papercut Wrappers. Solihull, 1986, ONE OF 22 COPIES (this marked ‘Press Copy’), printed on Zerkall mouldmade paper, 6 beautiful examples of Chinese papercut wrappers tipped in, pp. [17], small 4to, original sewn yellow wrappers with a touch of fading at spine, near fine [and:] (Cherub Press.) BUTCHER (David) An Album of Chinese Papercuts. Solihull, 1990, 50/70 COPIES, printed on

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Zerkall mouldmade paper, 6 beautiful examples of Chinese papercuts tipped in with 2 tissue-guarded, pp. [17], foolscap 8vo, original sewn yellow wrappers with a touch of fading at spine, very good £150

An attractive trio of books from the Cherub Press of David & Kim Butcher - the second of which is particularly scarce.

28. (Cherub Press.) THOMAS (Edward) Bright Clouds. Solihull, 1984, printed on Japanese hand-made paper, pp. [1], foolscap 8vo, original printed card with single leaf tipped in, fine £60

The limitation not stated, but likely to have been small in keeping with the Press’s general output. The paper used for the text-leaf varies.

29. (Chilmark Press.) THOMAS (R.S.) The Mountains. Illustrated with Ten Drawings by John Piper, Engraved on the Wood by Reynolds Stone. With a Descriptive Note by John Piper. New York: [Printed at the Rampant Lions Press,] [1968,] FIRST EDITION, 80/240 COPIES on Wookey Hole mould-made paper, each of the 10 wood-engravings placed on a separate page, title-page printed in cinnamon and black, pp. [ii], 47, 4to, original dark green linen-backed pale green boards with an overall illustration blocked in dark green, backstrip lettered in gilt, hint of rubbing to extremities, top edge green with others untrimmed, board slipcase with a little tape repair at lower opening, very good (Carter 74) £385

With a copy of the 4pp. prospectus for the same. The third of the Clover Hill Editions. ‘We [Piper and Stone] saw how splendid it would be to do a new guide to the Snowdon mountains, illustrated not with practical photographs, like the modern climbing manuals, nor with picturesque ones, like the modern guide books, but with factual engravings [...] and so they were the natural completion of our talks about the earlier topographical engravings, and their relation to scenery and the printed page [...] Years passed, and no accompanying text suggested itself as right until R.S. Thomas supplied the perfect parallel: poetry dictated by intimate knowledge combined with particular experience as to time and place’ (Piper’s Descriptive Note).

30. (Chilmark Press.) PIPER (David) Shades. An Essay on English Portrait Silhouettes. New York: [Printed at the Rampant Lions Press,] 1970, 230/500 COPIES on rag paper, pp. 63, 4to, original quarter cloth with patterned boards in pink, black and white, merest hint of fading at head of upper board, backstrip lettered in gilt, acetate wrapper, near fine (Carter 84) £45

The fourth of Chilmark’s Clover Hill Editions, this was designed by Sebastian Carter and printed at The Rampant Lions Press.

31. (Clarion Publishing.) BIBLE PLANTS. Wood Engravings by Sister Margaret Tournour. Alton, 1999, 149/100 COPIES (from an edition of 225 copies) signed by the artist, each spread comprising text from the King James Version of the Bible (1611) facing a wood engraving, vignette to title-page printed in green, ff. [21], imperial 8vo, original handmade Nepalese asmara flower tissue-paper covered

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boards with paper label to front, stab-bound with orange silk covers at spine tips, fine £55

With a prospectus for the same loosely inserted.

32. (Clarion Publishing.) THE SONG OF SONGS Which is Solomon’s. Alton, 1995, 38/199 COPIES (of an edition of 499 copies) for subscribers (this for Anthony Dowd), signed by artist Henry Fuller and designer Trevor Weston and with a folder containing a set of the colour illustrations each numbered and signed by the artist, line drawings throughout with occasional splashes of gold, 8-panel fold-out colour illustration tipped-in to inside rear cover, pp. [40], 4to, original illustrated wrappers, slight bump at head of upper joint, slipcase, near fine £140

With a smaller format poster of the colour design also included. An appropriately sumptuous and sensuous presentation of this classic text.

With an additional signed Rigby Graham print 33. (Clarion Publishing.) MOTION (Andrew) Does That Hurt? A long poem with woodcuts by Rigby Graham. Alton: Prospero Poets, 1995, 56/149 COPIES (from an edition of 499 copies) signed by the poet and artist, printed on Zerkall mould- made paper, frontispiece and large 3-panel woodcut illustration to centre, 4 further small woodcut illustrations, pp. [11], crown 8vo, original green boards with illustrated label to front, fine £55

With an additional signed print of the frontispiece in black and green; only the first 69 copies were expected to have this very welcome supplementary piece.

34. (Cog Press.) FLORES (Charles) Correspondences. With Monotypes by Rigby Graham. Leicester. 1973, 45/150 COPIES, 5 illustrations by Rigby Graham, pp. [12], 4to, original green cloth, backstrip and front cover lettered in red, glassine- jacket, fine (Battye “Brewhouse with other Presses” 3) £30

With pochoir illustrations by John Nash 35. (Cresset Press.) SPENSER (Edmund) The Shepheards Calendar. 1930, 321/350 COPIES (from an edition of 353 copies) printed on Barcham Green pale grey handmade paper, with a superb illustrated border to the title-page and 12 head- pieces, all by John Nash and hand-stencilled at the Curwen Press, pp. xxiii, 133, folio, original quarter vellum with cream silk sides, light spotting to vellum with some soiling to cloth, light wear at corners, backstrip lettered in gilt and slightly creased at foot, t.e.g., others untrimmed, good £250

Noted by John Lewis as ‘the first serious work [...] that John Nash had illustrated in line’ (‘John Nash’, p. 71).

A scarce greetings card 36. (Cuala Press.) TYNAN (Katharine) A Christmas Toast. Dublin, n.d., single sheet folded to form a card, printed to front only with hand-coloured image [by

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Dorothy Blackham?] at head, pp. [1], foolscap 8vo, very good condition £175

A very attractive and well-preserved little piece of ephemera - and a scarce one as well, with no copies located in COPAC or WorldCat.

37. (Demeter Press.) ON EDWARD THOMAS. Yoxford, 1995, 61/110 COPIES printed at the Tragara Press, frontispiece photograph of Thomas, title-page printed in black and red, pp. 29, 8vo, original quarter black cloth with Cockerell marbled boards, backstrip with printed label, prospectus laid in, fine £70

Collected tributes to Thomas from Norman G. Brett James, Duncan Williams, E.S.P. Haynes, Norman Douglas, Edward Garnett, and Clifford Bax. Item 36

Loosely inserted is a note from Joan Stevens of the Press - a noted Edward Thomas authority - to the original owner of this copy.

38. (Doves Press.) (Morris.) MACKAIL (J.W.) , an Address Delivered the XIth November MDCCCC at Kelmscott House Hammersmith, before the Hammersmith Socialist Society. 1901, ONE OF 300 COPIES (of an edition of 315 copies) printed in black and red on handmade paper, pp.[ii], 27, 8vo, original limp cream vellum by the Doves Bindery, backstrip gilt lettered direct, edges untrimmed, slight wear to head of boards, bookplate of Charles Walker Andrews, very good £500

Charles Walker Andrews, lawyer and book collector, of Syracuse, NY. His pencil note records that the book came ‘from Salem Hyde’s Library, Apr. 1924’ - Hyde being his father in law (1846-1924), another prominent Syracusan, after whom an elementary school in the city is named.

39. (Doves Press.) TACITUS (Publius Cornelius) Cornelii Taciti de vita et moribus Iulii Agricolae liber. (Edited by J.W. Mackail.) 1900, ONE OF 225 COPIES (of an edition of 230 copies) printed on handmade paper, pp. [iv] (blanks), [iv], xxxiii, 8vo, original limp cream vellum, backstrip gilt lettered direct, edges roughtrimmed, fine £600

40. (Dropmore Press.) POPHAM (Hugh) To the Unborn- Greetings. Three Cantos. 1946, 30/75 COPIES (of an edition of 81 copies) printed on Barcham Green handmade paper and signed by the author, the title and individual Canto titles printed in red, pp. [30], crown 8vo, original quarter cream vellum, backstrip gilt lettered direct, light grey cloth boards, the front cover lettered and with the press- device all blocked in red, untrimmed, fine £85

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41. (Enschedé.) RÉCIT DU VOYAGE et de l’Adoration des Trois Rois Mages, Extrait des Visions d’Anne Catherine Emmerich sur la Vie de Notre-Seigneur Jésus-Christ et de la Très Sainte Vierge. Haarlem: Joh. Enschedé en Zonen, Noël 1935, FIRST EDITION, title-page printed in black and blue, pp. 31, foolscap 8vo, original red wrappers printed in black to front, near fine £30

This the copy of Monroe Wheeler, Publisher and Director of Exhibitions at MoMA (although without mark of ownership).

42. (Eragny Press.) The Book of Ruth & The Book of Esther. 1896, ONE OF 155 COPIES printed on handmade paper in black and red, 5 wood- engravings by Lucien Pissarro and 14 wood- engraved initial letters engraved by Esther Pissarro, usual light foxing to some leaves, pp. [ii], lxxxii, [1], 16mo, original quarter pale grey boards, front cover gilt lettered, green patterned grey-green boards, free endpapers lightly browned as usual, soft paper of the backstrip just slightly rubbed and dusty, untrimmed, very good (Moore II) £1,400

Laurence Hodson’s copy, although without his Kelmscott-printed booklabel.

43. (Essex House Press.) BUNYAN (John) The Pilgrims Progress. From this World which is to Come. Delivered Under the Similitude of a Dream. Wherein is Discovered the Manner of His Setting Out; His Dangerous Journey and Safe Arrival at the Desired Country 1899, 658/750 COPIES printed in black and red on Item 42 Batchelor handmade paper, wood-engraved frontispiece by Reginald Savage, pp.[vi],426,16mo, original cream vellum with yapped leading edges, backstrip lettered in black with a little faint spotting at head, edges roughtrimmed and uncut with a few faint foxspots, tissue jacket with a couple of tears, very good (Ransom p.264, No. 4) £300

The third book from the Press.

44. (Essex House Press.) CICERO (Marcus Tullius) The Booke of Freendeship of Marcus Tullie Cicero. [With the English Translation of Sir John Harryngton. Edited by E.D. Ross.] Chipping Campden, 1904, 24/150 COPIES on handmade paper (from an edition of 160 copies), 4 wood-engraved portrait medallions (each used twice) by Alec Miller, headings and marginal notes printed in red, pp. viii, [102], 8vo, original vellum, backstrip lettered in gilt and a shade darkened, gentle bowing to boards, edges untrimmed and slightly dusty, lengthy Christmas gift inscription to initial blank, good £175

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45. (Evergreen Press.) PUNCTUATION: A PRINTER’S STUDY. Stroud, 2001, 200/200 COPIES, printed in red and black, pp. [viii], 29, [6], 515 x 175mm, original grey linen with irregular-shaped grey label to upper board, fine £130

Hand-printed and set by John Grice at the Evergreen Press. The text is taken from the ‘Authors’ and Printers’ Dictionary’ (OUP, 1933), presented in such a way as to enhance the reader’s enjoyment and appreciation through the manner of printing and overall design. A section of ‘Type and Ornament Synopsis’ is presented at the back with a page blank for notes.

46. (Evergreen Press.) BEST (Thomas) The Compleat Fly-Fisher. Or, Every Man His Own Fly-Maker, in which the best Methods, Rules, and Hints, are carefully laid down and properly digested, for the Angler’s Pleasure and Recreation. Stroud, 2009, 69/70 COPIES (from an edition of 100 copies), this marked ‘Press Copy’, printed in black and green on Zerkall mouldmade paper, pp. [48], 8vo, original grey linen, backstrip with green leather label lettered in gilt, untrimmed, fine £60

47. (Evergreen Press.) GRICE (Elizabeth) Norman Janes. Wood Engravings & the Man. With a Foreword by Simon Brett. Stonehouse, 2014, 88/110 COPIES (from an edition of 150 copies), printed on Zerkall mouldmade paper, numerous examples of the artist’s work, some in colour, the majority printed from original wood-blocks and tipped in, pp. xiv, 116, 4to, original quarter turquoise leather, patterned paper sides, backstrip lettered in gilt, illustrated endpapers, fine £325

A beautifully produced and well needed assessment of an overlooked artist, looking at his life and work across a broad range of disciplines - some reference to, and examples of, the work of his Barbara Greg (Janes’s wife) is also included.

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Inscribed by the illustrator and signed by Jack Lindsay 48. (Fanfrolico Press.) TOURNEUR (Cyril) Works. Edited by Allardyce Nicoll, with decorations by Frederick Carter. [1929,] 71/750 COPIES printed on Pannekoek mouldmade paper, pp. ix, 344, 4to, original dark green cloth, backstrip lettered in gilt with small bump at foot, Carter design stamped in gilt to upper board, corners lightly bumped, t.e.g., bookplate of author Grattan Freyer to front pastedown, free endpapers lightly browned, good (Chaplin p. 59) £300

Inscribed by the illustrator beneath the colophon: ‘Frederick Carter to Philip Lindsay’ of the Fanfrolico Press; Lindsay’s brother Jack has added a later signature below.

49. (Fleece Press.) LEON UNDERWOOD. His Wood Engravings. Wakefield, 1987, 41/188 COPIES (from an edition of 200 copies) printed on Barcham Green Sandwich handmade paper, 19 wood-engravings by Leon Underwood, including 2 vignettes, the other 17 engravings each displayed on the recto of a separate leaf, the title and fly-title printed in red,pp. [xvi], 17 (Engravings), [1], [3](blanks), lge.4to, original quarter green morocco, with paste-patterned boards in two shades of green, untrimmed, green cloth dropdown box with printed label a little sunned to back, fine £350

‘Underwood’s contribution, like the man, was potent and influential, and it was no accident that some of the most interesting work in the medium [of wood-engraving] this century can be associated with him and those who came under his sway. The examples in this book, printed from the original blocks, include some of his most notable wood engravings’ (George Tute’s Introduction).

50. (Fleece Press.) BACON (Francis) Of Gardens. Wakefield, 1993,ONE OF 220 COPIES printed on Velin Arches paper, title and fly-title printed in green, 6 perspex- engravings by Betty Pennell with 3 full-page, pp. [13], 4to, original quarter pale green linen, sides of handmade paper incorporating grass clippings, backstrip with printed label, edges untrimmed, fine £100

51. (Fleece Press.) (BAWDEN.) YORKE (Malcolm) The Inward Laugh. Edward Bawden and his Circle. Upper Denby. 2005, ONE OF 650 COPIES (from an edition of 750 copies) printed on PhoeniXmotion Xantur paper, pp. 287, folio, original quarter orange linen, boards with an overall design of apple-green leaves interspersed with pigeon and clocktower impressions, backstrip with printed label, endpapers with a Bawden map of the town of Great Bardfield in the 1950s, fine £230

A wonderful history of Edward Bawden, his circle and his times, containing well over 200 of Bawden’s illustrations, with several colourprinted plates and tipped in plates. With Press slip regarding change to binding laid in at front.

52. (Fleece Press.) (COLE.) Yorke (Malcolm) The Artistry of Leslie Cole. Today I Worked Well - the Picture Fell Off the Brush. With a Note on the Interesting Life of Brenda Cole. Upper Denby. 2010, ONE OF 500 COPIES, over 130 reproductions of illustrations: a very large number of them colourplates, a substantial number full-page and with several photographs of the artist, his wife and studio etc., pp. 201, [7] (blanks), oblong royal 8vo, original quarter dark blue cloth, printed label, dark blue marbled boards, fine £200

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53. (Fleece Press.) (FREEDMAN (Barnett)) Rogerson (Ian) Tone, texture, light and shade. A Barnett Freedman Picture Album. Introduced by Ian Rogerson. Upper Denby. 2011, ONE OF 250 COPIES (of an edition of 340 copies) printed on Parilux matte cream mouldmade paper, with the title and the title to the Introduction printed in blue, included with each copy is one of his original lithographic book illustrations, the text contains numerous full-page reproductions of his work, including tipped-in and folding plates, several reproductions of photographs of Freedman accompany the text, pp. 20, [124], folio, original qtr. scarlet cloth, printed label, cream boards with a large repeat pattern overall using a design by Freedman, new £192

A wonderful array of Freedman’s work, being material recently discovered, and warranting reproduction here. Among them is included some duplication of his best work, previously portrayed in Ian Rogerson’s 2006 Fleece Press publication Barnett Freedman, the Graphic Art.

54. (Fleece Press.) (FREEDMAN.) Rogerson (Ian) Barnett Freedman, the Graphic Art. With an Essay on Freedman as Master Lithographer by Michael Twyman. Upper Denby. 2006, ONE OF 500 COPIES printed in double-column on Monadnock Dulcet mouldmade paper, numerous colourprinted reproductions of the artist’s work throughout, including tipped-in double-page plates, pp. 256, sm.folio, original dark pink cloth, printed label, pocket on the rear pastedown containing a DVD of the documentary ‘The King’s Stamp’, illustrating Freedman’s design for George V’s Jubilee stamp, fine £225

55. (Fleece Press.) HASSALL (Joan) Dearest Joana. A Selection of Joan Hassall’s Lifetime Letters and Art. Edited by Brian North Lee with an Introduction by John Dreyfus [2 Vols.] Denby Dale, 2000, ONE OF 40 SETS with an additional secrtion of engravings at the rear of second volume (from an edition of 300 sets) printed on Zerkall mouldmade paper, text set at the Whittington Press, the titles printed in black and red, both title-pages with typographic border design, with numerous engravings by Joan Hassall, the majority printed from the original blocks, and with several coloured illustrations of the period as plates or tipped in, together with a selection of photographs, the endpaper design for the bird’s-eye view of the village of Monk’s Norton tipped-in as a double-page plate, pp. 147; 148-302, [15], royal 8vo, original quarter vellum with marbled boards, backstrips lettered in gilt, roughtrimmed, cloth edged board slipcase, fine £525

14 PRIVATE PRESS & Illustrated books

56. (Fleece Press.) KNOWLES (Richard) Two Superiors. The Motor-Cycling Friendship of George Brough and T.E. Lawrence. Upper Denby, 2005, ONE OF 300 COPIES printed on Monadnock Dulcet paper, titles printed in blue, 30 illustrations, most photographic and many full-page, pp. 136, 4to, original green cloth, Shaw monogram blind-stamped to upper board, backstrip with printed label, fine £250

57. (Fleece Press.) SELBOURNE (Joanna) and Lindsay Newman. , Wood Engraver. Denby Dale, 1996, ONE OF 260 COPIES (from an edition of 300 copies) printed on Zerkall mouldmade paper, printed in black, with title and chapter-headings printed in brown, numerous reproductions of wood-engravings by Raverat, a small number tipped-in, and with a tipped-in colourprinted self-portrait of the artist, pp. 150, folio, original quarter mustard-yellow cloth, backstrip with printed label, marbled brown and yellow boards, cloth and board slipcase with a couple of strips of surface removal to paper, fine £350

A superbly produced book and one of Simon Lawrence’s favourites, exemplified by his printed statement on the colophon ‘There are some books by which I hope my publishing career will one day be judged, and this will be one of them’.

58. (Fleece Press.) ULLMANN (Anne), Christopher Whittick & Simon Lawrence. ERIC RAVILIOUS. Landscape, Letters & Designs. With a Foreword by Alan Powers [2 Vols.] Upper Denby, 2008, ONE OF 750 SETS printed in black, in double-column, on PhoeniXmotion Xantur paper with the title printed in orange, superbly illustrated with approximately 300 images showing a wide range of the artist’s work printed in colour throughout, a number of the illustrations printed full- page and with inserted folding plates, pp. 272; [273]-528, oblong 4to, original tan and orange cloths, backstrips gilt lettered, grey cloth slipcase, fine £320

‘This book, and its companion Ravilious at War, show all the known paintings by Eric Ravilious, along with a great deal of his other design work’ (colophon). The text comprises correspondence between Ravilious, Douglas Bliss, Cecilia Dunbar Kilburn, Helen Binyon, Edward Bawden, Percy Horton, John and Christine Nash and others, and creates an opening into the artist’s personality, work and world.

59. (Fleece Press.) WEBB (Brian) Think of it as a poster. Upper Denby, 2010, ONE OF 100 COPIES (from an edition of 350 copies) printed on Zerkall Rosa paper, the special copies containing 44 stamps after wood-engravings or linocuts by John Lawrence, Christopher Wormell, Andrew Davidson, David Gentleman, Yvonne Skargon, & Clare Melinsky, of which 8 are in a pocket at rear pastedown and the remainder tipped in throughout text, ff. 24, 24mo, original quarter salmon-pink cloth with patterned paper sides repeating a design by Clare Melinsky, backstrip with printed label, edges roughtrimmed, cloth-lined wood and metal box, protective foam-lined cardboard box, fine £250

The box for the special edition is a striking one, replicating a Victorian postbox.

15 BLACKWELL’S RARE BOOKS

60. (Fleece Press.) WOOLNOUGH (C.W.) A Pretty Mysterious Art. A Lecture. Introduced by Barry McKay. Denby Dale, 1996, ONE OF 270 COPIES (from an edition of 300 copies) printed on grey Cross Pointe paper in black with the title, list of samples and fly-title in red, 10 samples of marbled tipped in,pp. 55, foolscap 8vo, original quarter yellow cloth, printed label, marbled boards, untrimmed, terracotta linen fold-down-back box with printed label, fine £75

Woolnough’s lecture on how to marble papers.

61. (Flint.) JUDITH. Reprinted from the Revised Version of the Apocrypha, with an Introduction by Montague R. James... And colour-plates after drawings by W. Russell Flint. Haymarket Press, 1928, 3/12 COPIES PRINTED ON VELLUM and signed by the illustrator (from an overall edition of 987 copies), 4 coloured plates by W. Russell Flint tipped in, these all creased to varying degrees from interaction between the paper and the vellum mounts, the title, running-titles and ruled border to each page printed in green, pp. xvii, 49, 4to, original vellum, front cover and spine lettered in gilt, green silk ties (3 of the 4 having come out of their attachment points and been reinserted), a portfolio containing an additional copy of each print loosely inserted, very good £3,000

Aside from this (very scarce) special vellum issue there were 100 copies on paper with the extra prints and Flint’s signature, and 875 ‘regular’ copies. The vellum’s natural tendency to stretch, and its attachment at the binding, has resulted in creasing to the bound-in mounted illustrations, but the loose additional versions, without the strain from the binding, have survived perfectly. Also loosely inserted is an announcement for subscribers of the follow-up book, Tobit and the Book of Susannah.

16 PRIVATE PRESS & Illustrated books

62. Flint (William Russell) Breakfast in Périgord. Essays on Various Occasions And in Diverse Moods With favourite quotations. Decorated and Enlivened with 60 Illustrations & Devices. Skilton Press. 1968, 397/500 COPIES (of an edition of 525 copies) signed by the author, printed in black and red with the large initial letters printed in blue, 60 illustrations, a large number full-page, by William Russell Flint, pp. 134, sm.folio, original quarter black morocco, backstrip gilt lettered, white cloth sides with a Russell Flint design in black on the front cover, t.e.g., board slipcase, fine £300

63. (Foundling Press.) HOUSMAN (A.E.) & A.W. Pollard. A.E.H./A.W.P. A Classical Friendship [Introduction by H.R. Woudhuysen.] Tunbridge Wells, 2006, 145/350 COPIES, tipped-in facsimile of letter at rear, pp. 68, [1], crown 8vo, original blue cloth with printed label inset to upper board and backstrip, fine £60

This copy signed by Woudhuysen, who is Pollard’s great-grandson. An annotated collection of correspondence between the two authors.

Signed by the contributors 64. (Foundling Press.) JONSON (Ben) The Key Keeper. A Masque for the Opening of Britain’s Burse April 19, 1609. Edited by James Knowles. (Introduction [by] Stephen Orgel). (Printed... by David Esslemont), Tunbridge Wells. 2002, FIRST (modernised form) EDITION, 10/300 COPIES printed on Zerkall mouldmade paper, 11 line-drawings by David Gentleman, including 5 full-page, the title printed in red, pp. [iv] (blanks), xii, 28, [4] (blanks), 8vo, original dark blue cloth, backstrip gilt lettered, tail edges roughtrimmed, dustjacket, fine £70

This copy signed by David Gentleman, James Knowles, and Stephen Orgel. ‘Working among the State Papers in the Public Record Office in 1996, James Knowles came across a four-page dramatic manuscript, enclosed in a letter to Sir Edward Conway (1564-1631) and written in three different scripts. Although the handwriting is unidentified, he recognised this piece... as the text of Ben Jonson’s entertainment for the opening of Britain’s Burse, and announced his discovery - the first major addition to the Jonson canon since 1816 - in ‘ Literary Supplement’ of February 7th, 1997. It is here printed for the first time in a modernised form. An old-spelling text appears in Re-presenting Ben Jonson, edited by Martin Butler.’ (Introduction)

65. Frink (Elizabeth) Etchings Illustrating Chaucer’s ‘Canterbury Tales’. Introduction and Translation by Nevill Coghill. Waddington Galleries, 1972, 285/175 COPIES in the ‘C’ issue (from an edition of 300 copies) signed and numbered by the artist, title- page vignette and 19 full-page etchings by Frink drawn directly onto the copper plate, all with tissue- guards, pp. 189, large folio, loose as issued in green buckram portfolio with hawk motif stamped in gilt to front, ties detached, and portfolio a little rubbed and marked with a small amount of dustiness transferring to the front endpaper, very good £1,900

17 BLACKWELL’S RARE BOOKS

A monumental production, with impressive and very distinctive illustrations by Frink.

Offered with, for the purposes of comparison: (Mozley.) CHAUCER (Geoffrey) The Prologue & The Wife of Bath’s Tale. [and:] The Merchant’s Tale & The Shipman’s Tale. Translated into Modern English by Neville[sic] Coghill. Lithographs by Charles Mozley. John Deuss, 1984, each 70/1000 COPIES signed by the illustrator, lithographs in varying colours throughout with the majority full-page, pp. 57; 76; 76; 36, folio, each loose as issued in illustrated wrappers within a pair of cloth portfolios (green & blue respectively) with ribbon ties, very good.

66. Gerry (Leslie) New York Reflections. Paintings by Leslie Gerry. Extracts from Manhattan ‘45 [by] Jan Morris. Text set & printed by The Whittington Press. Dowdeswell, Leslie Gerry Editions, 2015, 4/55 COPIES (from an edition of 70 copies) signed by the artist, text printed on Zerkall mould- made paper with section-titles and initial letters printed in grey, frontispiece and 26 colour plates double-spread printed on Moulin du Gue mould-made paper at the Senecio Press using a flat-bed UV digital printer, pp. [88], large folio, original quarter grey cloth with pictorial sides, backstrip lettered in grey, housed in a cloth solander box inlaid with full colour printed metal panels (produced using the same flat-bedUV technique), new £2,000

The scale of the book is impressive and appropriate, whilst Gerry’s vivid images provide a distinctive and striking view of the city.

67. Gerry (Leslie) New York Reflections. Paintings by Leslie Gerry. Extracts from Manhattan ‘45 [by] Jan Morris. Dowdeswell, Leslie Gerry Editions, 2015, 7/65 COPIES (from an edition of 80 copies) signed by the artist, text printed on Somerset mould-made paper, frontispiece and 26 colour plates largely double-spread, pp. [88], 64mo, original quarter yellow leather and black cloth, backstrip lettered in black, cloth slipcase, new £200

A handsomely scaled-down version of the larger edition of the same.

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68. (Golden Cockerel Press.) THE BIRTH OF CHRIST. From the Gospel according to Saint Luke. 1925, 12/370 COPIES printed on Batchelor’s handmade paper, 11 wood-engravings by , including 6 full-page and all but one with tissue guards present, text and frontispiece printed in black and red, pp. 43, 8vo, original quarter tan pigskin with mid blue boards, backstrip lettered in gilt with a small amount of rubbing at tips, upper board a shade faded with a couple of very faint marks, t.e.g., others untrimmed, good (Chanticleer 32) £200

69. (Golden Cockerel Press.) A LOVERS PROGRESS. Seventeenth Century Lyrics: Selected by Nancy Quennell. 1938, 186/190 COPIES (of an edition of 215 copies) printed in black on handmade paper with the large initial letter to each poem printed in red, the title and press-device on the title-page printed in gold, pp. 85, folio, original quarter white morocco with yellow buckram sides, backstrip lettered in gilt and a trifle dusty at head, t.e.g., others untrimmed, near fine (Pertelote 135) £300

70. (Golden Cockerel Press.) BATES (H.E.) The Country of the Blind, 1939. With Engravings by Clifford Webb 1939, 197/250 COPIES (from an edition of 280 copies), printed on handmade paper, 5 wood engravings by Clifford Webb of which 3 are full-page, pp. pp. 68, 4to, original quarter orange vellum with brown cloth, backstrip lettered in gilt with tiny nick to vellum at foot, t.e.g., others untrimmed, near fine (Pertelote 142) £250

A re-writing by Bates of an earlier and much-loved story. The binding is striking and most attractive.

Signed by Owen Rutter, and with the compliments of the Press 71. (Golden Cockerel Press.) BLIGH (William) The Voyage of the Bounty’s Launch, as related in William Bligh’s Despatch to the Admiralty and the Journal of John Fryer. With an Introduction by Owen Rutter and wood-engravings by . 1934, FIRST EDITION, 190/300 COPIES printed on Arnold’s all rag paper, 12 wood-engravings by Robert Gibbings with 2 full-page, occasional foxspots to borders and gutter, pp. 86, folio, original white and rust-red sail-cloth canvases, backstrip lettered in gilt, light overall dustsoiling with a faint partial ring-mark to upper board and a small indentation to lower, untrimmed, a few foxspots to free endpapers, good (Chanticleer 95; Kirkus 47; Hill p.27) £850

Signed beneath the colophon by Owen Rutter, one of the partners in the Press. The Press’s compliments slip on the pastedown (with a wood engraving by ) has an additional message from Joan Grant of the Press: ‘To Ridley Roberts, In remembrance of a very happy visit to The Clarendon, August 1934’. With the original prospectus laid in. Bligh’s document, now in the archives of the Public Record Office, is here published complete for the first time, as is John Fryer’s Journal.

19 BLACKWELL’S RARE BOOKS

72. (Golden Cockerel Press.) GAUTIER (Theophile) Mademoiselle de Maupin. Translated by R. and E. Powys Mathers. 1938, 248/450 COPIES (of an edition of 500 copies) printed on Van Gelder handmade paper, 8 copperplate-engravings by John Buckland Wright, the title printed in blue, pp. 286, [2] (blanks), 4to, original quarter white vellum, backstrip gilt lettered, pale blue cloth, minor dampstaining to tail fore-corners, t.e.g., others untrimmed, good (Pertelote 131; Reid, A Check- list of the Book Illustrations of John Buckland Wright A26b) £300

‘We regard it as one of the most successful of our productions - in content, format and binding’ (Pertelote).

With the Press invoice and scarce dustjacket 73. (Golden Cockerel Press.) GIBBINGS (Robert) The 7th Man, a True Tale of the South Sea Islands told in Fifteen Wood-engravings and precisely One Hundred and Eighty Nine Words. 1930, FIRST EDITION, 74/500 COPIES printed on Dutch handmade paper, with 15 wood-engravings and a title-vignette by Robert Gibbings, pp. [ii], 15, crown 8vo, original quarter yellow buckram with red and white patterned boards to a Gibbings design, backstrip lettered in gilt, a touch of rubbing to bottom corners, top and fore-edge gilt, others untrimmed, browning to free endpapers, inch-long hole to lower hinge, tissue dustjacket missing an inch or so at foot of backstrip panel but in good overall shape, very good (‘Chanticleer’ 72; Kirkus 16) £400

With the Press’s original invoice laid in at front. The dustjacket is unrecorded, but must be original - testament to the one careful owner in the life of this copy (he of the original invoice).

74. (Golden Cockerel Press.) KOMENSKY (John Amos) The Labyrinth of the World and the Paradise of the Heart. Translated by Count Lutzow (with an introduction by Dorothea Braby). 1950, 86/300 COPIES (from an edition of 370 copies) printed in black, brown and red on mouldmade paper, 56 reproductions of pen drawings by Dorothea Braby printed in black and brown, pp. 271, royal 8vo, original cream cloth with Braby designs blocked in ochre to each board, backstrip lettered in ochre, very gentle corner-bumping, t.e.g., with others untrimmed, very good (Cock-a-Hoop 186) £200

20 PRIVATE PRESS & Illustrated books

75. (Golden Cockerel Press.) LAWRENCE (T.E.) Crusader Castles. I: The Thesis. II: The Letters. [Foreword and Preface by A.W. Lawrence and Mrs. S. Lawrence]. 2 Volumes. 1936, 638/1,000 COPIES, printed on mould-made paper,166 reproductions of drawings, photographs and diagrams, 2 maps printed in black and red laid down within original envelope which is lightly foxed, pp. [ii], 56; [iv], 60, crown 4to, original half red morocco with cream cloth, backstrips lettered in gilt with five raised bands, a little overall spotting and some light soiling, a hint of rubbing to extremities, t.e.g., others untrimmed with one or two foxspots, bookplate to front pastedowns and faint foxing to rear pastedown of first volume, good (Chanticleer 112) £1,200

76. (Golden Cockerel Press.) LAWRENCE (T.E.) Shaw-Ede: T.E. Lawrence’s Letters to H.S. Ede 1927-1935. Foreword and Running Commentary by H.S. Ede. 1942, 458/470 COPIES, printed on mould-made paper, light rippling and occasional spotting at foot of pages throughout, pp. [iv], 62, crown 4to, original quarter navy morocco with light rubbing to upper joint, cream art-canvas boards a little soiled, backstrip lettered in gilt with five raised bands, bottom corners bumped, t.e.g., others untrimmed and browned, endpapers with patches of browning, good (Pertelote 151) £280

Signed special issue with additional illustrations 77. (Golden Cockerel Press.) MILLER (Patrick) Woman in Detail. A Scientific Survey, with Drawings by Mark Severin. 1947, 9/100 COPIES signed by the author and illustrator (from an edition of 550 copies), printed on Arnold’s mouldmade paper, 5 plates of pencil drawings by Mark Severin, with a suite of prints of the same images plus 3 extras contained in wallet at rear, pp. 63, 8vo, original quarter blue morocco, backstrip lettered in gilt and a touch faded, t.e.g, others untrimmed, faint penned price at foot of flyleaf, slipcase, very good (Cockalorum 174) £500

78. (Golden Cockerel Press.) SWIRE (Herbert) The Voyage of the Challenger. A Personal Narrative of the Historic Circumnavigation of the Globe in the Years 1872-1876, Illustrated with Reproductions from Paintings and Drawings in his Journals. Foreword by Major Roger Swire. Introduction by G. Herbert Fowler [2 Vols.] 1938, 142/300 COPIES printed on Van Gelder mouldmade paper, colour frontispieces, ‘90 reproductions of sketches by the author, those in colour being specially painted for the edition by hand’, these latter with tissue-guards present, a few faint foxspots to prelims with one or two elsewhere, pp. 192; 168, small folio, original quarter white buckram and blue cloth, backstrip a trifle darkened, lettered and decorated in gilt with designs by Lettice Sandford, a small amount of rubbing to corners, edges untrimmed and very lightly toned, endpaper maps at front of first volume, endpapers faintly foxed, matching slipcase with some rubbing and soiling, good (Pertelote 134) £800

79. (Golden Cockerel Press.) THE WISDOM OF THE CYMRY. Translated from the Welsh Triads by Winifred Faraday. [1939], ONE OF AN UNLIMITED NUMBER, title-page design by Averil Mackenzie-Grieve, pp. 48, 16mo, original yellow cloth, backstrip gilt lettered, endpapers foxed, dustjacket with sunning to backstrip panel, very good (‘Pertelote’ 144) £100

21 BLACKWELL’S RARE BOOKS

One of 75 copies with a suite of the illustrations 80. (Golden Cockerel Press.) XENOPHON of Ephesus. The Ephesian Story. Translated and Introduced by Paul Turner. 1957, 49/75 COPIES (from an edition of 300 copies) printed on Saunders mouldmade paper, the design on the fawn tinted title-page and 5 full-page tinted collotypes of brush drawings by Eric Fraser, suite of the illustrations (including one additional) in cloth portfolio, pp. 61, small 4to, original green morocco with a Fraser design blocked in gilt to both boards, backstrip lettered in gilt and a touch faded, t.e.g., cloth slipcase, very good (Cock-a-Hoop 207) £500

The bibliography records the special issue as having been signed, but this does not seem to have been the case.

With wood engravings by Lettice Sandford 81. (Golden Hours Press.) MARLOWE (Christopher) and George Chapman. The Amorous Poem Entitled Hero & Leander. Begun by Christopher Marlowe and finished by George Chapman. Together with Two Lyrics by Chr. Marlowe. 1933, 11(a)/200 COPIES, printed on handmade paper at the Chiswick Press, 5 wood- engravings by Lettice Sandford with all but one full-page, tipped-in note to Colophon Page as issued, faint offsetting from engravings and a few foxspots to borders, a little water-staining at head of some leaves, pp. [viii], 87, 4to, original second issue bevel-edged green buckram, upper board and backstrip lettered in gilt direct, some fading to edges with head of backstrip lightly rubbed, faint red stain at head of upper board and a small white mark at foot of same, t.e.g. with others untrimmed, faint browning and some spotting to endpapers with gift inscription to flyleaf, old bookplate discreetly removed from front pastedown, good £80

Hollis & Carter took over sales of remnant stock, giving them a new binding and numbering from 1(a) onwards.

82. Graham (Rigby, illustrator) THE POPPY AND THE POMEGRANATE. The Story of Demeter and Persephone, or the Origin of the Seasons. Leicester: Grange Fibre, 1962, FIRST EDITION, 22 colour-printed illustrations in yellow, blue or purple with 4 full-page, pp. [24], foolscap 8vo, original quarter vellum with a 7-colour Graham design on boards, backstrip lettered in gilt and a little darkened at ends, textblock strained after first gathering, acetate jacket, very good (Van Eijk A33) £30

83. (.) The Book of Ruth. Newtown, 2003, 5/200 COPIES, 3 full-page wood engravings by Anne Ravenscroft with two further vignettes, decorations printed in copper, pp. [vi], 10, [3], 4to, original brick-red cloth with patterned paper sides, lettered in gilt to upper board, fine £125

With both English & Welsh versions of the prospectus for this book in fine condition, each 4pp. and with a full-page wood-engraving.

22 PRIVATE PRESS & Illustrated books

84. (Gregynog Press.) PLACES. ‘Llanfrothen’ by Richard Llywelyn, Illustration by Jonah Jones; ‘Llangadog’ by Nigel Jenkins, Illustration by Mary Lloyd Jones; ‘Caerdydd’ by Wiliam Owen Roberts, Illustration by Siarlys Evans; ‘Cefn Golau’ by Christopher Meredith, Illustration by Sara Philpott; ‘Abergavenny’ by John Barnie, Illustration by Rhiain M. Davies; ‘Abergwesyn’ by Ruth Bidgood, Illustration by Bernice Carlill; ‘Dolgellau’ by Ioan Bowen Rees, Illustration by Kyffin Williams; ‘Banc Siôn Cwilt’ by Gillian Clarke, Illustration by Margaret Merritt; ‘Nantybenglog’ by Myrddin ap Dafydd, Illustration by David Woodford; ‘Pontardawe’ by Menna Elfyn, Illustration by Ozi Rhys Osmond; ‘Uwchmynydd’ by Christine Evans, Illustration by Kim Atkinson; ‘Grwyne Fawr’ by Tym Morys, Illustration by Anthony Evans [12 vols.] Newtown, Powys, 1996-1998, ONE OF 400 SETS, double-spread or full-page illustration to each volume printed in a variety of colours, pp. [13]; [14]; [12]; [13]; [12]; [13]; [17]; [13]; [12]; [9]; [13]; [14], 8vo, original sewn printed wrappers, edges untrimmed, blue cloth dropdown box, fine £180

85. (Gregynog Press.) PSALMAU DAFYDD yn ol William Morgan 1588. [Psalms of David, Edited by Ifor Williams.] Newtown, Powys, 1929, 76/200 COPIES (from an edition of 225 copies) printed on Batchelor handmade paper, the title and decorative floriated border on the title-page printed in black and red, the wood-engraved floriated half-borders and large initial letters in the text are designed by H.W. Bray and printed in black, blue or red, pp. [iii], 189, imperial 8vo, original brick-red morocco with patterned paper sides and cloth corners, backstrip lettered in gilt between five raised bands, a little rubbing to paper and cloth at board corners, t.e.g., others untrimmed, a little adhesive browning at corners of pastedowns, bookplate of D. Tecwyn Lloyd to front pastedown, slipcase with printed label lightly bumped at head, very good (Harrop 14) £600

From the library of Welsh-language author David Tecwyn Lloyd; an attractive printing of a portion of the first translation of the Bible into Welsh.

23 BLACKWELL’S RARE BOOKS

86. (Gregynog Press.) DE GUEVARA (Antonio, Don) The Praise and Happinesse of the Countrie-Life. Written Originally in Spanish by Don Antonio de Guevara. Put into English by H. Vaughan, Silurist. Reprinted from the Edition of 1651, with an Introduction by Henry Thomas. Newtown, Powys, 1938, 196/380 COPIES (of an edition of 400 copies) printed on Arnold handmade paper, 6 head and tail- pieces and a title-vignette by Reynolds Stone, the usual foxing to the blank leaves at beginning and end, pp. xv, 37, foolscap 8vo, original quarter red morocco with green boards and morocco tipped corners, printed label to upper board, backstrip lettered in gilt, roughtrimmed, dustjacket a little darkened to backstrip panel and edges, very good (Harrop 39) £400

A particularly good copy of this attractive early Gregynog book.

87. (Gregynog Press.) EDWARDS (O.M.) Clych atgof. Newtown, Powys. 1933, 220/370 COPIES (from an edition of 385 copies) printed in black and brown on Batchelor handmade paper, frontispiece and 8 other wood-engravings by William McCance and printed in brown, pp. x, 97, crown 8vo, original bevel-edged Welsh tan sheepskin with design stamped in brown to both boards, backstrip lettered in brown and rubbed with a touch of wear at either end, some faint spotting, edges untrimmed ownership inscription to front pastedown and a band of browning to margins of flyleaf, leaflet about Newtown tannery laid in, good (Harrop 25) £150

88. (Gregynog Press.) HUGHES (Glyn Tegai, Editor) The Romantics in . An Anthology. Illustrated with Wood Engravings by Hilary Paynter. Newtown, Powys, 2009, 14/150 COPIES (from an edition of 165 copies) printed on Zerkall mould- made paper, title-page printed in black and purple with section-titles in purple, frontispiece and 15 further full-page wood engravings by Paynter printed directly from the blocks, pp. xxviii, 192, folio original quarter navy morocco with illustrated purple cloth sides, backstrip lettered in silver, edges untrimmed, slipcase, fine £700

With prospectuses for this book and related pieces of ephemera laid in at front.

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89. (Gregynog Press.) JONES (T. Gwynn) Detholiad o Ganiadau. Newtown, Powys, 1925, 137/474 COPIES (from an edition of 500 copies) printed on Dutch handmade paper, press device on title-page printed in pale blue, 9 wood-engraved head- and tail-pieces by R.A. Maynard, pp. xv, 169, crown 8vo, original blue bevel-edged buckram, backstrip lettered in gilt and a little faded, usual browning to free endpapers, edge untrimmed, very good (Harrop 4) £375

With a copy of the prospectus for the same, a single folded sheet printed in English and Welsh with Specimen Page to rear, lightly foxed overall and in original envelope with Press device printed in red - envelope a little spotted and browned with splitting to sides and flap detached (but present).

A scarce ephemeral item from the early years of the Press.

90. (Gregynog Press.) JONES (Thomas) The Gregynog Press. A Paper Read to the Double Crown Club on 7 April 1954. Oxford: Geoffrey Cumberledge, Oxford , 1954, FIRST EDITION, ONE OF 750 COPIES, 5 wood-engravings (4 full-page) reproduced from engravings used at the press, pp. [viii], 40, 8vo, original bright blue cloth, printed front cover label (spare label tipped in), free endpapers faintly browned in part as usual, dustjacket a little chipped at backstrip panel ends and a little toned to borders with a small amount of rubbing, very good £70

91. (Gregynog Press.) OLIVERS (Thomas) Thomas Olivers of Tregynon. The Life of an Early Methodist Preacher Written by Himself. Newtown, Powys, 1979, 42/360 COPIES (from an edition of 375 copies) printed on Basingwerk Parchment paper, frontispiece portrait, title printed in brown, spare label tipped in at rear, pp. 56, crown 8vo, original mid brown cloth, front cover blocked in blind, backstrip with printed label, fine £35

92. (Gregynog Press.) VAUGHAN (Henry) Poems. [Selected by Ernest Rhys.] Newtown, Powys, 1924, 33/470 COPIES (from an edition of 500 copies) printed on Grosvenor Chater handmade paper, title-page printed in black and red, 13 wood-engravings by R.A. Maynard and H.W. Bray, wood-engraved initials by Maynard with the majority printed in red, pp. xxxvi, 88, crown 8vo, original quarter dark blue cloth with pale grey Ingres boards blocked in dark blue to a design by Bray, backstrip lettered in gilt with a touch of rubbing at head and wear at foot, trifling wear to bottom corners, edges untrimmed, just the faintest of browning to free endpapers, a newspaper clipping referencing Vaughan laid in, good (Harrop 2) £200

93. (Gruffyground Press.) REEVES (James) To Robert Graves in Deya. Sidcot, 1992, ONE OF 350 COPIES printed on Zerkall mould-made paper, pp. [4], foolscap 8vo, original sewn orange wrappers printed in black to front, fine (Carter 236; Askam 22) £30

Designed and printed at the Rampant Lions Press, Cambridge.

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94. (Harsimus Press.) HENRY (Barbara) Walt Whitman’s Faces. A Typographic Reading. With an introductory essay by Karen Karbiener. Jersey City, 2012, 18/30 COPIES (from an edition of 80 copies) signed by Barbara Henry, these copies with additional two-colour prints of 4 Whitman portraits signed by Henry, large frontispiece portrait of Whitman by Henry with further small portraits by the same to Contents Page and section-title, each printed in black against a yellow or red ground, printed in various colours and types with two photographic plates of street scenes both contemporary to Whitman and modern, pp. 17, [14, Whitman’s ‘Leaf of Faces’], royal 8vo, original quarter green morocco with grey boards, illustration printed in black to each board, backstrip with printed label, edges untrimmed, Prospectus and Press ephemera loosely inserted, new £500

A beautifully conceived and executed piece of Press-work, using Walt Whitman’s ‘Leaf of Faces’ as the focus for an experiment in type - a reading that is drawn along by the sophisticated semantic trick of co-opting typefaces to the human faces of the poem, but has as its basis the more substantial proposition that Whitman’s ‘early training as a compositor was a key influence on his development as a poet’ (Prospectus).

95. (Haslewood Books.) TAYLOR (John, the Water Poet) A Dog of War. With hand- coloured Engravings on Wood by Hester Sainsbury [The Text taken from the Original Edition of c.1628.] Frederick Etchells & Hugh Macdonald / Humphrey Milford, 1927, 192/375 COPIES printed on handmade paper, 5 full-page handcoloured wood-engravings by Hester Sainsbury, tipped-in label to title-page amending publisher details to Humphrey Milford , pp.32, tall crown 8vo, original quarter orange buckram with orange boards, backstrip lettered in gilt and gently faded, a touch of wear at corners, faint partial browning to endpapers and a little light spotting to border of pastedown, dustjacket with Sainsbury illustration to front, lightly dustsoiled with a little chipping at corners, good £90

96. (Haslewood Books.) WYNDHAM (Richard) A Book of Towers and other Buildings of Southern Europe. A Series of Dry-Points. With an Introduction and Brief Descriptions by . Frederick Etchells & Hugh Macdonald / Humphrey Milford, 1928, FIRST EDITION, 283/337 COPIES (from an edition of 350 copies) printed on Zander’s handmade paper, 24 copperplate-engravings, an engraved title-page and 2 vignettes by Richard Wyndham, tipped-in label to title- page amending publisher details to Humphrey Milford at the Oxford University Press, pp. xii, 105, folio, original quarter cream vellum with pale pink boards

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reproducing one of Wyndham’s engravings on the upper board, corners tipped in vellum, backstrip lettered in gilt direct, light handling marks, untrimmed, faint adhesive browning to pastedowns, lightly worn board slipcase with printed label, the slipcase a touch soiled with partial gentle fading, good (Ritchie A15; Fifoot SA15) £150

97. (Hayloft Press.) MASSINGHAM (H.J.) Fifteen Poems. Birmingham, 1987, 54/250 COPIES, 2 full-page drawings by Allen Freer printed in brown, pp. [25], crown 8vo, original marbled paper over stiff card, printed label to front, near fine £25

Published to celebrate the centenary of the author’s birth, the collection includes Massingham’s parody ‘Recipe for an Imagist Poem’ and the impassioned response to the Great War, ‘War and Peace’.

98. Hermes (Gertrude) The Wood-Engravings. Edited and with an Introduction by Judith Russell. Essays by Simon Brett and Bryan Robertson. Aldershot: Scolar Press, 1993, FIRST EDITION, over 100 wood-engravings with the majority full-page, 13 photographs at end of text, pp. 132, folio, original black cloth, backstrip lettered in gilt, dustjacket, housed in a protective cardboard sleeve, near fine £180

Inscribed by the Editor on the flyleaf: ‘With best wishes from Judith Russell, 21/4/93’.

One of 20, with proofs of ten engravings 99. (Hermit Press.) , 1891-1974. [A Biographical Essay by David Blamires, Margaret Pilkington as a Wood Engraver by Patricia Jaffé, Catalogue of Engraved Work by Sarah Hyde.] Buxton, 1995, 20/25 COPIES (from an edition of 200 copies) printed on Zerkall mouldmade paper, 35 wood-engravings by Margaret Pilkington, including 6 full-page engravings, all printed from the original blocks, portrait of the author by Stanley Spencer tipped in, pp. 115, small 4to, original quarter dark brown leather with blue boards, Pilkington wood engraving inset to upper board, backstrip lettered in gilt, in attractive dropdown box gently faded at back with a card folder containing proofs of 10 wood-engravings and a copy of the original prospectus, fine £400

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The prospectus is at variance with the colophon, in that it refers to 5 copies hand- bound.

Still in its Original Shrinkwrap 100. Hirst (Damien) I Want to Spend the Rest of my Life Everywhere, with Everyone, One to One, Always, Forever, Now. (With an Essay by George Burn). Booth- Clibborn. 1997, FIRST EDITION, an amazing ‘interactive book’, with a very substantial number of illustrations, comprising pop-ups, pulls, a folding-map and moveable wheels, posters, transparencies of cows and much, much more! large 4to, original red leatherette, gilt and blind-blocked, dustjacket, complete with the original unbroken shrink-wrap enclosure and rare in such state, fine £600

101. (Incline Press.) CINAMON (Gerald) Emil Rudolf Weiss. The Typography of an Artist. A Monograph. Oldham, 2012, 23/20 COPIES (from an edition of 250 copies) signed by the binder Stephen Conway, printed on Magnani paper with tip-ins printed on Zerkall or Hahnemühle, title-page printed in black and red with initial letter printed in red, numerous illustrations showing reproductions of Weiss’s work with many tipped-in and printed in various colours, pp. 178, folio, original quarter parchment with grey boards, Weiss device printed in red to upper board, cloth and board slipcase with printed label, fine [with:] (Incline Press.) KREIGER (Martin) The Visit. Oldham, printed using the Weiss intertype matrices, tipped in frontispiece photograph of Weiss, pp. 18, square 12mo, original sewn grey wrappers printed in red to front, tail edge untrimmed, slipcase, fine £450

A project some eighteen years in the making, this one of the special copies with an envelope of ephemera containing the listed additional volume and 7 other pieces of related ephemera of different sizes and formats - as well as a printed note from the Press clarifying what constitutes the special edition.

102. (Incline Press.) DAVIES (Randall) Randall Davies and his Books of Nonsense. With a Learned Introduction by Dr Paul W Nash of the Bodleian Library, Oxford. Oldham, 2014, 22/175 COPIES (from an edition of 315 copies) signed by the printer Graham Moss, printed on green Wookey Hole mould-made paper, title- page printed in black and red, wood-cuts at head of each text-page, erratum slip tipped in to verso of title-page pp. xv, [2], 138, royal 8vo, original quarter green cloth and patterned boards, backstrip with printed label, page-marker, tail edge roughtrimmed, fine £70

103. (Incline Press.) GEORGE (Carole) Layers of Concord. Creating the Landscape Garden of Le Berceau. With an introduction by Reuben M Rainey, and photographs by Eduardo Galliani. Oldham, 2014, 29/170 COPIES signed by the printer, printed on Zerkall mould-made paper, title-page printed in black and green with further decorations printed in green, frontispiece photograph and 7 further photographs within text printed by Adrian Lack at the Senecio Press, double-page map drawn by Abigail Rorer, pp. 69, 4to, original quarter green cloth

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with green boards, upper board in two tones and printed in green, cloth and board slipcase with printed label, fine £125

104. (Incline Press.) SJOLIN (Thorsten) My Father Made Toys. With Wood Engraved illustrations by Geraldine Waddington. Oldham, 2006, IX/10 COPIES signed by author and artist with additional material, 5 full- page wood-engravings with 4 printed in four colours, additional numbered and signed prints of these contained in a loose folder at rear, 1 photograph and 4 reproductions of artwork on photographic paper tipped in, pp. [15], [30, additional material], printed rectos only, 4to, original cloth binding by Stephen Conway using Ann Muir marbled papers, backstrip with printed label, edges untrimmed, fine £250

One of only 10 copies in this binding and supplemented by additional text and illustrations.

105. (Incline Press.) WONHAM (Jonathan) Steel Horizon. Poems of the North Sea. Lino- cut Illustrations by Nick Wonham. Oldham, 2013, FIRST EDITION, 19/200 COPIES signed by author and illustrator, printed on Magnani Avorio paper, title-page and page numbers printed in grey and black, 10 full-page illustrations printed in a variety of colours, pp. 53, folio, original quarter grey buckram with lino-cut illustrated boards, backstrip lettered in black, cloth and board slipcase with printed label, fine £80

106. (Inky Parrot Press.) SEARLE (Ronald) More Scraps, in no particular order. Unpublished sketchbooks. With a Foreword by Ippei Ito and an Afterword by Ben Shahn and Groucho Marx. [With:] Watteau Revisited [2 vols.] Church Hanborough, 2008, 48/204 SETS (from an edition of 246 sets) the first volume signed by the artist, printed on mouldmade paper with Searle drawings throughout, title-page to first volume printed in red and black,royal 8vo, original wrappers with Searle illustrations, backstrips lettered in black, untrimmed, Searle designs to endpapers, together in cloth slipcase, fine £250

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107. (Libanus Press.) DAYLIGHT JOBBERY, Ephemera to 1985. Marlborough, [1986,] ONE OF 75 COPIES, single leaf Index stating limitation and listing the ephemera, together with a selection of over 60 pieces of ephemera with the majority tipped to backing-card, folio, original patterned-paper drop- down box, printed labels on back and lid, fine £250

108. (Libanus Press.) MORE DAYLIGHT JOBBERY, 1986 to 1990. Marlborough, 1990, ONE OF 60 COPIES, single leaf printed on both sides and titled in red, stating limitation and listing the ephemera, together with a selection of nearly 80 prospectuses, business cards, letterheads and other pieces of ephemera, the majority tipped to backing-card and a number loosely inserted in an envelope, Item 107 folio, original grey-green linen drop-down box, printed labels on back and lid, fine £180

A second collection of ‘Daylight Jobbery’ containing ephemeral ‘end-of-run’ pieces printed at the Libanus Press during the period 1986 to 1990.

109. (Libanus Press.) COATTS (Margot) Portable Pleasures. Picnics for all Seasons. Marlborough. 1992, 109L/250 COPIES printed on Vélin Arches rag paper, 20 delightful hand coloured drawings throughout, including 5 full-page, all by Ian Beck, pp. 62, royal 8vo, original quarter green morocco, tarnished gilt lettering to backstrip, patterned boards, printed front cover label, lime-green endpapers, tail edges roughtrimmed, near fine £75

110. Longley (Michael) Sea Asters. Drawings by Sarah Longley. Rochdale: Andrew J Moorhouse, 2015, 9/75 COPIES (from an edition of 125 copies) signed by author and artist, printed on Zerkall paper, title-page in purple and black, title vignette and 12 full-page pen-and-ink drawings by Sarah Longley, additional vignette at close of text, pp. [33], royal 8vo, original quarter mustard yellow leather, maroon cloth, printed label to upper board, tail edge untrimmed, fine £95

An attractive edition of 12 poems by Longley - 9 of them appearing for the first time - each accompanied by illustrations from his daughter. The third book from the Press.

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111. (Marco.) VALÉRY (Paul) La Jeune Parque. Eaux-fortes originales de Liliane Marco. Aix-en-Provence: Edisud, 1981, 9/9 COPIES (of an edition of 110 copies) signed by the artist, printed on Vélin d’Arches paper, 7 plates of colour etchings each signed by artist, acetate guards, pp. 39, 4to, original patterned boards with unbound text-block and folder of etchings [unpaginated], untrimmed, slipcase, fine £350

The Preface to this edition is provided by Judith Robinson-Valéry, who had the combined distinction of being a notable scholar of Valéry’s work and his daughter- in-law.

112. (Maret.) THE BOOK OF JONAH. New York: Russell Maret, 2012, 55/80 COPIES signed by Maret, printed in varying shades of blue on Twinrocker handmade paper, pp. [36], oblong 4to, original quarter grey cloth with patterned paper sides, backstrip with printed label, fine (Pressed for Time A1.43) £250

The typeface used is Nicolas, Maret’s own design ‘inspired by the twelfth century enamel lettering of Nicolas of Verdun’, the ‘migrating shades of blue’ in which it is printed are ‘conceived as a visual descent into and eventual reprieve from darkness’ (Prospectus). A striking and inventive typographical representation of its narrative.

113. (Maret.) HUNGRY BIBLIOPHILES. An Experiment in Utilitarian Bookmaking. New York: Russell Maret, 2015, 14/75 copies, printed on handmade paper using typefaces of Maret’s own design, pp. 55, [1], 3, folio, original printed wrappers, Prospectus loosely inserted, new £500

A fine press book intended to be used in the kitchen on a regular basis and written in as the owner is so inclined; recipes are contributed by Gaylord Schanilec, David Esslemont, Walter Bachinsky, and others. All participants are expected to cook and eat every recipe in the book - a process whose results will then be recorded for a supplementary ‘digital catalogue’ (prospectus). An extraordinary concept and production, a ‘living’ private press book which has the book’s raw material - paper - at the heart of its ‘utilitarian’ project (as Maret recounts in his Foreword, its origin was in conversations he had had with Tim Barrett, who - with his students - is responsible for the paper here).

114. (Maret.) PERVIGILIUM VENERIS. Translated by Bruce Whiteman. New York: Russell Maret, 2009, 80/100 COPIES signed by the translator, printed on blue Zerkall paper in a typeface (Cancellaresca Milanese) designed by the printer, pp. [15], imperial 8vo, original sewn card wrappers with a jacket of Nepalese handmade paper, printed label to front, fine (Pressed for Time A1.36) £75

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115. (Maret.) AESCHYLUS. Prometheus Bound. Translated by Henry David Thoreau, Illustrated by Russell Maret. New York: Russell Maret, 2007, 38/50 COPIES signed by Russell Maret, printed in 3 colours on Twinrocker handmade paper, frontispiece smoke drawing by Maret pp. [44], folio, original quarter goatskin with sides of handmade paper, smoke drawing to each board, untrimmed, cloth dropdown box with printed label to back, fine (Pressed for Time A1.33) £2,000

The frontispiece and boards were drawn in smoke directly onto the paper; a beautifully set and designed book. With a copy of the prospectus for the same.

116. Maret (Russell) Interstices & Intersections. Or, an Autodidact Comprehends a Cube. Thirteen Euclidean Propositions translated by Sir Thomas Little Heath. Commentary & Illustrations by Russell Maret. New York, 2014, 42/75 COPIES (of an edition of 92 copies), printed in full colour on Zerkall mould-made paper, the illustrations - of startling originality and technical complexity - all printed from photopolymer plates, accordion-folded, original quarter teal goatskin with dark grey boards, the leather cut to form a peak from which extends a single white rule stretching horizontally across the board, fine (Pressed for Time A1.44b) £4,000

A modern classic of the press world illustrating Maret’s brilliance and perseverance in achieving a work of startling beauty. The accordion structure means that the book is read all the way through from one side, then continues all the way through from the other side. Each spread features some combination of a selection from Euclid printed in italic - often set in a form that reflects its content, Maret’s commentary printed in Roman, and an illustration or illustrations further elaborating the ideas, often exploiting trompe l’oeil and demonstrating richness of colour and fineness of gradation which at first seems impossible from hand-printing.

With a double-suite of prints of Charles Martin’s illustrations 117. (Martin.) VILLON (François) Les Oeuvres de Françoys Villon de . Reveues et Remises en Leur Entier. Paris: Pierre Bouchet, 1932, 11/15 COPIES (from an edition of 170 copies), colour-printed illustrations by Charles Martin throughout with some occasional offsetting, titles and initial letters printed in blue with red-line borders, a full suite of prints of Martin’s illustrations in colour and the same in black and white pp. [vi], 168, [5], 4to, original wrappers, unbound as issued with edges untrimmed, tissue jacket with tear to front panel, each suite of prints within card folder, housed in board folder with blue cloth joints a little rubbed to extremities and some very faint handling marks overall, backstrip with leather labels lettered in gilt, slipcase, very good £2,000

Enid Marx’s own copy, with a proof wood engraving 118. (Marx.) CLARK (Betty, Editor) Shall We Join the Ladies? Wood Engravings by Women Artists of the Twentieth Century. Oxford: Studio One Gallery, 1979, FIRST EDITION, 43/500 COPIES, 92 illustrations with the majority full-page and 3 fold- outs, introductory material by George Mackley and Dorothea Braby, pp. 102, 4to, original black cloth with paper label showing colour-printed wood-engraving by Joan Hassall inset to upper board, backstrip lettered in gilt and a little faded, t.e.g., good [with:]

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Studio One Gallery presents ‘Shall we join the ladies?’. An exhibition of wood engravings by women artists, 13-27 October 1979 [Exhibition booklet.] FIRST EDITION, wood-engraving by Dorothea Braby, two marginal marks in pink pencil, pp. 20, crown 8vo, original stapled wrappers, very good [and:] ‘Shall we join the Ladies?’. Opening address by John Dreyfus at the Museum of Oxford, 12 October 1979. FIRST EDITION, tail-piece by Joan Hassall, pp. [8], crown 8vo, original stapled wrappers, very good £300

Enid Marx’s own copy, with her signature at the head of the flyleaf; laid in is an initialled proof pull of her ‘Cornucopia’ engraving, shown on p. 60. Two small cards showing wood engravings by Cordelia Jones (both of cats) are loosely inserted.

A representative expression of the work of the best female illustrators of the period, including work by Clare Leighton, Joan Hassall, Gertrude Hermes, Enid Marx, , Sarah Van Niekerk, Agnes Miller Parker, and Gwendolen Raverat.

119. (Midnight Paper Sales & Solmentes Press.) INK ON THE ELBOW. Conversations between David Esslemont & Gaylord Schanilec. Introductions by J. Andrew Armacost & David Chambers. Stockholm, WI & Newtown, Powys, 2003, 82/200 COPIES printed on Zerkall mould-made paper, illustrated with colour wood engravings by Schanilec - including a fold-out panorama - and colour linocuts by Esslemont with further illustrations showing examples from the work of both, some of these tipped in along with numerous tipped-in photographs, pp. 153, folio, original patterned cloth, backstrip with printed label, edges untrimmed, cloth slipcase, new £350

One of 90 copies (plus 10 specials) in this, Esslemont’s, binding. A beautiful piece of printing and an invaluable record, from two masters of modern press-work.

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120. Morris (William) ‘I do not want art for a few...’ [Broadside.] New York, William Morris Society, 2014, 24/100 COPIES signed by the artist, printed on Zerkall paper, woodcut portrait of Morris by Steven Lee-Davis at head, pp. [1], 9 x 14 inches, tail edge untrimmed, fine condition £50

An attractive broadside, printed by hand on the original Kelmscott Goudy Press.

121. (.) DONNE (John) Complete Poetry and Selected Prose. Edited by John Hayward. 1929, 297/675 COPIES printed on Pannekoek paper with typographical ruled borders printed in pale blue-grey to a design by Beatrice Warde, pp. [vi] (blanks), xxiiii, 794, [4] (blanks), foolscap 8vo, original blue morocco, gilt lettering between raised bands on a faded backstrip, single gilt ruled inner border, t.e.g. on the rough, others roughtrimmed, very good (Dreyfus 56) £400

In the scarce dustjacket 122. (Nonesuch Press.) DONNE (John) Love Poems. With some Account of his Life taken from the Writings in 1639 of Izaak Walton [Edited by Vera Meynell]. 1923, 666/1,250 COPIES (from an edition of 1,270 copies) printed in the Fell types on Vidalon handmade paper, pp. xxiii, 91, royal 8vo, original quarter white vellum with red and cream patterned boards, backstrip lettered in red, some light bumping to corners with a touch of wear to bottom corners, edges untrimmed, patterned paper endpapers, original printed dustjacket, good (Dreyfus 1) £325

The first Nonesuch Press book, with a good example of the very scarce dustjacket.

123. (Nonesuch Press.) SHAKESPEARE (William) Works. The Text of the First Folio with Quarto Variants and a Selection of Modern Readings. Edited by Herbert Farjeon. 7 Vols. 1929-33, 579/1,600 SETS printed on Pannekoek mouldmade paper using the Fournier type with recut capitals, 8vo, original tan niger morocco, gilt lettered backstrips a trifle faded, raised bands ruled in blind, double gilt rule borders to sides and a single gilt rule to inner borders, a few faint scratches to rear cover of one volume, bookplates, t.e.g. on the rough, others untrimmed, very good (Dreyfus 58) £1,800

The text of the first folio of 1623 is used (‘Pericles’ and the ‘Poems’ excepted) and the margins of the texts contain collations of all the significant quarto variants prior to 1623. One of the most satisfying of the press’s publications and among the finest of editions of Shakespeare, both editorially and typographically.

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124. (Offcut Press.) PEARSE (John) Floppy the Jujiburra. A Story. Leicester, 1970, 118/170 COPIES signed by the author, printed on Sheepstor handmade paper, vignette illustration printed in various colours at head of each text page with three additional vignettes, pp. [vi], 8, [3], crown 8vo, original handmade paper boards with printed label to front, endpapers of handmade paper, fine £30

Printed by Duine Campbell and Toni Savage.

125. (Officina Bodoni.)ELIOT (T.S.) Four Quartets. [Printed at the Officina Bodoni for] Faber and Faber, 1960, 140/290 COPIES signed by the author, printed on Magnani paper using the Dante typeface, pp. [iv] (blanks), 56, [4] (blanks), sm.folio, original quarter cream vellum, backstrip gilt lettered, green and yellow Putois marbled boards, t.e.g., others untrimmed, matching marbled board slipcase rubbed and defective as usual, near fine (Mardersteig 119; Gallup A43c) £2,700

Katherine Anne Porter’s copy 126. (Officina Bodoni.) VALÉRY (Paul) Le Cimetière Marin / The Graveyard by the Sea. [Translated by C. Day Lewis.] (Printed at the Officina Bodoni for) Martin Secker & Warburg, 1946, FIRST EDITION, 465/500 COPIES signed by the translator, printed on Magnani paper, title-pages printed in black and red, parallel texts of English and French, two lines of English translation in pencil to French text at head of p. 15, pp. 21, 8vo, original green, grey and red marbled paper over stiff card, printed front cover label, a short split at foot of upper joint and a touch of chipping at top corner of front panel, edges untrimmed, original card chemise a little frayed with title information and copy number printed to front, good (Mardersteig 74; Handley-Taylor & d’Arch Smith B15) £300

From the library of author Katherine Anne Porter, with her ownership inscription on the flyleaf: ‘Katherine Anne Porter, at George [Platt Lynne]’s, Hollywood, 2 January 1948’. The 2-line translation at the head of p. 15 is Porter’s own and has been transcribed and annotated by Monroe Wheeler (to whom the copy subsequently belonged) on a slip laid in at front. Wheeler had published Porter’s translations of some French songs at his Harrison of Paris imprint and they were part of the same cultural circles throughout their lives.

127. (Old School Press.) HENRI (Adrian) Lowlands Away. An Oratorio. With Pastel Drawings by Adrian Henri. Hinton Charterhouse. 2001, 21/240 COPIES (of an edition of 280 copies) printed on Rivoli mouldmade paper, with 7 full-page pastel drawings and a further double-page pastel incorporating both the frontispiece and title-page design, all by the author, pp. [32], royal 8vo, original yellow cloth- backed boards, title gilt lettered longitudinally on front cover, grey-green boards, fine £50

128. (Old Stile Press.) THREE POEMS FOR MISS WOODROOFE. By an Unknown Hand, c. 1842. Llandogo, 1979, 47/50 COPIES, 4 full-page leaf-prints printed in shades of green or brown, pp. [13], small 4to, original sewn card wrappers, printed label to front, small amount of sunning to borders, tissue endpapers, very good £60

One of the first books from the Press, seldom seen for sale.

35 BLACKWELL’S RARE BOOKS

129. (Old Stile Press.) BARNFIELD (Richard) The Affectionate Shepheard. [with an essay, ‘The Enigmatic Shepherd: The Sweet & Bitter Love of Richard Barnfield’ by Peter Wakelin.] Llandogo, 1998, 22/200 COPIES signed by artist and Wakelin (at the foot of his essay), printed on Old Stile handmade paper using Abaca and Jute, marginal illustration throughout by Clive Hicks-Jenkins using a variant of the cliché-verre technique, pp. 60, folio, original beige boards illustrated overall, backstrip lettered in dark grey, untrimmed, handmade endpapers incorporating reeds and irises, enclosed in a cloth folder, fine £150

A poem originally published in 1594 - this is believed to be the first illustrated edition.

130. (Old Stile Press.) BLAGA (Lucian) Poems of Light. Versions in English by Oltea Simescu & Eric Williams. Images by Sara Philpott. Llandogo, 2002, 25/200 COPIES signed by translators and artist, text printed in blue on Zerkall mould- made paper, drawings printed in black throughout with the majority full-page, pp. [64], royal 8vo, original quarter blue cloth with illutrated boards, backstrip lettered in silver, a touch of very light rubbing to board edges, top edge grey, untrimmed, Prospectus loosely inserted, very good £60

131. (Old Stile Press.) BROWN (George Mackay) The Girl from the Sea. A play for voices, written in the Spring of 1984. Images by Michael Onken. Llandogo, 2008, FIRST EDITION, 34/195 COPIES (from an edition of 205 copies) signed by the artist, the text printed in pale blue-grey on Velin Arches handmade paper, 27 wood- engravings or linocuts printed in pale grey with 15 full-page, pp. 49, 4to, original three-quarter grey-blue cloth with Onken design to paper covering on upper board, backstrip lettered in silver, cream front cover board with an Onken design blocked in brown, top edge grey, others untrimmed, cloth slipcase with onlaid woodcut illustration, fine £180

Delightfully printed and illustrated, this poem was first written by George Mackay Brown in 1984, read in public once then left, forgotten. This is its first appearance in print.

132. (Old Stile Press.) CENDRARS (Blaise) Trans-Siberian Prosody and Little Jeanne from . Translation by Dick Jones, Images Natalie D’Arbeloff. Llandogo, 2015, 35/150 COPIES (of an edition of 160 copies) signed by translator and illustrator, portrait of author to half-title, lettering on title-page and images throughout printed from vinyl-blocks cut by Natalie D’Arbeloff, text in a variety of colours on Canaletto Liscio paper, pp. [44], square 4to, original quarter gold cloth, red and blue boards stamped in silver with lettering by D’Arbeloff, backstrip lettered in black, cloth slipcase with portrait of author stamped in black, fine £295

A beautiful new edition of this important text, first published in 1913.

It is one of the first great long modernist poems, from a poet whose restless imagination reflects his international heritage and nomadic existence.

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133. (Old Stile Press.) D’ARBELOFF (Natalie, illustrator) The Revelation of Saint John the Divine. Llandogo, 1999, 102/150 COPIES signed by the artist, printed on Fabriano Rosaspina paper, each page with text incorporated into collaged or drawn images, arranged in double-page spreads and printed on one side of folded concertina-sheets, pp. [36], 4to, original beige canvas with d’Arbeloff illustration stamped to front, built into folding black canvas case stamped in grey with d’Arbeloff illustrations and with a large printed label to front, fine £295

An imaginatively designed and beautifully executed book from the Press.

134. (Old Stile Press.) GROSS (Philip) The Abstract Garden. Engravings by Peter Reddick. Llandogo, 2006, 52/200 COPIES signed by the poet and engraver, 30 wood engravings, pp. [64], imperial 8vo, original quarter brown cloth with illustrated sides, backstrip lettered in gilt, top edge black, others untrimmed, cloth slipcase with inset illustration, fine £160

With the prospectus loosely inserted.

135. (Old Stile Press.) KEATS (John) A Song about Myself. [by] Andy Moore. Llandogo, 2014, 14/150 COPIES (from an edition of 162 copies) signed by the calligrapher, printed in red and black on Vélin Arches paper, pp. [27], 4to, original illustrated wrappers over stiff card, untrimmed, new £145

Originally written in a letter to his sister, this is an uncommonly playful poem by Keats, and is illustrated as such by the calligrapher in this very handsomely designed book.

37 BLACKWELL’S RARE BOOKS

136. (Old Stile Press.) MATHERS (E. Powys) Black Marigolds. Being a Rendering into English of the Panchasika of Chauras. Images by Glenys Cour. Llandogo, 2007, 29/200 COPIES signed by the artist, printed in terracotta on a special making of Zerkall paper, line-block printed in black, pp. [72], tall 8vo, original patterned boards with enfolding flap and magnetic closure, inside of flap stamped silver against black, top edge black, others untrimmed, illustration in terracotta to endpapers, fine £120

This translation originally published by Blackwell in 1919, the present edition features a Preface by Gwen Watkins, the widow of Vernon Watkins - who regarded this as the most beautiful love poetry.

With unpublished Eric Gill engravings 137. (Old Stile Press.) MATHERS (E. Powys) Procreant Hymn. [Original and Alternative versions, with Copper-Plate Engravings by Eric Gill. 2 vols.] Llandogo, 2011, 23/60 COPIES (from an edition of 75 copies) printed on Vélin Arches Blanc paper, 5 engravings by Eric Gill in each volume with 4 variant engravings in the alternative version, all printed direct from the copper-plate and tissue-guarded, pp. [30; [30], 4to, original patterned boards to a Nicolas McDowall design, backstrips lettered in gilt, top edge black, others untrimmed, together in cloth slipcase, fine £950

With larger dimensions than the Golden Cockerel Press publication, and using Gill’s Aries typeface, this edition restores the engravings whose depiction was felt too obscene for publication in 1926. A notice in the original book referred to 3 such engravings that could be obtained from the artist, but in fact there were 4 alternative plates.

138. (Old Stile Press.) McDOWALL (Nicolas) Latin Memories. Incorporating Paragraphs from The Public School Latin Primer. Llandogo, 2005, 28/45 COPIES signed by the photographer, printed on Hahnemühle Bugra Bütten paper, 14 tipped-in photographs printed on handmade paper, pp. [64], 4to, original quarter leather with patterned boards, backstrip lettered in gilt, roughtrimmed, fine £130

38 PRIVATE PRESS & Illustrated books

139. (Old Stile Press.) McDOWALL (Nicolas) The Paradise Driver. Llandogo, 1999, 95/150 COPIES signed by the artist, printed on Fabriano Rosaspina paper, line block images developed from original photographs, loosely inserted ‘Afterwords’ leaflet,pp. [32], tall imperial 8vo, original illustrated blue wrappers in a non- adhesive binding designed by Nesta Davies, untrimmed, fine £40

‘The text of this somewhat unusual book is taken verbatim from the tape-recorded recollection of a single night of extraordinary dream or vision or hallucination while under the benign influence of morphine’ [Press website].

140. (Old Stile Press.) [McDOWALL (Nicolas)] Snapshot of Eternity. Llandogo, [1981,] 3/25 COPIES, pp. [4], 93 x 80 mm, original marbled wrappers, printed label to front, with a few very tiny and faint foxspots, very good £75

141. (Old Stile Press.) PITTS (J. Martin) Gymnopaediae. Llandogo, 1989, 194/220 COPIES signed by the artist, printed on Saunders HP mould-made paper, linocut to title-page printed in terracotta, further linocuts to each page printed in black, pp. [80], royal 8vo, original quarter black cloth with blue sides, illustration to upper board printed in terracotta, backstrip lettered in blind, top edge black, beige cloth slipcase with multiple linocuts printed in terracotta, fine £100

With a prospectus for this book laid in at front.

142. (Old Stile Press.) PITTS (J. Martin) Painting the Clouds. A book of his images. With a transcript of his last journal. Llandogo, 2003, 55/150 COPIES signed by Chris Newitt and Nicolas McDowall, drawings and linocuts printed in various colours, pp. [88], 8vo, original orange cloth lettered in gilt to upper board and backstrip, top edge charcoal, dustjacket with Pitts design, fine (Campbell et al. pp. 53-7) £70

143. (Old Stile Press.) SHAFFER (Peter) Equus. Images by Clive Hicks-Jenkins. Llandogo, 2009, 57/200 COPIES (from an edition of 210 copies) signed by the artist with a signed and numbered slip signed by the author laid in at colophon page, pp. [124], 4to, original illustrated boards, backstrip lettered in gilt, top edge blue, endpapers blue, folding slipcase illustrated inside and out, fine £280

144. (Old Stile Press.) URQUHART (Catriona) The Mare’s Tale. A Sequence of Poems. Images by Clive Hicks-Jenkins. Llandogo, 2001, 93/180 COPIES signed by author and artist, printed on All-rag paper from St Cuthbert’s Mill, line drawings throughout with a few full-page, pp. [32], tall 8vo, original illustrated boards, backstrip lettered in silver and slightly faded, very good £35

145. (Old Stile Press.) WEST (Arthur Graeme) The Diary of a Dead Officer. Being the Posthumous Papers of Arthur Graeme West. Linocuts, Text Selection and Afterword by John Abell. Llandogo, 2014, 39/140 COPIES (from an edition of 150 copies) signed by the artist, printed on Vélin Arches paper, linocuts throughout printed directly from the block, many full-page and double-spread, title-page

39 BLACKWELL’S RARE BOOKS

printed in red and grey, pp. [64], oblong 4to, original quarter beige cloth with linocut illustrated boards, cloth to both boards stamped in red, backstrip lettered in red, top edge speckled black, other edges untrimmed, green cloth slipcase with red ‘velvet’ lining, fine £295

Originally published by George Allen & Unwin in 1919, West’s diary offers vivid physical description of officer life alongside an astonished internal narrative that condemns the motives, mechanics, and effects of war.

It is here presented with a selection of West’s poetry, including his most famous ‘The Night Patrol’, all lavishly illustrated by linocuts that reinforce West’s sense of war’s horror.

146. (Overbrook Press.) SAYERS (Dorothy L.) Lord I Thank Thee. Stamford, Connecticut: 1943, ONE OF 100 COPIES, printed in red and black on light blue laid paper, pp. [10], 8vo, original blue wrappers over stiff card, printed in red, near fine (Gilbert A67.3) £200

A curious poem, in which Sayers humorously expresses her thanks for the various effects of the war, insofar as they have eliminated a number of things that she dislikes - not least, bananas.

147. (Parker.) MOORE (Marianne) Eight Poems. With drawings by Robert Andrew Parker, hand-colored by the artist. New York: MoMA, [1962,] FIRST EDITION, 7/195 COPIES signed by author and artist, printed on Brentwood vellum all-rag paper, title-page in black and green, 10 drawings with all but one full-page, all hand-colored using water-colour by the artist, text in facsimile of Moore’s holograph, a little crinkling to pages from effect of hand-colouring, pp. [32], 4to, original quarter grey cloth and boards, lettered in gilt to backstrip, top corners slightly bumped, slipcase with printed label a little knocked in a couple of places, in envelope with address of Monroe Wheeler and with a pasted note by him, very good (Abbott A20) £1,200

This the copy of the publisher Monroe Wheeler, director of exhibitions at MoMA, who had earlier had a notable publishing venture with his Harrison of Paris imprint.

As Wheeler’s note to the envelope records, this is the first state of the book (without the addendum slip providing the last two stanzas of ‘The Fish’).

With a separate envelope (with a note of contents in Wheeler’s hand) containing 8 preliminary sketches for Parker’s drawings, a few of them signed and one hand- coloured.

148. Pasmore (Victor) Burning Waters. Visual and Poetic Images. Malta: Progress Press, 1988, FIRST EDITION, 105/150 COPIES with signed lithograph laid in, Pasmore’s illustrations accompanying text throughout, ff. [66], 4to, original beige linen, backstrip lettered in black, matching slipcase, fine £900

A poem, richly conveyed in Pasmore’s abstract images.

40 PRIVATE PRESS & Illustrated books

The numbering of the edition is confusing: the copyright page states that there exists ‘an edition of 200 copies and a signed de luxe edition of 50 copies with an original litograph [sic]’ - however, here (and indeed elsewhere) there is no numbering or signature on the book itself but the original lithograph is numbered to a different limitation.

149. Peake (Mervyn) Captain Slaughterboard Drops Anchor. Eyre & Spottiswoode. 1945, FIRST COLOUR EDITION, each page with a line-drawing by Peake, almost all colourprinted, pp. [48], royal 8vo, original cream cloth, front cover lettered in green, lightly dustsoiled dustjacket with an overall front panel design by Peake, very good £300

The original uncoloured edition of 1939 was, with the exception of a few copies, destroyed during the blitz. This is the second, or first colour, edition.

With the bookplate of Paul Tabori, author of over 40 books, including a number of novels. His film work included over 100 television films and a number of scripts for Hammer and London Films.

Reginald Hallward’s copy 150. (Pear Tree Press.) ANNOUNCEMENT of ‘The Book Craftsman’, A Magazine for Printers and Collectors of Fine Editions, Edited by James Guthrie, And of Various Books Hand Printed by Him from Plates and Types at the Pear Tree Press. Flansham, 1934, PROSPECTUS, a few small foxspots mostly at head, pp. [4], imperial 8vo, single folded sheet printed on all sides, some light dustsoiling, good £70

This the copy of Guthrie’s friend and collaborator, the artist Reginald Hallward - without mark of ownership but with some pencil notes by him, as well as a small dab of paint, on the rear. The notes are unrelated to the item and refer exclusively to paint colours.

Guthrie had got his start in printing under Hallward, and the two remained close. Outside of his own work, Hallward is notable as the reputed model for Basil Hallward in Wilde’s ‘Picture of Dorian Gray’.

151. (Pear Tree Press.) AN ELEGY ON THE DEATH AND BURIAL OF COCK ROBIN. Chichester, 1932, frontispiece, title-page decoration, ‘Fancy Portrait of the Author’, and 15 further wood engravings by Stuart or Robin Guthrie, pp. [viii], 27, crown 8vo, original quarter parchment with blue boards, printed label to front, a little browning to backstrip and edges with very faint browning to free endpapers also, edges roughtrimmed, very good £100

Printed and illustrated by Stuart Guthrie of the Pear Tree Press, which had published an edition with the same illustrations nine years earlier - the ‘Fancy Portrait’ and some of the decorations here differ, as does the setting of the poem, but the majority of the illustrations are the same. The limitation is not stated, but is likely to have been small, and this is a very scarce Guthrie title.

41 BLACKWELL’S RARE BOOKS

152. (Pear Tree Press.) THE ELF. A little book. Ingrave: Published at Peartree Cottage, Winter 1899, ONE OF 300 COPIES, a little browning to title-page, pp. [ii], 9 [rectos only], 4to, original string-tied wrappers with Guthrie illustration to front and Guthrie-designed printer’s device to rear, a little fading to backstrip, good £270

The original sequence of Guthrie’s quarterly ‘The Elf’ were the first of his publications and pre-date the founding of his Pear Tree Press; he later referred to it as ‘a poor sort of magazine printed for me by a jobbing printer’ - each issue originally included loosely inserted illustrations by Guthrie, printed by him from zinc blocks, but these have not survived in this copy.

153. (Pear Tree Press.) THE ELF. A little book [Spring Number.] Shorne: Published by James Guthrie at the White Cottage, April 1900, ONE OF 300 COPIES, a few faint foxspots at border of title-page, pp. [ii], 9 [rectos only], 4to, original string-tied wrappers with Guthrie illustration to front and Guthrie-designed printer’s device to rear, some light dustsoiling and creasing at corners with a light indentation to rear cover, good £270

Still pre-dating Guthrie’s founding of the Pear Tree Press, though an early version of the press’s device can be found at the rear of this volume. The loosely inserted illustrations have not survived here.

154. (Pear Tree Press.) THE ELF. A little book [Summer Number.] Shorne: Published by James Guthrie at the White Cottage, August 1900, ONE OF 300 COPIES, pp. [ii], 9 [rectos only], 4to, original string-tied wrappers, Guthrie illustration to front and Guthrie-designed printer’s device to rear, a little fading to borders, good £270

Guthrie’s third (previous item) and fourth (this) issues exhibit an increasing confidence in the design. The loosely inserted illustrations again have not survived here.

With an Edward Eastaway poem 155. (Pear Tree Press.) ROOT AND BRANCH. Number Two, Volume Two. Printed at the Morland Press, December 1917, FIRST EDITION, frontispiece and further illustrations and decorations by James Guthrie, browning to half-title, pp. [ii], 21- 42, 8vo, original stapled wrappers with Guthrie design to front, yapp edges very slightly nicked and creased, very good £60

Includes the first appearance of ‘The Lofty Sky’ by Edward Eastaway (i.e., Edward Thomas), as well as pieces by John Freeman, Vivian Locke Ellis, Alan Dyce, F.M. Hallward and Guthrie himself.

156. (Pear Tree Press.) ROOT AND BRANCH. A Quarterly of the Arts, Edited by James Guthrie. Volume Two [Nos 1-4.] Morland Press, n.d. [circa 1918,] FIRST EDITION, decorations and illustrations by Guthrie throughout with many full-page, full-page illustrations by H.J. Stock, Frank Brangwyn and Bernard Sleigh also, predominantly wood-engraved, one or two small spots with a small hole in the margin of p.61 and indentation to surrounding leaves, pp. [ii], 83, 8vo, original quarter brown cloth with grey sides, light overall rubbing and soiling, edges roughtrimmed and lightly toned, partial browning to free endpapers, good £275

42 PRIVATE PRESS & Illustrated books

Signed by Stuart Guthrie of the Pear Tree Press at the head of the front pastedown.

As well as James Guthrie’s own work, the volume features poetry by Vivan Locke Ellis, Eleanor Farjeon, John Freeman, Alan Dyce, F.M. Hallward, and Robin Flower. The most notable contributor, as with the first volume, is Edward Eastaway (i.e., Edward Thomas), three of whose poems are included here; ‘The Lofty Sky’, ‘The Unknown Bird’, and ‘Home’.

157. (Pear Tree Press.) BLAKE (William) Auguries of Innocence. Flansham, Bognor. 1914, 3/25 COPIES (from an edition of 100 copies) printed on Arches handmade paper in shades of pink with striking frontispiece printed in silver, the limitation pencilled in by James Guthrie and signed by him, intaglio printed to a design by James Guthrie, the calligraphy by Lilian Frost, tissue guards throughout with some lightly foxed, a little offsetting from deep impressions and occasional faint spot or handling mark to borders, pp. 16 [plates, printed rectos only], 8vo, original vellum lettered in gilt to upper board, some natural spotting and discolouration to vellum, edges untrimmed, free endpapers browned, very good £1,400

Generally regarded as Guthrie’s first really competent plate book, an excellent piece of printing - here in the scarce vellum binding.

158. (Pear Tree Press.) BOTTOMLEY (Gordon) Midsummer Eve. With drawings by James Guthrie. Harting, 1905, ONE OF 120 COPIES printed on Batchelor’s handmade paper, frontispiece and head-piece by James Guthrie and printed in grey, text printed in grey, gold and red, pp. [iv], 36, 8vo, original quarter canvas, upper board stamped in red with vignette by Guthrie, a small amount of soiling and light bumping to corners, edges untrimmed, very faint partial browning to free endpapers, very good (Ransom, p.377, 8) £350

Guthrie’s ‘first adventure in colour as applied to text’, recommended by Colin Franklin as among the ‘marvellous examples of Guthrie’s etchings printed at his hand press’ (‘The Private Library’, Spring 1976, pp. 32 & 7).

43 BLACKWELL’S RARE BOOKS

Hand-coloured title-page 159. (Pear Tree Press.) BOTTOMLEY (Gordon) The Riding to Lithend. [Play in One Act] With drawings by James Guthrie. Flansham, 1909, FIRST EDITION, frontispiece and hand-coloured title-page design by James Guthrie with 4 further illustrations by him of which 2 are full-page, additional decorations including initial letter, pp. [vi], 40, 4to, original quarter beige cloth with grey boards, printed label to upper board with hand-colouring to press device, some wear to cloth, gentle bumping to corners, a few marks, some faint discolouration and a small amount of watrstaining, edges untrimmed with a few faint foxspots, free endpapers lightly browned with a tiny contemporary date written in brown ink at head of flyleaf, good £175

Guthrie’s etchings, and the hand-colouring to the title-page, enliven an otherwise un- noteworthy drama. The text begins with a long verse dedication to their mutual friend Edward Thomas.

160. (Pear Tree Press.) GUTHRIE (James) Divine Discontent. [Fellowship Books, Edited by Mary Stratton.] B.T. Batsford, [1913,] FIRST EDITION, one or two faint foxspots, title-page vignette and head-piece [by Guthrie?], pp. [ii], 61, foolscap 8vo, original blue cloth with lettering and decorations in gilt to upper board and backstrip, publisher’s device in gilt to lower board, t.e.g., others with a few foxspots, a few faint tiny foxspots to endpapers, dustjacket with darkened backstrip panel and a few light handling marks, very good £240

Inscribed by Guthrie on the flyleaf: ‘To Jane, from the author, Feb. ‘35’. The receipient was the author Janie Legge, whose work was printed by Guthrie at his Pear Tree Press.

With an Introduction by Edward Thomas 161. (Pear Tree Press.) GUTHRIE (James) A Second Book of Drawings. : T.N. Foulis, 1908, FIRST EDITION, tipped-in frontispiece and title-page by Guthrie, further tipped-in illustrations on grey paper throughout, ff. [30], small 4to, original grey boards, printed label with Guthrie design to front, light edge rubbing with some very minor soiling, very good £500

Collecting work from diverse projects, this scarce book showcases Guthrie’s range in the conception and execution of his work and has as its introduction a 4 pp. Edward Thomas essay that exhibits the poise and consideration characteristic of his prose. The essay was collected in Thomas’s ‘The South Country’ from the following year, but this is its first appearance.

Roger Senhouse’s copy 162. (Pear Tree Press.) GUTHRIE (James) To the Memory of Edward Thomas. Flansham, 1937, FIRST EDITION, 19/250 COPIES, frontispiece portrait of Thomas by Robin Guthrie printed in ochre and black, 10 further illustrations with some full-page and printed in a variety of colours, pp. 32, 4to, original red cloth with Guthrie design stamped in gilt to upper board, a little bumping to top corners and top edge, edges untrimmed, ownership inscription and bookplate of Roger Senhouse to front endpapers, original prospectus laid in, dustjacket with some light overall dustsoiling and chipping to corners and backstrip ends, very good £500

44 PRIVATE PRESS & Illustrated books

The third and last of Guthrie’s tribute volumes to his friend Edward Thomas, and a very nicely designed and executed book; this the copy of publisher and Bloomsbury Group associate Roger Senhouse.

163. (Pear Tree Press.) GUTHRIE (James) Two Christmas cards. Flansham, 1932- 1933, printed in combinations of green & silver and green & blue respectively, each a single folded sheet with Guthrie poem to the interior and illustration or decoration by him to the front with Christmas message at foot, the second intaglio printed with poem from and variation of title from the publication ‘Of Joy and Other Devices’ (so presumed to be contemporary with), pp. [1]; [1], 12mo & foolscap 8vo, very good condition £200

Two very attractive pieces of printing from Guthrie - scarce ephemeral items from the Press.

164. (Pear Tree Press.) GUTHRIE (James) The Wild Garden. Verses for Children. Selwyn & Blount, 1922, FIRST EDITION, frontispiece by Guthrie, a few foxspots, pp. 59, [2, ads], 16mo, original blue boards with printed label to front that is a little foxed with a central red pen-mark, backstrip faded and a little chipped at head, rubbing along joints and to edges, bookplate of Janie Legge to pastedown and browning to free endpapers, good £200

Inscribed by the author on the flyleaf: ‘To Jimmie, from Jim, June 1927’ - this being the husband of Janie Legge, whose work was printed at Guthrie’s Pear Tree Press and whose bookplate is facing.

Guthrie would reprint this collection at the Pear Tree Press a couple of years later.

165. (Pear Tree Press.) HODGKIN (L.V.) Holy Poverty. The Message of St. Francis for To- day. Harting, 1905, FIRST EDITION, title-page printed in green with decoration by James Guthrie, pp. 15, crown 8vo, unbound as issued in original wrappers, faint browning to free endpapers, untrimmed and uncut, very good £150

166. (Pear Tree Press.) OSMASTON (F.P.B.) The Paradise of Tintoretto. An Essay. Flansham, 1910, FIRST EDITION, title-page design by James Guthrie, frontispiece and 29 further plates showing work by Tintoretto, interleaved with captioned tissue-guards, a little foxing to half-title and ultimate leaf, pp. xi, 88, 4to, original quarter beige cloth with blue sides, stamped in gilt to upper board, backstrip lettered in gilt, edges untrimmed with a few foxspots, a little spotting to free endpapers, good £85

167. (Penmiel Press.) BURRETT (Edward) My Wartime Caricatures 1939-1945. Esher, 1992 55/100 COPIES printed on Saunders mouldmade paper in black and red and signed by Edward Burrett, with 8 colourprinted tipped-in plates and 2 further monochrome tipped-in plates, 6 caricatures, including a self-portrait, pp. 28, 4to, original tan cloth, the front cover with a printed label and beaneath, a gilt blocked design by Burrett, card slipcase, fine £50

45 BLACKWELL’S RARE BOOKS

168. (Piper.) ELBORN (Geoffrey, Editor) To John Piper on his Eightieth Birthday. Stourton Press, 1983, 142/200 COPIES (from an edition of 900 copies), numerous monochrome illustrations, pp. 91, 8vo, original quarter brown morocco a little rubbed to edges with vertical gilt rule, grey boards with an overall design by Piper printed in brown, backstrip lettered in gilt, very good £70

169. Piper (John) [The Illustrations for] Deaths and Entrances by Dylan Thomas. Published by Gwasg Gregynog. Kidwelly Castle. Swansea towards the Gower. Laugharne Castle. Nonconformist Chapel, Newtown. Swansea towards Port Talbot. After the Blitz, Council Chamber House of Commons. Welsh Hill Farm near Newcastle Emlyn. [1984,] ONE OF 10 SETS, 7 untrimmed colour-printed proofs on Saunders mouldmade paper, printed by screenless lithography at the Senecio Press, 22 x 15 inches approx., unbound, fine £3,000 + VAT in the EU

A highly desirable set of prints, comprising the double-spread illustrations from this classic of modern Press-work - published in an edition of 268 copies by Gwasg Gregynog in 1984. These illustrations were all folded and trimmed in their published form; these flat proofs are from the printer’s archive and have been preserved in pristine condition.

Screenless lithography is a continuous tone printing process that achieves a result free from the mechanical dots carried by standard lithography, giving a vivid reproduction of Piper’s work.

46 PRIVATE PRESS & Illustrated books

170. (Piper.) TAMBIMUTTU (Translator) India Love Poems. (The Texts taken from Sanscrit, Telugu, Kannada and the Assamese). [Printed at the Rampant Lions Press for] Paradine and PL Editions, 1977, FIRST EDITION, 138/200 COPIES printed on Arches Velin pure rag paper and signed by Tambimuttu and John Piper, 18 superb colourprinted lithographic plates by John Piper, the title-page printed in pale green, pp. [66], folio, original quarter dark brown morocco, tan leather labels lettered in purple, tan silk sides, untrimmed, plain white paper dustjacket a little browned, creased and frayed with matching number to front, cloth and morocco slipcase, near fine £2,000

Although limited to two hundred copies very few were actually sold. An incredibly handsome production, enhanced by Piper’s stunning illustrations. The presence of the original dustjacket is most unusual.

Piper writes of his work for ‘India Love Poems’: ‘The illustrations, to use musical analogies, are variations, rhapsodies or inventions on and paintings in Indian temples of the Golden Age, from the VIth century to the XIIIth. They are not intended to be representational of the form or colour of the works themselves but are affected by the spirit and purpose of them, and often by particular poses’.

171. (Previous Parrot Press.) MARTIN (Frank) The Wood Engravings. A Selection of the wood-engravings, small woodcuts, linocuts & vinyl engravings, and a Catalogue of all the Relief Prints, compiled by Hal Bishop. With a Foreword by Victor Arwas and an Afterword by the Artist. Church Hanborough, 1998, XIV/36 COPIES (from an edition of 360 copies) signed by the artist and compiler, printed on Mohawk paper, illustrations throughout some with colour-printing, this special edition with 8 Martin wood-engravings printed from the blocks by David Esslemont and housed in separate card folder with each numbered, signed and titled in pencil by the artist, tissue-guards, pp. 147, [4], folio, original quarter morocco with grey boards, Martin illustration to upper board, backstrip lettered in gilt, Martin design to endpapers, slipcase with patterned paper repeating a Martin design, fine £500

47 BLACKWELL’S RARE BOOKS

Hand-coloured throughout 172. (Previous Parrot Press.) PITT- KETHLEY (Fiona) A School for Life. Fourteen Poems, with wood-cuts by Stan Dobbin. Church Hanborough, 1993, V/8 ‘EXEMPLARY’ COPIES (from an edition of 225 copies) fully hand-coloured by the artist, signed by author and artist, printed on Zerkall mould- made paper, frontispiece and vignettes to title-page and half-title, 15 further full-page illustrations of which 4 are double-spread, pp. 36, [6], 8vo, original brown boards with a Dobbin design printed in black carrying round and hand-coloured by the artist, backstrip lettered in black, edges roughtrimmed, slipcase with Dobbin illustration pasted to both boards with each hand-coloured, fine £250

173. (Rackham.) ANDERSEN (Hans) Fairy Tales. Harrap. 1932, FIRST RACKHAM EDITION, Publisher’s Special Binding, 12 colourprinted plates, each with captioned tissue-guards, decorated title-page (printed in black and brown) and numerous text illustrations (some full-page) all by Arthur Rackham, pp. 288, imp.8vo, original mid brown morocco, backstrip and front cover lettered and decorated in gilt to a design by Rackham, decorated endpapers also by Rackham, t.e.g., fine £1,200

174. (Rackham.) BARRIE (J. M.) Peter Pan in Kensington Gardens. With Drawings by Arthur Rackham. Hodder & Stoughton. 1906, FIRST EDITION, 50 colour plates lightly mounted on to brown card-paper (placed as frontispiece and as a suite after the text), each plate with a captioned tissue guard, slight foxing to first and last gatherings, pp.xii+125[+i], cr.4to, orig. red cloth, gilt, the cover dull and slightly worn at joints and extremities, sketch-map on front free endpaper, front hinge strained (Garland 33) £900

Many of Rackham’s illustrations for this book are among his most famous, and copies are often broken up and the plates mounted and framed for sale separately.

175. (Rackham.) POE (Edgar Allan) Tales of Mystery and Imagination. Harrap. 1935, FIRST RACKHAM EDITION, 12 colourprinted plates with captioned tissue-guards, 17 monochrome plates, and head and tail-pieces and illustrated endpapers all by Rackham, the Rackham title design printed in green, preliminaries and edges lightly foxed, pp. 318, large 4to, original dark green morocco, the backstrip and front cover with Rackham designs and lettering all gilt blocked, marbled endpapers, free endpapers browned, t.e.g., edge rubbed boards slipcase, very good £800

48 PRIVATE PRESS & Illustrated books

176. Raine (Kathleen) Christmas 1960. Enitharmon Press, 1960, printed in red and black, lightly foxed, pp. [2], 8vo, folded cream card printed in black to front, good (Halliwell B1) £20

An acrostic poem based on the phrase ‘Puer natus est’, this is the first publication with the Enitharmon Press imprint.

177. Raine (Kathleen) Six Dreams and Other Poems. Enitharmon Press, 1968, FIRST EDITION, 94/100 COPIES (of an edition of 450 copies) signed by the author, printed on Glastonbury Antique Laid paper, a couple of faint foxspots to half-title, frontispiece by Cecil Collins with Juliet Standing wood engraving tipped-in to verso following introductory poem, pp. [21], royal 8vo, original quarter grey- green cloth with illustrated boards, backstrip lettered in gilt, a little faint spotting to boards, illustrated endpapers, tissue jacket, very good (Halliwell 6a) £90

178. (Rampant Lions Press.) IN FAIR VERONA. English Travellers in Italy and their Accounts of the City from the Middle Ages to Modern Times. Cambridge: Privately printed [at the Rampant Lions Press,] 1972, ONE OF 100 COPIES printed on handmade paper, armorial-device on title-page designed by Reynolds Stone and printed in brown as with press-device below colophon, previous owner’s pencil correction to margin of one page, pp.50, small folio, original paper covered wrappers with brown and cream vertical stripes, backstrip with brown paper label lettered in gilt, top edge trimmed with tiny amount of very light foxing, near fine (Carter 98) £250

Printed by friends of Giovanni Mardersteig of the Officina Bodoni, in celebration of his eightieth birthday, the book was conceived by Hans Schmoller with passages selected by Nicolas Barker (who also wrote the linking text).

179. Ravilious (Tirzah) The Wood-Engravings. Compiled by Anne Ullmann, with Recollections by Henry Swanzy and Robert Harling. Gordon Fraser, 1987, 606/1000 COPIES, 43 illustrations with the majority full-page, pp. 47, 4to, original plain stiff card with patterned paper dustjacket, gentle fading to backstrip, very good £100

180. (Reading Room Press.) THE BELLMAN’S RETURN. [Yet another attempt to conclude ‘The Hunting of the Snark’ by Lewis Carroll.] Quenington, 2012, FIRST EDITION, ONE OF AROUND 150 COPIES printed on Zerkall paper, small colour illustration to each verso of text-pages, pp. [11], 12mo, original sewn printed wrappers, tail edge untrimmed, fine £10

A charming little squib, handsomely produced.

181. (Reading Room Press.) CARLOW (Viscount) On Collecting Books, and Printing Them Too. Quenington, 2013, 78/110 COPIES, tipped-in frontispiece portrait by Eric Kennington, title-page printed in brown, pp. [32], small 4to, original quarter beige cloth with patterned boards, backstrip and upper cloth lettered in gilt, fore- edge untrimmed, fine £45

49 BLACKWELL’S RARE BOOKS

Viscount Carlow’s engaging record of his twin passions for book-collecting and printing was unfinished at the time of his death, in an air crash at the end of the Second World War. It is conversational in tone, with anecdotes regarding a number of the literary personalities he liaised with - including Louis Golding, Wyndham Lewis, and most extensively T.E. Lawrence, from whom his first direction in the realm of book- collecting came. Corvinus Press bibliographer Paul W. Nash provides the Foreword.

182. (Reading Room Press.) TESSIMOND (A.S.J.) & Ceri Richards. An Advertiser’s Alphabet. Quenington, 2014, FIRST EDITION, 112/150 COPIES, 25 colour vignettes by Ceri Richards, printed rectos only, pp. [61], 8vo, original quarter red cloth with labels (likely of a Richards design) to both boards, backstrip lettered in gilt, fine £55

A faithful and attractive reproduction of a booklet found in Tessimond’s archive, wherein he playfully captures the essence of his craft as an advertising copywriter. All the features of the original, including Richards’ beautiful illustrations are richly represented, including the fact that the ‘A’ was missing - the text begins therefore, with an Introduction by Richards’ son-in-law Mel Gooding, which partly addresses this omission, and a few speculative and amusing attempts to provide the missing piece.

The special, with an additional watercolour sketch 183. (Rocket Press.) O’CONNOR (John) Ariel & Miranda. Seven Wood Engravings Inspired by Shakespeare’s ‘The Tempest’. Blewbury, 1992, 6/20 COPIES (from an edition of 65 copies) signed by the artist at the foot of the title-leaf colophon, 7 mounted wood-engravings all signed and numbered, 2 with hand-colouring in yellow, an additional mounted watercolour sketch exclusive to this limitation and a further additional wood engraving in a smaller format also signed and numbered (not mentioned in the colophon), pp. [4] + prints, folio, original sand-yellow cloth drop-down box, printed label to back with O’Connor wood-engraving (in fact that of the smaller format print mentioned above) to front, fine £1,000

184. (Rogers.) COLERIDGE (Samuel Taylor) The Rime of the Ancient Mariner. Oxford University Press, 1930, ONE OF 750 COPIES printed in the Fell types on Barcham Green Charles I handmade paper, marginal notes and colophon printed in brown, typographic border to title-page and with decorations throughout, pp. viii, 40, crown 8vo, original quarter black cloth with marbled blue and green boards, backstrip lettered in gilt, very light bump to top corners, untrimmed and largely unopened, heavy brown dustjacket, very good (Warde & Haas 154) £175

50 PRIVATE PRESS & Illustrated books

Printed by John Johnson and designed by Bruce Rogers, this is among the most satisfying of Bruce Rogers’ books. From the library of Monroe Wheeler and Glenway Wescott, though without mark of ownership but a small pencilled note by one of them to the rear pastedown marking pp. 6-7 - these and the next the only opened pages.

185. (Rogers.) DÜRER (Albrecht) The Construction of Roman Letters. [Printer’s Note by Bruce Rogers.] Cambridge, MA: [Printed by Bruce Rodgers at the press of William Edwin Rudge,] 1924, ONE OF 350 COPIES signed by Rogers, half-title and borders printed in red, faint off-setting from some of the initial letters, pp. 24, foolscap 8vo, original black boards, backstrip with printed label, edges untrimmed, marbled endpapers, card chemise, near fine £250

An attractive piece of printing.

186. (Roxburghe Club.) The Madresfield Hours. A Fourteenth-Century Manuscript in the Library of Earl Beauchamp. Oxford, 1975, 50 plates (4 colour), title and dedication pages in red and black, pp. 33, 4to, original quarter maroon morocco with patterned boards lightly toned and bubbling around the head, backstrip lettered in gilt with some sparse green speckling to lower half, t.e.g., others untrimmed, very good £250

187. (Roxburghe Club of San Francisco.) COBDEN-SANDERSON (T.J.) The Book Beautiful. (Printed on the Occasion of the visit of George W. Jones and William Edwin Rudge to the Roxburghe Club of San Francisco). 1930, 6/75 COPIES (of an edition of 85 copies) signed by George W. Jones and William Edwin Rudge, printed in black with the initial text capital printed in red, pp. [ii] (blanks), 15, [3] (blanks), foolscap 8vo, original cream vellum-backed grey boards, front cover with title in gilt, endpapers lightly foxed, bookplate, untrimmed, very good £150

188. (Roxburghe Club.) VOLTAIRE ([François Marie Arouet de]) Thérèse, a Fragment. Edited with an Introduction by Desmond Flower. Cambridge: [Printed at the University Press] for presentation to Members of The Roxburghe Club, 1981, one among the members list printed in red, the MS. reproduced on 8 plates, pp. [viii], 20+plates, 4to, original burgundy morocco with cloth sides, backstrip lettered in gilt with a small amount of rubbing, a couple of very light knocks to top edge, t.e.g., very good £50

189. Rutter (Owen) The Dragon of Kinabalu. With Eight Illustrations in Colour by Mary Penrose-Thackwell. Clement Ingleby, n.d. [but 1923,] FIRST EDITION, tipped- in illustrations, faint foxing to half-title and occasional light foxing to borders, pp. xv, 124, 4to, original quarter green cloth with marbled boards, backstrip lettered in gilt, slight bowing to boards and a little wear to corners, edges untrimmed, feee endpapers a little spotted, dustjacket frayed, good £650

Inscribed by the author to the flyleaf: ‘For Ridley Roberts, With greetings from the author & in remembrance of Dresden China and a happy stay at Chale[?], 7-11 December 1933’. Rutter has also signed his name to the title-page. A collection of eight fairy stories, set in Borneo - scarce in the dustjacket.

51 BLACKWELL’S RARE BOOKS

Eric Gill’s copy 190. (Saint Dominic’s Press.) HERNAMAN (Irene) Child Mediums. Being an exposure of an evil which is working the ruin of the bodies and souls of our children. With an Introduction by Gilbert K. Chesterton. Ditchling, 1923, FIRST EDITION, pp. [iv], 38, crown 8vo, original brown paper wrappers printed in black to front with Gill wood-engraving of ‘St. George and the Dragon’, wrappers chipped at edges with a little cracking along upper joint, a few small pencil sketches to rear wrapper, edges untrimmed, Gill’s own bookplate to inside cover, good (Taylor & Sewell A109) £325

Eric Gill’s copy, with his bookplate; the small curlicues in pencil to the rear, nor the few illegible words beside them, are not substantial enough to be attributable.

191. (Saint Dominic’s Press.) HOBHOUSE (Rosa) The Man with the Leather Patch and Five other Tales. Being Parts I, II and III of the Diary of a Story-Maker. Stanford Le Hope: [Printed at the St. Dominic’s Press for] The Sign of the Willow, 1928, printed on Batchelor’s handmade paper, 6 full-page line-drawings, pp.[viii], 41, crown 8vo, original printed tan wrappers a little sunned with very light overall soiling, creasing to corners, light dustsoiling to top edge, untrimmed, very good (Taylor & Sewell A165) £100

192. (Saint Dominic’s Press.) LEACH (Bernard) A Potter’s Outlook Handworkers’ Pamphlets, No. 3. Ditchling: Printed at St Dominic’s Press for the New Handworkers’ Gallery, 1928, FIRST EDITION, one or two very faint spots to borders of first few pages,pp. 25-39 [series paginated continuously], crown 8vo, original sewn self wrappers, light dustsoiling overall with a few light marks and small foxspots, faint erasure of previous ownership inscription at head of front, untrimmed, good (Taylor & Sewell A168) £150

A scarce pamphlet.

193. (Saint Dominic’s Press.) [PEPLER (H.D.C.)] Aspidistras and Parlers. By Author of Concerning Dragons. Ditchling, 1929, printed on handmade paper, wood- engraving by David Jones to front and further full-page wood engraving (by an unidentified hand),pp. [8, including covers], 16mo, original sewn self-wrappers, merest hint of dustiness, untrimmed, near fine (Taylor & Sewell A121f) £100

Cleverdon had acquired Gill’s woodblocks from Pepler in 1927, and so the Gill illustrations of the original do not appear in editions after that date.

194. (Salvage Press.) BECKETT (Samuel) Imagination Dead Imagine. [Introduction by Stanley E. Gontarski.] Dublin, 2015, 16/40 COPIES (from an edition of 50 copies) signed by artist and printer, printed on mouldmade paper, 2 signed full-page lithographs by David O’Kane and 10 character drawings by Bobby Tannam, pp. [10], large folio, loose sheets as issued in cloth portfolio and slipcase, new £800

An imaginatively conceived and impressively executed new edition of this short work by Beckett, to mark the 50th anniversary of its original publication.

52 PRIVATE PRESS & Illustrated books

195. (Salvage Press.) BECKETT (Samuel) Imagination Dead Imagine. [Introduction by Stanley E. Gontarski.] Dublin, 2015, 8/10 DE LUXE COPIES (from an edition of 50 copies) signed by artist and printer, printed on mouldmade paper, 2 signed full-page lithographs by David O’Kane and 10 character drawings by Bobby Tannam, with an additional typographic triptych based on the text exclusive to the de luxe, pp. [13], large folio, original cloth dropdown box, sheets loose as issued, new £1,200

An imaginatively conceived and impressively executed new edition of this short work by Beckett, to mark the 50th anniversary of its original publication.

196. (Salvage Press.) JOYCE (James) Gas from a Burner (1912). Illustrations by Jamie Murphy & Mary Plunkett. Dublin, 2012, 11/100 COPIES signed by the illustrators, printed on Zerkall mouldmade paper, 2 full-page linocut illustrations, pp. [13], imperial 8vo, original quarter brown cloth, lettered in gilt to upper board and backstrip, image of guillotine blind-stamped to upper board, edges untrimmed, fine £75

A handsome reprint of Joyce’s broadside from 1912, a snarling invective against his Irish detractors - the freshest bile being reserved for the mouthpiece of the poem, George Roberts, the general manager at Maunsel & Co.

Having allowed the printed sheets for Joyce’s ‘Dubliners’ to lay dormant for a couple of years, Roberts - wary of censure and prosecution - finally decided against publishing; one copy, fortunately, remained with Joyce - the rest were destroyed by the printer John Falconer, Joyce said by fire although the official records give the less infernal method of guillotining and pulping.

197. See-Paynton (Colin) Air & Water. A Complete Collection of the Artist’s Fish and Fowl Engravings, 1984-2004. With text chosen by Keith Harwood. Ellesmere: Medlar Press, 2006, 58/100 COPIES (from an edition of 850 copies) signed by the artist on a tipped-in Preface, 43 full-page illustrations, pp. 102, 4to, original red leather lettered in silver to backstrip and upper board with inset illustration to latter, marbled endpapers, with two cards from See-Paynton to previous owner regarding order of this book laid in at front alongside original prospectus, slipcase, fine £300

198. See-Paynton (Colin) The Incisive Eye. Wood Engravings 1980-1996 [Foreword by Kyffin Williams.]Aldershot: Scolar Press & Glynn Vivian Art Gallery, [1996,] FIRST EDITION, 15/100 COPIES signed by the artist, illustrated throughout with many full-page, pp. 96, 4to, original black cloth, backstrip lettered in gilt, signed note by See-Paynton laid in at front, dustjacket, numbered card slipcase, fine £250

53 BLACKWELL’S RARE BOOKS

A Christmas gift from Quentin Bell 199. (Senecio Press.) BELL (Quentin) An Introductory History of in the 18th Century. For Use in Secondary & Approved Schools, Institutions for Remedial Teaching, Prisons, Insane Asylums etc. A Facsimile, with an Introduction by Julian Bell. Charlbury, 2013, FIRST EDITION, 37/500 COPIES, illustrations throughout (many in colour and full-page), all text reproduced in facsimile, pp. 86, imperial 4to, original quarter brown leather with green patterned boards in a facsimile of the original binding, Introduction by Julian Bell laid in at front on folded sheet with limitation number, slipcase with printed label to front, fine £195

Originally produced by Bell as a Christmas present to his nieces Henrietta and Amaryllis Garnett in 1957, this playful account of the 18th century is beautifully illustrated and has never before been published - unlike his equivalent gift of the previous year, published in 1957 by Faber and Faber as ‘The True Story of Cinderella’. For this edition, Senecio Press have reproduced every detail of Bell’s text - from the binding to the vivid illustrations, including all of the marks and stains from the lovingly hand-produced original.

Quentin Bell (1910-1996) was born into the Bloomsbury Group, the son of Clive and Vanessa Bell (née Stephen). His biography of his aunt, Virginia Woolf, was widely lauded, but he was also an artist - specialising in ceramics - and a Professor of Art History. Bell’s original TLS presenting the gift is reproduced in facsimile preceding the text, whilst his son Julian provides an additional introduction to what is an impressive and curious family document, richly deserving of a wider audience.

200. (September Press.) DRYDEN (John) Alexander’s Feast, or the Power of Music. An Ode for Saint Cecilia’s Day 1697. Wellingborough: Printed by Christopher Skelton, 1985, 46/62 COPIES on Amalfi handmade paper (from an edition of 312 copies), decorative borders to each page of text by Peter Campbell printed in brown, pp. [23], 4to, original quarter tan morocco with pink boards printed in brown, backstrip lettered in gilt with a couple of small spots at head, edges untrimmed, medallion portraits of Handel and Dryden on endpapers, cloth slipcase, very good £50

201. (Shakespeare Head Press.) HOMER. The Whole Works of Homer; Prince of Poetts, in his Illiads, and Odysses; Batrachomyomoachia or, Battaile of Frogs and Mise, his Hymns and Epigrams. Translated According to the Greeke by George Chapman [5 Vols.] Oxford: Published for the Press by Basil Blackwell, 1930- 1931, 9/450 SETS printed on Batchelor handmade paper, with several full-page wood- engravings, portrait frontispieces and decorative title-page borders, all by John Farleigh, tissue-guard to elaborate frontispiece and title-page design of first volume,pp. xxxix, 262; pp. [vi], 289; xvi, 325; [vi], 307; xvi, 200, imperial 8vo, original half brick-red hermitage calf with cream canvas sides, backstrips lettered in gilt with a small amount of darkening to some, occasional light handling marks to cloth with dark patches to that of the final two volumes, protective glassine jackets, very good £950

54 PRIVATE PRESS & Illustrated books

202. (Shakespeare Head Press.) SHAKESPEARE (William) Shakespeare’s Songs. Stratford-upon-Avon, 1912, 131/510 COPIES, occasional faint foxing, pp. [vi], 32, [1], 12mo, original lace-effect boards, lettered in black to upper board, a small amount of rubbing to extremities and one or two areas of slight splitting to backstrip, edges untrimmed, browning to free endpapers, good £85

Printed by A.H. Bullen, and with a printed note by him at rear - a scarce edition issued in different bindings, of which this is an attractive example.

203. (Shanty Bay Press.) OVID. Stories from the Metamorphoses. Illustrated by Walter Bachinski. 2013, 16/60 COPIES (from an edition of 70 copies) signed by illustrator and printer, printed on Arches Cover mouldmade paper, author’s name to title-page, initial letters and additional decorations printed in red against a grey ground, 16 charcoal drawings by Jon Goodman printed using photogravure, pp. xi, 133, folio, original quarter tan calf with Japanese Gampi paper boards, backstrip lettered in blind, edges untrimmed, slipcase, fine £2,000

The translation used is that compiled by Sir Samuel Garth in 1715, using poets such as John Dryden and Joseph Addison.

204. (Sheepstor Handmade Papers.) WILDE (Oscar) The Happy Prince. 1970, 169/275 COPIES signed by the paper-makers, frontispiece and title-page vignette with further decorations and 4 full-page illustrations, a few small foxspots throughout, pp. [17], crown 8vo, original blue leatherette lettered in gilt to front, a small amount of browning to untrimmed edges, endpapers on handmade paper, tissue jacket, very good £30

205. (Solmentes Press.) THE FALL OF XENOPHON, or The Distresses of a Modest Man. Montgomery: David Esslemont, 2000, 36/300 COPIES, 10 wood-engraved illustrations based on 4 originals by Thomas Bewick, pp. 14, 8vo original green paste-paper boards, backstrip with red printed label, edges untrimmed, fine £50

206. (Solmentes Press.) ON THE FOLLY AND WICKEDNESS OF WAR. Two eighteenth-century essays. Minneapolis, 2004, 53/100 COPIES printed on Zerkall mouldmade paper, title-page and illustrations printed in red and black, 5 lino-cuts based on 18th- century woodcuts with 2 full-page and one double-spread, pp. [15], 8vo, original paste-paper boards in red and black, printed label to backstrip, edges untrimmed, fine £70

As a response to the Iraq war, David Esslemont conceived this book using essays from ‘The Hive of Ancient and Modern Literature’ from 1799; he had previously drawn material - both text and the illustrations of Bewick and Luke Clennell - from the book for his ‘Fall of Xenophon’, with which the present title is harmonious in its design.

55 BLACKWELL’S RARE BOOKS

207. (Solmentes Press.) Taxi Driver Curry - 1. Heathrow, 4.30 a.m., Terminal 4 to 3, April 2014. Decorah, 2015, 10/45 COPIES (from an edition of 50 copies), 10 woodcuts pp. [19, rectos only], oblong 8vo, original pictorial cloth, backstrip lettered in white, edges untrimmed, endpapers of handmade paper incorporating leaves and grass cuttings with a stamped leaf design, slipcase, fine £300

A transcript of a conversation. ‘The woodcuts are based on Indian Kolam, designs traditionally created outside homes to bring prosperity and ward off evil spirits’ (colophon).

Item 207 Item 208 208. (Solmentes Press.) ESSLEMONT (David) The Making of Florilegium Solmentes. Nature Prints & Digital Flowers. Decorah, 17/30 COPIES printed on Zerkall mould-made paper, 8 leaf-prints by Esslemont (2 with watercolour washes) and further colour-printed illustrations documenting his techniques, pp. 78, 8vo, original quarter brown leather with patterned paper sides, new £215

A fascinating insight into the artist’s process, touching on his use of geometry, optical illusion, and image-editing software: its techniques and subject matter make it in some respects a sort of companion volume to Russell Maret’s work on Euclidean geometry (see item 116).

209. (Spoon Print Press.) BLAKE (William) The Tyger. 1996, ONE OF 60 COPIES signed by the artist, this marked A/P II, title-page printed in red, poem-text printed in grey on yellow with illustrations to these pages in white, further linocut illustrations by Linda Anne Landers in various colours to each page, pp. [13], square 8vo, original sewn white card wrappers printed in blue with Landers design, in white card envelope with Landers illlustration to front and stitched down each side, fine £50

A very handsome edition of this well-known Blake poem.

210. (Stanbrook Abbey Press.) THE EUCHARIST. A Study in its Relation to the Constitution on the Sacred Liturgy. Worcester. 1969, [ONE OF 250 COPIES], printed in black in Stephenson Blake type on Abbey Mills paper, pp. [vi], 19, tall 12mo, original grey hammer-finished paper wrappers, front printed in black, fine (Butcher B14) £30

56 PRIVATE PRESS & Illustrated books

211. (Stanbrook Abbey Press.) PRAYER of King Henry VI. Worcester. 1958, single tipped-in leaf, printed in black in Cancelleresca Bastarda on W.S. Hodgkinson laid paper, hand-illuminated gold initial and green, purple and red fleuron by Margaret Adams, pp. [2], oblong 12mo, original Millbourn hand-made paper wrappers, ‘GREETINGS’ in red on front, colophon in black on rear, near fine (Butcher C2) £60

212. (Stanbrook Abbey Press.) CRASHAW (Richard) Caritas nimia. Worcester. 1963, [ONE OF 93 COPIES] (of an edition of 230 copies) printed on Millbourn Lexpar handmade paper with the large initial letter drawn in jade green, printed in black with title and colophon printed in green, pp.[i], 4, [1], 8vo, original white handmade paper wrappers, front cover with the title printed in green, untrimmed, small spot to corner of rear wrapper, near fine (Butcher A7) £100

213. (Stanbrook Abbey Press.) H[EBGIN] (Dame S[cholastica]) The Sign. Worcester. 1971, ONE OF 200 COPIES printed in purple, cluster of grapes design by Dame Hildelith Cumming on title-page, pp. [iv], 7, [iii], 32mo, original gold flecked lime-green handmade paper wrappers, fine (Butcher A26) £90

214. (Stanbrook Abbey Press.) MARITAIN (Raissa) Patriarch Tree. Thirty Poems. Translated into English by a Benedictine of Stanbrook. With a Preface by Robert Speaight. Worcester, 1965, 173/500 COPIES (from an edition of 550 copies) printed in black, red and green in parallel texts of English and French on Barcham Green handmade paper, photographic portrait tipped in, pp. xxii, 81, [5], imperial 8vo, original quarter black morocco with patterned black boards, backstrip lettered in gilt, a small amount of rubbing to upper joint, t.e.g., tail edges untrimmed, green endpapers, slipcase a little rubbed along edges, very good (Butcher A12) £150

215. (Stella Press.) FLETCHER (John) The Poems of John Fletcher, 1579-1625. Selected, Edited and with a Preface by John Tremayne. 2015, 4/150 COPIES printed on Fredegoni paper, tipped-in portrait frontispiece (1647 Wm. Marshall engraving), title-page in blue & black, pp. 113, royal 8vo, original quarter blue cloth, mustard boards, printed blue label inset to upper board, label to backstrip, fine £50

A handsome production, disentangling the author from his traditional pairing with Francis Beaumont. The first book from the Stella Press.

216. (Stoney Road Press.) JOYCE (James) The Dead. Ilustrated by Robert Berry with John Dallaire. With an Introduction by Senator David Norris. Dublin, 2014, 59/150 COPIES (from an edition of 175 copies) signed by the artist and by David Norris at the foor of his introduction, printed on Arches Blanc paper, 14 full-page drawings by Robert Berry, title-page printed in lilac, pp. [58], 4to, original grey boards illustrated in black, white and blue with publisher’s device blind-stamped at head of upper board, backstrip of black cloth lettered in black, edges black, illustrated endpapers, cloth slipcase stamped in white, fine £1,250

A lavish new edition of the last and longest story in Joyce’s Dubliners, one of his defining works and a modern classic of the form.

57 BLACKWELL’S RARE BOOKS

217. (Thomson.) BARRIE (J.M.) Quality Street: a Comedy in Four Acts. Hodder & Stoughton, [1903], EDITION DE LUXE, 504/1,000 COPIES signed and numbered by the artist and printed on handmade paper, frontispiece and 21 colourprinted plates, captioned tissue-guards, decorative title-border printed in green, several vignettes and 14 line-drawings (3 full-page) all by Hugh Thomson, preliminaries lightly foxed (as usual), and occasionally elsewhere, loosely inserted a flyer, printed in red, for the Leicester Galleries exhibition of the original drawings (foxed), pp. [ii], viii, 197, 4to, original cream vellum lettered and blocked in gilt to a design by Thomson, vestiges of green ties, discreet ownership inscription on inside front cover, t.e.g, others untrimmed, vellum slightly bowed, very good (Garland p.78) £400

218. (Thomson.) GOLDSMITH (Oliver) She Stoops to Conquer or the Mistakes of a Night. Hodder & Stoughton. [1912], FIRST THOMSON EDITION, 50/350 COPIES signed by the artist, 25 colourprinted plates (the colourprinted plates tipped to white paper with captioned and green decorative titled borders) and line- drawings in the text, some full-page, by Hugh Thomson, title-page printed in black and green, pp. 200, large 4to, original white vellum, backstrip and front cover lettered and decorated in gilt to a design by Thomson, the front cover lettering with a gilt borders of flowers and leaves and outer ruled sea-green and gilt borders, lacks the two ties, free endpapers browned, t.e.g., others untrimmed, very good £500

219. (Type.) GOUDY (Frederic W.) The Type Designs. Made for Private and Commercial Use, 1896 to 1943 [A Keepsake for Friends, Produced for his Seventy-Ninth Birthday. Typophile Monographs VIII.] New York: The Typophiles, 1944, FIRST EDITION, printed in black and copper, pp. [8], 12mo, original orange stapled wrappers printed in black to front, a little light creasing to top corner, uncut, very good £30

This the copy of Monroe Wheeler, Publisher and Director of Exhibitions at MoMA (although without mark of ownership).

Inscribed for Thomas Jones of Gregynog 220. (Vale Press.) JAMES I (King of ) Kingis Quair. Edited by Robert Steele. 1903, [ONE OF 260 COPIES] (from an edition of 270 copies) printed in black and red in the King’s Fount on Arnold handmade paper, large wood-engraved initial letter designed by Charles Ricketts, a few faint foxspots, pp. 55, crown 8vo, original quarter fawn linen with blue boards, printed label to upper board, a tiny amount of wear to each corner with top corners gently knocked, small pen-mark at foot of upper board, edges untrimmed and uncut as well as slightly dusty, faint partial browning to endpapers, good £275

Inscribed by the Editor, ‘For T. Jones, C.H., LL.D., with grateful regards, Robert Steele’ - the recipient is Thomas Jones, Chairman of the Gregynog Press among other distinctions – see item 90 for his book on the Press. The letters after his name indicate that the inscription must post-date his receiving an honorary LL.D from Glasgow University in 1922.

58 PRIVATE PRESS & Illustrated books

221. (Van Patten.) WITHER (George) Wither His Christmas Carol. Privately Printed [at Stanford University Press,] 1930, pp. 9, 12mo, original sewn pink wrappers printed in black, a small amount of creasing to edges, near fine £15

Printed for distribution as a Christmas gift by Mr and Mrs Nathan Van Patten in 1930.

222. (Verona Press.) JOHNSTON (Frederick) Terracina Cloud [Poems]. Verona. 1936, FIRST EDITION, pp. [xii], 90, cr.8vo, original lime-green linen, backstrip and front cover gilt lettered and decorated, roughtrimmed, fine £40

Vivian Ridler’s copy, with his embossed address-stamp in the front free endpaper.

223. (Warren Editions.) MURDOCH (Iris) Reynolds Stone. An Address given in St. James’s Church, Piccadilly, London, on 20 July 1979. Warren Editions. Christmas 1981, FIRST EDITION, ONE OF 750 COPIES signed by the author, frontispiece portrait of Stone, 2 small wood-engravings by him, pp. [16], crown 8vo, original plain white sewn wrappers, printed pale green dustjacket, very good £55

224. (Whittington Press.) A FOLDING SCREEN. Selected Chinese Lyrics from T’ang to Mao Tse-tung, rendered into Verse by Alan Ayling, from the Translations of the Chinese by Duncan Mackintosh in collaboration with T’ung Ping-Chen. Andoversford, 1974, 63/200 COPIES printed on Wookey Hole handmade paper and signed by Alan Ayling and Duncan Mackintosh, parallel English and Chinese texts, the Chinese calligraphy by Ch’eng Hsuan, several illustrations, including frontispiece, by Fei Ch’eng Wu, title-page printed in blue and black, a couple of tiny and faint specks to leading edge of colophon page, pp. vii, 94, 4to, original patterned cloth, backstrip with printed label, marbled endpapers, t.e.g., untrimmed, board slipcase, near fine (Butcher 9) £150

A very attractive early production by the Press.

225. (Whittington Press.) MATRIX 1. Andoversford, 1981, 85/320 COPIES (of an edition of 350 copies) printed on heritage Laid Paper, tipped-in plates (mainly illustrating wood-engravings) and illustrations in the text, title printed in purple, pp.70, imperial 8vo, original printed purple wrappers over matching card, tipped- on wood-engraving to front cover, backstrip lettered in black, light fading to backstrip and adjacent area on rear cover, corners a trifle bumped with a little rubbing along edges, untrimmed, very good (Butcher 60) £725

226. (Whittington Press.) MATRIX 2. Andoversford, 1982, 117/410 COPIES (of an edition of 450 copies), printed in black and cinnamon on Sommerville Laid and Zerkall mouldmade papers, wood-engravings in the text, several plates of photographs, some coloured, folding examples of original printing tipped in, pp. vi, 112, [1], imperial 8vo, original stiff orange wrappers over matching card, printed in cinnamon and black, wood-engraving reproduced on front cover, minor creasing to covers, untrimmed, near fine £600

59 BLACKWELL’S RARE BOOKS

227. (Whittington Press.) MATRIX 2 Reprint. Andoversford, 1993, ONE OF 435 COPIES (of an edition of 475 copies), printed in black and cinnamon on Sommerville Laid and Zerkall mouldmade papers, wood-engravings in the text, several plates of photographs, some coloured, folding examples of original printing tipped in, pp. [iv], 122, [1], imperial 8vo, original stiff orange wrappers over matching card, printed in cinnamon and black, wood-engraving reproduced on front cover, untrimmed, fine £115

228. (Whittington Press.) MATRIX 7. Andoversford, 1987, ONE OF 850 COPIES (from an edition of 960 copies) printed in black on Sommerville and Zerkall mouldmade papers, numerous inserts, including reproductions of photographs, examples of printing and illustrations, including folding plates, (some colourprinted) pp. [viii], 166, imperial 8vo, original stiff yellow wrappers over orange patterned white card, untrimmed, order slip for Matrix 8 loosely inserted, very good £120

229. (Whittington Press.) MATRIX 10. Andoversford, 1990, ONE OF 820 COPIES (from an edition of 925 copies) printed in black and orange on Sommerville, Zerkall and Tosa Butten papers, text illustrations, several plates of photographs, a number in colour, examples of papers and numerous examples of original printing tipped in, pp. [vi], 237, imperial 8vo, original stiff colour-printed wrappers designed by Alan Powers over orange card, untrimmed, order form for Matrix 11 loosely inserted, near fine £120

Pages 221-236 comprise an Index covering the first ten issues of ‘Matrix’.

230. (Whittington Press.) MATRIX 14. Risbury, 1994, ONE OF 880 COPIES (from an edition of 975 copies) printed on Sommerville Laid, Zerkall and Americana mouldmade papers, text illustrations, several plates of photographs, some in colour, examples of papers and original ephemeral pieces of printing, pp. [vi], 237, imperial 8vo, original stiff thistle-coloured wrappers over orange card with a superb linocut on front cover by Margaret Wells printed in brown, untrimmed, order-slip for Matrix 15 loosely inserted, near fine [with:] (Whittington Press.) ‘Offprint from Matrix 14’. Risbury, 1994, pp. 10, imperial 8vo, original orange wrappers with pasted label to front, a little fading to corner of rear cover, very good £110

The offprint is the first 10 pages of the issue, Roderick Cave’s article ‘One Day in Alpignano’.

231. (Whittington Press.) MATRIX 15. Risbury, 1994, ONE OF 880 COPIES (from an edition of 925 copies) printed on Sommerville Laid, Zerkall and Americana mouldmade papers, text illustrations, several plates of photographs, some in colour, examples of papers and original ephemeral pieces of printing, pp.[vi]+237, imp.8vo, original cream boards with Paul Landacre wood-engraving to front, untrimmed, dustjacket, order form for Matrix 16 loosely inserted along with woven bookmark, near fine £100

60 PRIVATE PRESS & Illustrated books

Includes an interesting article on Evelyn Waugh’s contact and affinity with the Private Press world.

232. (Whittington Press.) MATRIX 16. Risbury, 1996, ONE OF 830 COPIES (from an edition of 925 copies) printed on Sommerville Laid, Zerkall mouldmade Hahnemühle papers, text illustrations, several plates of photographs, including some in colour, examples of papers and original ephemeral pieces of printing, pp. [vi], 205, imp.8vo, original green boards with a large wood-engraving by Svenolov Ehrén to front, slight bump to top corner of upper board, untrimmed, dustjacket, order form for Matrix 17 loosely inserted, very good £90

233. (Whittington Press.) THE SONG OF SONGS. Andoversford, 1976, 149/165 COPIES (of an edition of 206 copies) signed by the translator Keith Bosley and the illustrator, printed on mould-made paper, 20 lithograph illustrations within the text by Richard Kennedy, top edge gilt, others untrimmed, pp. ix, [56], 4to original white cloth, backstrip lettered in gilt, illustration in gilt along base of front board, Hebrew script in gilt at head of rear board, marbled endpapers, black slipcase, near fine £200

234. (Whittington Press.) BIDWELL (John) Fine Papers at the Oxford University Press. Andoversford. 1999, 27/235 COPIES (of an edition of 300 copies) printed on Zerkall mouldmade paper with the book’s title, fly-titles and large initial letters printed in brown, 2 plates of photographic reproductions, 40 examples of handmade papers from the Oxford University Press collection, each tipped to black backing paper, pp. [ii] (blanks), [x], 87, [5] (blanks) + examples of papers on backing paper, folio, original qtr. lime-green cloth and matching cloth fore-edges, backstrip gilt lettered, lime-green boards, untrimmed, cloth and boards slipcase, fine £350

235. (Whittington Press.) BUTCHER (David) British Private Press Prospectuses, 1891- 2001. Andoversford, 2001, 213/260 COPIES (from an edition of 350 copies) printed on Zerkall mouldmade paper, 16 plates of facsimiles and illustrations and a further 7 illustrations in the text, the title printed in orange and black, pp. xii, 149, 4to, original quarter yellow cloth, with patterned cream boards, matching cloth leading edges, with facsimiles of Kelmscott, Doves and Nonesuch Press prospectuses loosely inserted in a pocket on the rear pastedown, untrimmed, cloth and board slipcase, near fine £150

236. (Whittington Press.) BUTCHER (David) The Whittington Press, a Bibliography 1971-1981. Andoversford, 1982, 41/95 COPIES (from an edition of 295 copies) printed on Zerkall mouldmade paper, 50 original prospectuses and other offprints each tipped to brown card backing and captioned, reproductions of illustrations used by the press including a number printed from the original wood

61 BLACKWELL’S RARE BOOKS

or perspex blocks, folding plate of type specimens, pp.[ix], 83 + Prospectuses etc., folio, original quarter white vellum, backstrip lettered in gilt, orange and brown marbled boards, t.e.g., others untrimmed, glassine jacket, cloth and board slipcase with printed label, fine (Butcher 63) £1,200

237. (Whittington Press.) CAVE (Roderick) Chinese Ceremonial Papers. An Illustrated Bibliography. Andoversford, 2002, 62/150 COPIES (of an edition of 200 copies) on tan Bugra Bütten mouldmade paper, with 39 examples of Chinese religious papers tipped-in, a further example, folded, is loosely inserted in a pocket on the inside rear cover, the title is printed in pink on a pale pink circular ground, a further large example inserted in a black card folder, pp. [viii], 6, 68, folio, original quarter grey cloth, backstrip gilt lettered, pink boards, a Chinese paper example inlaid to the front cover, grey cloth fore-edges, untrimmed, fine £225

238. (Whittington Press.) FODEN (Peter) Fell Imperial Quarto Book of Common Prayer. An Account of Its Production. Andoversford, 1998, 87/125 COPIES (of an edition of 175 copies) printed on cream Zerkall mouldmade paper, with 8 pages from the original Prayer Book of 1913 bound in, facsimile leaf of the title- page and ‘Calendar’, large initials printed in red (including the large Fell type initials present on the original sheets), title-page printed in black and red, a little creasing to top corner of final few leaves,pp.[v], 44, folio, original quarter pink cloth, backstrip lettered in gilt, orange boards with design printed in red, pink cloth fore-edges, untrimmed, cloth and board slipcase with a touch of rubbing to corners, near fine £185

239. (Whittington Press.) HANSCOMB (Brian) The Phoenix. Andoversford, 2005, 18/60 COPIES (of an edition of 100 copies), signed by the author and printed on handmade paper (pink for prelims and end matter), copper engraving frontispiece in sepia, 8 further engravings in black, ff. 44, 4to, original black card covers stab- bound, with sienna handmade paper wrappers sewn on with black ribbon, pink paper label inlaid to front and lettered in black, slipcase, fine £120

240. (Whittington Press.) HANSCOMB (Brian) Sun, Sea and Earth. Eight Copper- engravings... with Texts by John Clare, Richard Jefferies, Edward Thomas & the Artist. Andoversford. 1989, 35/100 COPIES (of an edition of 125 copies) printed on handmade paper, 8 beautiful and very evocative copperplate-engravings by Hanscomb, pp. 24 (french folded), royal 8vo, original stiff pale blue wrappers bound in the Japanese style, front cover label, untrimmed, board slipcase with printed label, fine (Butcher 100) £250

241. (Whittington Press.) Kempson (E.G.H.) and G.W. Murray (Editors) Marlborough, Town & Countryside. An anthology from 1436 to the present day. With an introduction by Lord Brooke of Cumnor, C.H. and with illustrations by Richard Kennedy. Andoversford, 1978, 204/410 COPIES (of an edition of 420 copies) signed by Kempson and Kennedy, tipped-in frontispiece, title-page printed in black and green, pp. [xvi], 84, imperial 8vo, original terracotta buckram

62 PRIVATE PRESS & Illustrated books

stamped in gilt to upper board, backstrip lettered in gilt, top edge amber, others untrimmed, illustrated endpapers, dustjacket, fine (Butcher 35) £90

242. (Whittington Press.) KENNEDY (Richard) A Boy at the Hogarth Press. With an Introduction by Bevis Hillier. Andoversford, 1972, FIRST EDITION, 350/520 COPIES printed on Wookey Hole mouldmade paper and signed by the author, numerous line-drawings, some full-page, by the author, title printed in red, a folding-plan illustrating the layout of the press room printed in black and red and tipped in at the end, pp. xii, 88, royal 8vo, original purple lettered cloth from a design by John Charleston, dustjacket, near fine (Butcher 1) £200

Recollections of two years spent working for the Woolfs at the Hogarth Press.

243. (Whittington Press.) MCKITTERICK (David) A New Specimen Book of Curwen Pattern Papers. Andoversford, 1987, LXX/85 SPECIALLY BOUND COPIES (from an edition of 335 copies) printed on Zerkall mouldmade and Colorplan papers, the plates and reprinted pattern papers reprinted at the Senecio Press, 8 plates on coated paper (4 coloured) and 32 tipped in specimens (each one twelfth of a wholesheet in size), pp. xii, 40, 41-105 (Specimens), royal 8vo original quarter dark green morocco with patterned paper sides reproducing a Claud Lovat Fraser design, backstrip lettered in gilt, t.e.g., others roughtrimmed, housed in dark green board slipcase along with 5 additional full sheets of Curwen Pattern Papers, each sheet folded twice and loosely inserted in a board folder of the same pattern paper as that used for the covers with a little offsetting from the morocco along joint of upper board and around backstrip, near fine (Butcher 91) £450

Includes Paul Nash’s Introduction to the 1928 ‘Specimen Book’.

Specimens designed by Edward Bawden, Harry Carter, Claud Lovat Fraser, Elizabeth Friedlander, E.O. Hoppe, Margaret James, Thomas Lowinsky, Enid Marx, Paul Nash, Sarah Nechamkin, Eric Ravilious, Michael Rothenstein, Albert Rutherston, Graham Sutherland, Diana Wilbraham, Althea Willoughby.

The extra sheets in the portfolio were designed by Enid Marx, Edward Bawden and Thomas Lowinsky, with two designs by Elizabeth Friedlander.

244. (Whittington Press.) PHIPPS (Howard) Further Interiors. Wood-engravings. Risbury, 1992, 183/235 COPIES (from an edition of 300 copies) signed by the artist, printed on Zerkall Rosa and pale blue Ingres papers, 15 wood-engravings and a wood-engraved tail-piece by Phipps, including 4 colour printed from linocuts, pp. [v] + (Plates), imperial 8vo, grey wrappers bound in the Japanese style, printed label to front cover, board slipcase with printed label and a touch of fading to back, near fine (Butcher 112) £150

63 BLACKWELL’S RARE BOOKS

245. (Whittington Press.) POWERS (Alan) A Book of Jugs. Andoversford. 1990, ONE OF 950 COPIES, the title-page printed in black and blue, 10 full-page illustrations printed in black and blue, and the cover designs, all by Alan Powers, pp. [20], oblong 16mo, original printed sewn wrappers, fine (Butcher 107) £30

246. (Whittington Press.) WEISSENBORN (Helmuth) Alphabets. Andoversford, 1980, ONE OF 350 COPIES, single sheet with 30 decorated initials printed in red on Zerkall mould-made paper, text printed in brown, pp. [1], 50.5 x 38 cm, a small crease to one corner, near fine (Butcher B23) £50

247. (Whittington Press.) WONG (Judy Ling) Long Summer. Poems and Etchings. Andoversford, 1977, 17/50 COPIES signed by the author, printed on Fabriano Roma hand-made paper, 10 etchings with each numbered, initialled and dated, pp. [25], 4to, original stab-bound Japanese wood-veneer paper-covered boards, matching slipcase with paper label to front, fine (Butcher 25) £700

248. (William Paul Wreden.) Four Christmas Greetings. San Francisco: Privately Printed, [1950- 1960?,] printed in red and black, 3 with illustration to front, four folded single sheets, 4to, small creases to edge of two cards, very good £15

A selection of printed Christmas greetings sent by the Californian bookseller William P. Wreden and his wife, two of which are dated (1954 & 1960). Each features a suitably festive and amusing text-selection: an editorial from the Daily Evening Bulletin, December 24, 1855; a description of the Dog Express postal service accompanying a 19th century image of the same; a Beecham’s Christmas advert from the Illustrated London News, December 24, 1892; and an excerpt from Miscellaneous Writings by Edward Ward, London, 1712.

249. (Wood Lea Press.) GREENWOOD (Jeremy) MARGARET BRUCE WELLS. The Complete Wood-Engravings and Linocuts. With a Memoir by Maggie McCune. Woodbridge, 2000, ONE OF 300 COPIES, the complete corpus of her work, with the engravings illustrated throughout in black and white, and with 7 pages of colourprinted plates, pp. 76, folio, original quarter pink cloth with patterned paper sides to a Wells design printed in green, backstrip lettered in gilt, cloth and boards slipcase, fine £100

250. (Wood Lea Press.) NASH (John) The Wood-Engravings of John Nash. A catalogue of the wood-engravings, early lithographs, etchings and engravings on metal, compiled by Jeremy Greenwood. Liverpool, 1987, ONE OF 750 COPIES (from an edition of 811 copies), portrait frontispiece, reproductions of the entire canon of the artist’s work in wood-engraving, lithography and etchings and engravings on metal; a few of the wood-engravings reproduced in colour, pp.149, folio, original quarter green cloth with Nash patterned cream boards, backstrip lettered in gilt with a touch of gentle fading, matching cloth slipcase, very good £100

Illustrating the range of John Nash’s book and print work, almost entirely in the medium of wood-engraving, with three lithographs and eight etchings and metal engravings.

64 VISIT OUR WEBSITE www.blackwell.co.uk/rarebooks Blackwell’s Rare Books Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792 Email: [email protected] Fax: +44 (0) 1865 794143 www.blackwell.co.uk/rarebooks