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Peter Harrington london Peter Harrington london We are exhibiting at these fairs:

11–14 April 2019 paris Grand Palais www.salondulivrerare.paris

24–30 April abu dhabi Abu Dhabi International Book Fair Abu Dhabi National Exhibition Centre www.adbookfair.com

7–9 June firsts london The ABA Rare Book Fair Battersea Evolution www.firstslondon.com

27 June–3 July masterpiece Royal Hospital, Chelsea www.masterpiecefair.com

12–14 July melbourne Melbourne Rare Book Fair Wilson Hall, University of Melbourne www.rarebookfair.com

7—9 JUNE 2019 BATTERSEA PARK

Front cover illustration by Victor Reinganum from Muriel Spark’s The Prime of Miss VAT no. gb 701 5578 50

Jean Brodie, item 186. Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, Design: Nigel Bents. Photography: Ruth Segarra. 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Registered in England and Wales No: 3609982 Peter Harrington 1969 london 2019

catalogue 152

spring miscellany

all items from this catalogue are on display at dover street dover st opening hours: 10am–7pm monday–friday; 10am–6pm saturday mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 www.peterharrington.co.uk usa 011 44 20 7591 0220 1 3

1 page, “J. H. Duigan from her Father, H. S. Anderson ADAMS, Richard. Watership Down. London: 2 1904” and with a manuscript note on the final page, adding the KCB (awarded 29 June 1906) to his service Rex Collings, 1972 record. This little volume was privately printed for mental process when finds that this consists in a Octavo. Original brown cloth, titles to spine and rabbit family and friends “at the request of my sons; having peculiar operation of the imagination, namely, the design to front board in gilt. With the dust jacket. Colour served for 45 years continuously in the Army in India, flow of a train of ideas through the mind, which ideas folding map. Spine gently rolled, slight rubbing to spine they thought I must have seen many sides of life, and ends and tips, inner hinges split but firm, a little rubbing to always correspond to some simple affection or emo- have something to record”. Jean Heath Duigan (1871– bottom edge of book block; a very good copy in the jacket tion (e.g. cheerfulness, sadness, awe) awakened by 1931) was his daughter. Very scarce: we have been able with minor nicks to extremities. the object. He thus makes association the sole source to trace only the copy at University of Washington. first edition, with the author’s clipped signature of aesthetic delight, and denies the existence of a pri- General Sir Horace Searle Anderson (1833–1907) pasted to the title page, “yours sincerely, Richard mary source in sensations themselves” (Encyclopaedia served with the Indian Army from 1850 to 1896, taking Adams”. Britannica, vol. 1, p. 227, “Aesthetics”). in in the Persian Campaign, the latter stages of the In- ESTC T143357; Encyclopaedia Britannica, Cambridge University £2,000 [131097] Press, 11th edition, 1911. dian Mutiny at Mohumra, the second Afghan War, the siege of Kandahar, and the third Burma War. He was 2 £1,500 [131304] severely wounded by a shell at the disaster at Maiwand in 1880. ALISON, Archibald. Essays on the Nature and 3 Not in Bruce or Ladendorf; Riddick, John F., Who Was Who in Principles of Taste. Edinburgh: Printed for J. J. G. British India, Greenwood Press, 1998; Sorsky 33. ANDERSON, H. S. Reminiscences during and G. Robinson, London; and Bell and Bradfute, Forty-Five Years’ Service in India, 1850–1895. £1,250 [131776] Edinburgh, 1790 Horsham: The Southern Publishing Company, Quarto (260 × 205 mm). Near-contemporary diced calf, The “seminal account of the birth spine lettered and tooled in gilt, covers with triple fillet and Limited, 1903 floral roll border in gilt, grey endpapers, marbled edges. Octavo. Original brown frond-grain cloth, gilt lettered on of Arab nationalism” Gathering b misbound between gathering A and B. Some front cover, pale yellow floral endpapers. With 3 sketch 4 very light rubbing and very occasional light foxing, else an maps (“Action at Mahura, 26th March 1857”, “Country excellent, attractive copy. from R. Helmund to Kandahar”, “Action of Maiwund, 27th ANTONIUS, George. The Arab Awakening. first edition of this treatise on aesthetics. “Alison, July 1880”). Binding refurbished, grain of spine smoothed, The Story of the Arab National Movement. in his well-known Essays on the Nature and Principles of extremities of spine and corners consolidated, title page toned, slight convex bowing of covers. A very good copy. London: Hamish Hamilton, 1938 Taste, proceeds by a method exactly the opposite to Octavo. Original bright green cloth, title gilt to the spine. that of Hogarth and Burke. He seeks to analyse the first and sole edition, presentation copy from the author, inscribed at the head of the title With the dust jacket. With 5 coloured maps (3 folding). Spine

2 Spring Miscellany: Peter Harrington 5 sunned and lettering a touch oxidized, endpapers differen- tially browned, some foxing front and back, marginal toning throughout, but very good in like price-clipped jacket, a little rubbed, tanned at the spine and with a small piece lacking from the head of the spine, no loss of text.

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first edition of this “seminal account of the birth 5 of Arab nationalism” (ODNB). Copies with the dust ARCHER, Thomas. Pictures and Royal Por- jacket and in anything approaching such good condition, as here, are conspicuously uncommon. traits illustrative of English and Scottish His- Freeman 800, variant a; Molnar, Thomas & Martin Kramer, Arab tory. London: Blackie & Son, 1886 Awakening and Islamic Revival, Transaction Publishers, 1996. 2 volumes, quarto. Publisher’s deluxe binding of red full morocco over bevelled boards, elaborately gilt and blind tooled £750 [131556] spines and covers, all edges gilt, richly gilt turn-ins, marbled endpapers. With 69 engraved plates printed in sepia. Gift inscription dated 1888 to front free endpapers, with the recipient’s bookplate to front pastedowns. A fine, bright set. first edition. A handsomely produced work, presented here in the publisher’s striking deluxe binding and no doubt issued by Blackie with an eye on Queen Victoria’s forthcoming Golden Jubilee in 1887. 4 £950 [131826]

All items are fully described and photographed at peterharrington.co.uk 3 6 (ARCTIC; NARES EXPEDITION.) The Five Flags Hoisted at 83° 20’ 26’’ N. on May 12th, 1876. London: T. Pettitt and Co., Lithographers, 1876 Lithograph broadside (600 × 275 mm). Printed in blue, red and yellow. Creased where folded. In excellent condition. Rare and attractive lithograph broadside commemorating the farthest north record set by Commander (later Sir) Albert Hastings Markham on 12 May 1876, showing the five flags of the expedition: Lieuten- ant Parr’s standard, white ensign, Captain Nares’s flag, Captain Markham’s motto flag and Captain Markham’s flag. Also illustrated here are the flags of HMS Alert, Autumn Travelling, 1875; Spring Trav- elling, 1876, extended parties, auxiliary parties, and dog sledges; and HMS Discovery, Spring Travelling, 1876. In addition, lists of personnel and details of the parties’ achievements are given. In the Geographical Journal, John Edwards Caswell re- marks that, on their return to Britain, “Nares, his officers and crew, were welcomed home with a round of banquets. On 1 December [1876], the ships’ officers attended a spectacular banquet at Portsmouth. Nares was absent, for he had been called to Windsor to dine with the Queen . . . A few days later, the City of Ports- mouth used the same hall and decorations to host a banquet for the crews . . . The Geographical Club turned out en masse to dine with Nares and his officers . . . And still the banquets continued. Nares was made Knight Commander of the Bath . . . An Arctic Medal was struck and given to each member of the expedition . . . A remarkable feat of seamanship had been performed. Sledging journeys had been conducted successfully, despite outbreaks of scurvy. British sea- men had again given a superb demonstration of their valour and endurance . . . For a century, writers have ignored the Nares expedition. One may surmise that it was a painful memory for the Admiralty, and not tragic enough for popular writers to use in harrowing the public’s sensibilities. In any event, Great Britain did not turn her attention again to the high Canadian Arctic until 1934–35. The Nares expedition concluded an era of British Arctic exploration begun in 1818 with the first voyage of Captain John Ross”. Caswell, John Edwards, “The RGS and the British Arctic Expedition, 1975–76”, Geographical Journal, Vol. 143, No. 2 (July 1977), pp. 200–10. £2,500 [131016] 6

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7 Poems, of 1928 and 1930. One thousand copies were ably the Phyllis of the gift inscription, but we have AUDEN, W. H. The Orators: An English printed on 19 May. been unable to trace her. Bloomfield & Mendelson A3. Sutherland, John, Stephen Spender: A £4,500 [131087] Study. London: Faber & Faber Limited, 1932 Literary Life, Oxford University Press, 2005. Octavo. Original black cloth, spine lettered in gilt. With the dust jacket. Jacket spine panel darkened, small mark at base £1,000 [130988] 9 of rear panel, some nicks and chips, old tape repair on verso at head of spine, binding lightly bumped at extremities of 8 AUSTEN, Jane. Sense and Sensibility. With spine. A very good copy. an introduction by Joseph Jacobs and illustra- AUSTEN, Jane. Pride and Prejudice. London: first edition, presentation copy from the tions by Chris Hammond. London: George Al- dedicatee stephen spender to the American George Allen, 1894 len, 1899 Large octavo (250 × 168 mm). Finely bound by P.V.B. in 1935, composer Roger Sessions and his wife Barbara, in- Octavo. Original green cloth, spine and front cover lettered titles and ivy leaf pattern to spine in gilt in compartments, scribed by Spender on the front free endpaper, “For and blocked in gilt with elaborate floral design, top edge covers elaborately tooled in ivy leaf and spiral pattern, turn- Barbara & Roger Sessions from Stephen Spender. gilt. Black line drawing frontispiece, chapter headpieces, ins ruled in gilt, marbled endpapers, edges gilt. Frontis- and illustrations to text. Spine gently rolled, some wear to Berlin June 27. 1932”. piece with tissue guard and 100 illustrations in the text all extremities, backstrip starting, hinges split; a bright, very Roger Sessions (1896–1985) won a special Pulitzer on China paper. Binder’s stamp in blind to rear turn-in, with good copy. Prize in 1974 (“for his life’s work as a distinguished an accompanying gift inscription to the rear binder’s blank, American composer”) and the Pulitzer for music in “Paddy, from Phyllis, 1935”. Front board minimally bowed, first hammond edition. Christine “Chris” Ham- 1982 for his Concerto for Orchestra. He made the ac- spine sunned, very occasional marginal foxing; else a near- mond (1860–1900) was a prominent female illustra- quaintance of Stephen Spender in Berlin and Spend- fine copy. tor best known for her book illustrations of Jane Aus- er’s biographer John Sutherland notes that the poet first fully illustrated edition, one of 250 ten, William Makepeace Thackeray, Elizabeth Gaskell had “come to know, and revere” both Sessions and large paper copies issued in the UK with the il- and George Eliot. Of Austen’s works Hammond il- the great pianist Artur Schnabel (Sutherland, p. 123). lustrations specially printed on China paper and laid lustrated just the present title and Emma (1898). By The friendship was renewed in May 1933 when Spend- down; a further 25 copies were released in the US. “representing the main characters in ways that stress er and his friend Tony Hyndman “stayed at a ‘villino’ This was the first edition to feature illustrations ac- their individuality . . . Hammond’s terse line often for a week, with Roger Sessions and his wife Barbara. companying the text, as Bentley’s 1833 edition and creates a spontaneous, and sometime even a febrile He knew the brilliant young American composer subsequent printings had featured only a frontis- effect” (Cooke). from his Berlin days (they had plans for Stephen to piece. Hugh Thomson’s “light touch and feeling for Cooke, Simon, “Christiana Mary Demain “Chris” Hammond”, do a libretto and Roger the music)” (ibid., p. 153). period manners provide a charming and accessible The Victorian Web, 2016; Houfe, Simon, The Dictionary of 19th Century The Orators, Auden’s “phantasmagoric long poem” gloss to the author’s work” (ODNB). British Book Illustrators and Caricaturists, Antique Collectors’ Club, 1996. (ODNB), followed the two collections, both entitled The charming arts and crafts binding in the Cob- den-Sanderson manner is signed by “P.V.B.”, presum- £650 [132496]

All items are fully described and photographed at peterharrington.co.uk 5 10

10 (BACON, Francis.) SYLVESTER, David. Francis Bacon. New York: Pantheon, 1975 11 Quarto. Original illustrated wrappers, titles to front cover and spine in yellow and white. With 94 black and white illus- Jaunet en souvenirs des beaux soirs élyséens, cor- her rhythm’, and remarked also that ‘her body [is] al- trations. Faintly rubbed and nicked, contents slightly toned. dialement Paul Colin”. Hanry-Jaunet was at the time ways sculptural’” (Lemke, p. 99). A very good copy. general secretary of the Louis Jouvet-designed Studio In his memoirs Paul Colin remembers his first first u.s. edition in wrappers, first print- des Champs-Elysées. Hanry-Jaunet “claimed that it is sight of Baker: “Naked but for green feathers about ing, inscribed by the artist on the half-title, ‘impossible to resist [Baker’s] charm, her gaminerie, her hips, her skull lacquered black, she provoked “For Jack, with all best wishes and the great pleasure both anger and enthusiasm . . . I still see her, fren- of meeting you Francis Bacon 21/3/1975”. Simultane- zied, undulating, moved by the saxophones’ wail. ously issued in cloth, this work features a series of Did her South Carolina dances foretell the era of a interviews with Bacon from 1962 to 1974. new civilization, finally relieved of fetters centuries £2,000 [131819] old?” (Colin, p. 74). Colin’s wonderfully spontaneous sketches unquestionably remain the most persuasive record of the immediacy of La Baker in performance. 11 This is one of 300 copies on large paper—pur fil BAKER, Joséphine. Les mémoires. Recueillis Lafuma—this copy unnumbered and out of series. Colin, Paul, La Croûte, La Table Ronde, 1957; Lemke, Sieglinde, et adaptés par Marcel Sauvage. Avec 30 des- Primitivist Modernism, Black Culture and the Origins of Transatlantic sins inédits de Paul Colin. Paris: K.R.A., 1927 Modernism, Oxford University Press, 1998. Square octavo en carré. Original pictorial paper wraps, printed £3,250 [130854] in red and black. Portrait frontispiece in black and sepia and 28 other illustrations, most full-page, from Colin’s perfectly evocative images of Baker. Wrappers a little rubbed, with pin-holes to the lower fore-corners, very occasional spot of foxing, but overall an excellently preserved copy of this oddly formatted and consequently fragile production, very good. first edition, limited issue, inscribed by the illustrator to critic and theatre manager Hanry- Jaunet on the front free endpaper, “à l’ami Hanry- 11

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12 very successful, being reprinted numerous times, 14 BARETTI, Joseph. A Dictionary of the Eng- even into the 20th century. BARRIE, J. M. Peter Pan. Or, the Boy Who ESTC N8657; Fleeman, J. D., A Bibliography of the Works of Samuel lish and Italian Languages. London: printed for Johnson, Clarendon Press, 2000, pp. 1010–13; Hazen, p. 144. Would Not Grow Up. London: Hodder and C. Hitch and L. Hawes, R. Baldwin, W. Johnston, Stoughton Limited, 1928 £1,500 [131203] W. Owen, [& 6 others in London], 1760 Octavo. Original blue leather, titles and elaborate chandelier motifs to spine in gilt, Barrie’s monogram to front cover in 2 volumes, quarto (259 × 201 mm). Contemporary red sheep, 13 spines lettered in gilt and richly gilt to compartments. Ex- gilt, marbled endpapers, top edge gilt, blue page marker. Ti- pert repair to foot of spine and joints of vol. I, front free end- BARRIE, J. M. Peter and Wendy. London: tle page printed in red and black within double ruled frame. Contemporary gift inscription to verso of front blank. Spine paper of vol. I loosening a little, title pages a little creased, Hodder & Stoughton, [1911] sporadic light creasing and faint foxing, rear endpapers of very gently rolled, faint scratches and scuffs to covers, light vol. I chipped, a little closely cropped at head without im- Octavo. Original green cloth, titles and pictorial decoration fading to front cover, book block edges very lightly soiled; pinging on text. A very attractive copy with little wear. to spine and front cover in gilt. Frontispiece, pictorial title else a very good copy indeed. page, and 11 plates, all by Bedford. Contemporary bookplate first edition of this major english–italian first edition, deluxe issue, of the play text. The to front pastedown. Gilt a little faded, cup rings to rear cov- play opened on 27 December 1904 to huge success, dictionary, inspired both by Baretti’s adulation for er, rear hinge split, foxed. A very good copy. Samuel Johnson and by his contempt for the previ- breaking all previous theatrical records. In response, first edition. Peter and Wendy is an expanded adap- ous English–Italian dictionary of Ferdinando Altieri, Barrie sanctioned the book Peter Pan in Kensington Gar- tation into novel form of the story first made popular whom Baretti castigates in his preface for his igno- dens in collaboration with Arthur Rackham, the text in the 1904 stage play Peter Pan, or The Boy Who Wouldn’t rance and his “love of obscene words and phrases . . . of which was not based on the play but rather extract- Grow Up. It tells the familiar story of the stage version, as well as of scurrilous sayings and senseless proverbs ed, with minor revisions, from Barrie’s book-within- with Peter as an older child flying off with Wendy and in depreciation of the female sex”. Samuel Johnson a-book London story-collection for adults, The Little the other Darling children to battle Captain Hook wrote the dedication for the work (though signed Ba- White Bird (1902). The play itself remained unpub- and his pirates, but Barrie added a final chapter to retti), which is dedicated to the Spanish Ambassador lished until this edition was issued as part of The the book in which Peter returns for Wendy years later, (Charles III of Spain’s son ruled Naples and Sicily at Uniform Edition of the Plays of J. M. Barrie in 1928. This when she is grown with a child of her own. The stage the time). Johnson’s dedication was reprinted in the edition features a 29-page dedication “To the Five”, in play itself was not published until 1928. second edition but thereafter was removed. A second which Barrie relates how he created Peter Pan. issue with J. Richardson alone on the title page is also £950 [131027] £750 [132316] known, with unknown priority. Baretti’s work was

All items are fully described and photographed at peterharrington.co.uk 7 15

15 BELLEW, Francis John. Views in India. Lon- don: for the author, 1833 15 Royal quarto (288 × 220 mm). Contemporary green diced calf, red morocco label, wide flat bands, gilt, compartments the Bengal army, into which he was commissioned and extremities, faint creasing and foxing to some pages, a scalloped in blind, triple fillet gilt panel, enclosing drawer in 1815 and in whose service he died fighting in the couple of instances of light worming, staining to vol. II p. 21 handle roll in blind, gilt edge roll, all edges gilt, marbled First Afghan War, makes this unlikely, and his pres- slightly obscuring text. A very nice example in a contempo- endpapers, floral roll in blind to the pastedowns. Litho- rary binding. graphic vignette title page and 30 similar views lithographed ence on the subscriber’s list the more so. Francis also by W. Walton after sketches by the author, all with the origi- published an autobiography, Memoirs of a Griffin, in nal tissue-guards, 2-page engraved subscriber’s list. A little 1845. His accomplished sketches include topographi- rubbed and spotted, spine a touch tanned, light toning to cal and architectural views mainly in northern India, the plates, but overall a very good copy. including Bhimtal, Almora, Jhansi and elsewhere, as first and only edition, uncommon, especially so well as several views of Orchha in central India and complete as here: three copies only traced at auction Arakan (now in Myanmar). The errata leaves (count- of which two lacking the subscriber’s list, a third copy ed in the pagination) indicate that Views in India was lacking five plates; Copac locates three copies in UK originally issued in at least four fascicles, which of- libraries (British Library, National Library of Scot- fers an explanation for its remarkable scarcity today. land, and the V&A), OCLC adding four institutional Kaul 2062 (74 pp. only); India Observed, 169 (misattributed to copies world-wide of which one (the Minnesota copy) Henry Walter); not in Abbey. is substantially incomplete, with 56 text-pages only £3,500 [131652] (the other copies in Basel, Zurich and Canberra). Ab- bey did not have a copy, and the subscribers’ list re- 16 cords just 87 names. Bellew (1799–1868) was employed in the Hyderabad BLACKSTONE, Sir William. Commentar- Civil Service, rising to deputy-assistant-commissary- ies on the Laws of England. Oxford: Clarendon general for Bengal and retiring with the rank of cap- Press, 1768–9 tain in 1832. Authorship is sometimes attributed to 4 volumes, quarto (272 × 211 mm). Contemporary calf, red his brother Henry Walter (1803–42), father of the not- morocco labels, 2 engraved tables (1 folding) in volume II. ed army doctor and Afghanistan expert of the same Contemporary ownership signature of Thomas Bund to name. However, Henry senior’s continuous career in front free endpapers. Discreet repair to extremities and paper in places, splitting to a few joints and minor wear to calf 16

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17 18 [BRONTË, Anne.] The Tenant of Wildfell [BRONTË, Charlotte.] Jane Eyre. London: 16 Hall. London: Thomas Hodgson, 1854 Smith, Elder, and Co., 1850 Octavo (161 × 98 mm). Bound with 1 other work in contem- Octavo (172 × 112 mm). Contemporary half calf, black mo- first edition of volumes III and IV, third edition of porary green half calf, red morocco spine label lettered in rocco spine label, marbled paper boards, compartments gilt, marbled sides, buff endpapers. Contemporary owner- blind-tooled, edges speckled red. Contemporary ownership volumes I and II. “Blackstone’s great work on the laws ship inscription of Miss Greene of Clonliffe to front free end- inscription of Miss Greene of Clonliffe on front free endpa- of England is the extreme example of justification of paper. Tips slightly bumped, a little wear to edges, boards per. Tips slightly worn, small spot of worming to foot of rear an existing state of affairs by virtue of its history . . . slightly scuffed, front hinge starting, both works lacking joint, first few gatherings proud, text block split at p. 3, three Until the Commentaries, the ordinary Englishman had half-title, occasional light spotting, small white stain to foot pages (pp. 375–380) with tear to top corner affecting the end viewed the law as a vast, unintelligible and unfriendly of rear endpapers. A very good copy. of three lines, old faint marginal dampstain, affecting about machine . . . Blackstone’s great achievement was to first one-volume edition, the second overall a third, rear hinge cracked. A very good copy. popularize the law and the traditions which had in- as stated by Smith, of Anne Brontë’s only separately first one-volume edition, the fourth overall, fluenced its formation . . . He takes a delight in de- published novel, which, according to May Sinclair; also known as the Uniform edition. Scarce, with scribing and defending as the essence of the consti- “reverberated throughout Victorian England” with its just seven copies traced institutionally. Originally tution the often anomalous complexities which had realistic and disturbing portrayal of alcoholism and published in October 1847 in three volumes, this is grown into the laws of England over the centuries. debauchery (Leonardi, p. 314). This Parlour Library Charlotte Brontë’s first published novel and the first But he achieves the astonishing feat of communicat- edition “omitted the opening section, chapter head- published novel by any of the Brontë sisters. It fol- ing this delight, and this is due to a style which is it- ings and certain textual passages found in the first lowed the unsuccessful publication of Poems by the self always lucid and graceful” (PMM). With a page of edition” and “served as the basis for most British edi- three sisters in May 1846, and the rejection of her first notes in an early hand (late 18th/early 19th-century) tions until recent years” (Smith). novel The Professor. on a trial of 1722. Leonardi, Barbara ed., Intersections of Gender, Class, and Race in the Shakespeare Head p. 11; Smith p. 33. ESTC T57753 & T134553; Printing and the Mind of Man 212; Long Nineteenth Century and Beyond, Palgrave Macmillan, 2018; Rothschild 407; Eller, Catherine S., The William Blackstone Smith p. 95. £1,000 [131780] Collection in the Yale Law Library, The Lawbook Exchange, 1993, pp. 1–2. £750 [131790] £2,500 [131799]

All items are fully described and photographed at peterharrington.co.uk 9 20

The Annual Biography and Obituary for the Year 1836, Longman, Rees, Orme, et al., 1837; Abbey Travel 435; Colas 454; India Observed 111; Niblock, Margaret, The Afghan Hound: A Definitive Study, K & R Books, 1980; Riddick, Glimpses of India, 28; Tooley 114. 19 £2,750 [131663]

19 Marathas while serving as commander of the Brit- 20 BROUGHTON, Thomas Duer. Letters writ- ish Resident’s escort . . . in Broughton’s narrative the Marathas move through a portion of the Rajputana BURGESS, Anthony. A Clockwork Orange. ten in a Mahratta Camp during the Year 1809. despoiling the countryside, laying siege to forts and London: Heinemann, 1962 London: John Murray, 1813 burning villages, and fighting among themselves Octavo. Original black boards, titles to spine in gilt. With the Quarto (285 × 225 mm). Original drab paper-backed pink much to the dismay and disgust of the author. Of dust jacket. Slight foxing to edges of text block, overall a very paper-covered boards, paper label to the spine. Housed in more interest to Broughton, however, were the vari- good copy in the price-clipped jacket, some small nicks to red cloth folding chemise within quarter red morocco on red ous festivals and religious ceremonies, both Hindu spine ends and slightly faded spine panel. cloth boards book-style slipcase, title gilt to the spine. Hand- and Mohammedan, which he recorded in his letters first edition, first issue binding, in the first coloured aquatint frontispiece and 9 other similar plates, with detail and sympathy” (Riddick). issue dust jacket with the wider flaps. Three issues half-title and directions to the binder bound in. A little rubbed and oiled, head of the spine chipped, tail crumpled, A point of some interest is that this is “the only exist: two in black boards (the first with a jacket with label scuffed but remains clearly legible, corners softened, British book on India to be illustrated entirely after wide flaps and priced 16s., the second with the flaps front joint cracked to the cords but remains sound, very pale drawings by an Indian artist, ‘Deen Alee’, whose trimmed and re-priced 18s.), and the third issued in toning to the text, the occasional spot of foxing, mild offset- ‘Company’ style can still be discerned through the 1971 in purple boards with a decimal price sticker. ting from the plates, but overall a very good, fresh copy in embellishments of the English etcher, T. Baxter” Boytinck 75. unrestored contemporary condition. (India Observed). Another notable aspect is that it is £2,750 [131007] first edition, an excellently preserved copy in widely accepted that the plate “A Meena of Jajurh” boards, handsome and uncommon thus. The work contains “The earliest and to date the only pictorial was edited from a sequence of “thirty-two letters to record of anything resembling the Afghan Hound” in his brother . . . filled with his observations of the its original environment (Niblock, p. 13).

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21 ments with gilt scrollwork. Early, neat ink annotations to (PMM). His work prompted Thomas Paine to respond pp. 249, 253, 267, and 352, the latter three inserting what the with the equally famous Rights of Man. BURGH, James. The Dignity of Human Na- reader considers to be missing words, the first providing a Goldsmiths’ 14518; Grolier, One Hundred Books, no. 63; Printing and ture. London: Printed by W.B. and sold by J. and footnote. Expert restoration to extremities and joints, with the Mind of Man 239; Todd, Bibliography of Burke, 53a (b). P. Knapton, J. Ward, J. Whiston and B. White, A. colour and gilt retouched. Rear cover sunned at head, patch of wear to front cover, endpapers browned from turn-ins, a £3,500 [130443] Millar, and R. and J. Dodsley, 1754 few offset ink marks to front pastedown, contents toned, overall a very good copy. Quarto (234 × 176 mm). Contemporary calf, red morocco 23 label. Errata leaf present, errata corrected in text in an early first edition, variant b, with all the issue points hand, shelf mark to front free endpaper. Some very light rub- listed by Todd for the first impression, including press BURNETT, Francis Hodgson. A Little Prin- bing to covers and extremities, very faint stain at head and cess. Illustrated by Harold Piffard. London: foot of initial and final few leaves, but overall a lovely copy marks, cancels, and requisite catchwords (see Todd, with little wear, joints and hinges intact. pp. 143 and 154), and with the “M” in the imprint date Frederick Warne and Co., 1905 aligned to the right of the “D” of “Dodsley” rather than first edition, presentation copy from the Octavo. Original blue cloth, titles front board gilt, illustra- directly underneath, which Todd cites as one of the dif- author, inscribed “Ex dono Authoris July 1767” tion label to front board, yellow patterned endpapers. Fron- ferences between variant terminal gatherings. tispiece and 7 colour plates by Harold Piffard. Spine gently on the title page. The Dignity of Human Nature was the Burke’s brilliant and staggeringly popular polemic rolled, tips a little rubbed. A near-fine copy in bright cloth. first major work of the Whig politician James Burgh was first published on 1 November 1790 in a print run (1714–1775). first uk edition. Burnett’s classic story of the of approximately 4,000 copies—of which the present orphaned heiress originally appeared as a serialized ESTC T114028. copy is one such—and had already run into its fifth novel in the American children’s monthly St. Nicholas £3,500 [131289] edition before the end of the year. Countering the Magazine from December 1887, entitled Sara Crewe: or, champions of the new freedom, Burke asserted “that What Happened at Miss Minchin’s Boarding School. Burnett 22 any revolution that did not bring real liberty, which adapted the story for stage in 1902 and then expanded comes from the administration of justice under a set- it into the present form at her publisher’s request. It BURKE, Edmund. Reflections on the Revolu- tled constitution without bias from the mob, was no was first published in the US in September 1905 with tion in France. London: printed for J. Dodsley, 1790 liberty . . . In the eternal debate between the ideal and illustrations by Ethel Franklin Betts. Octavo (210 × 123 mm). Contemporary speckled calf, red the practical, the latter never had a more powerful or morocco spine label, flat spine separated into compart- moving advocate, nor one whose ideals were higher” £500 [131401]

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24 are arranged chronologically, and while it was the 26 BURNS, Robert. The Works. London: William most sumptuous yet published it was also the most BURTON, Richard F. The Book of the Thou- complete and correct regarding both text and notes”. Patterson & Co., 1891 Egerer 872; Sudduth, Elizabeth A., G. Roy Ross Collection of Robert sand Nights and a Night. London: H. S. Nichols 6 volumes, octavo (231 × 158 mm). Contemporary tree calf, Burns, The University of South Carolina Press, 2009, p. 156. Ltd., 1897 spines gilt to compartments, twin red and green morocco £1,500 [131181] 12 volumes, large octavo (253 × 154 mm). Publisher’s reddish- labels, gilt floral roll border to covers, marbled endpapers, brown half morocco, gilt-lettered direct in English at foot and top edges gilt. With frontispiece to each volume, 6 plates, in second and fourth compartments of spines, in Arabic in 2 maps (1 of which is coloured), and 7 facsimiles of docu- 25 first and sixth, strapwork decoration in third and fifth, green ments. Contemporary engraved armorial bookplates of linen cloth sides, top edges gilt, marbled endpapers, dark James Cowan (1830–1907) of Rosshall, near Glasgow, horse- BURROUGHS, William S. Naked Lunch. New red cloth linen inner hinges. Portrait frontispiece of Burton breeder and owner of a successful carting business; contem- York: Grove Press, Inc., 1962 and 70 photogravure plates by Albert Letchford, each with porary bookseller’s stamp of William F. Clay, Edinburgh, at foot of front free endpaper verso (vol. I). Spines lightly Octavo. Original black half cloth, spine lettered in gilt, black sunned, some minor rubbing (more substantial to front paper-covered sides, top edge black. With the dust jacket. A cover of vol. III), contents clean. A very good set. near-fine copy in the jacket, with the lightest of creasing and nicks at extremities. limited edition, number 66 of 500 copies signed first u.s. edition. Naked Lunch was first published by the publisher. This is a particularly handsome set in book form in Paris by the Olympia Press in 1959, of the edition of William Scott Douglas, first pub- and was censored in America following the appear- lished in 1877–9, described by ODNB as a “splendid, ance of extracts in the literary journals The Chicago six-volume library edition. The poems in this edition Review (1958) and Big Table (1959). When it was finally published in America after Grove Press won a key anti-censorship case, it included some material that Burroughs had edited out of the Olympia version. It was censored again; this was overruled in 1966, marking an important step in the end of literary censorship in the United States. Burroughs, William S. Naked Lunch: The Restored Text, Penguin Classics, 2015; Maynard and Miles A2b. £975 [131647]

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12 Spring Miscellany: Peter Harrington captioned tissue-guard; title pages printed in red and black. Linen sides of a few volumes a little cockled, a few gatherings of vol. VIII slightly proud otherwise a very good set. first illustrated edition of burton’s translation, the plates by Albert Letchford, who has been described as “court painter” to the Burtons (Yamanaka & Nishio, p. 243). Textually, this edition restored most of the excisions made for Lady Burton’s edition of 1886–8, except for the article on pederasty. “The Arabian Nights had been an important part of Burton’s life for decades. In 1882 he began translating it in earnest. Although there were other translations of the Nights in English, Burton’s was distinguished by his retention of the sexual content of the original Arabic versions, while his extensive footnotes drew on a lifetime of travel and research. “Despite its deliberately archaic style, The book of the thousand nights and a night . . . has become the pre-eminent English translation of the Middle Eastern classic. It is 27 28 the keystone of Burton’s literary reputation” (ODNB). The first edition was published 1885–88. The family copy of Byron’s daughter Ada Lovelace, nor rubbing to spine and around extremities, covers of vol. Kennedy, Dane, The Highly Civilized Man: Richard Burton and the one of the most remarkable British mathematicians II lightly bowed, foxing to plates and offsets to facing pages, Victorian World, Harvard UP, 2007; Penzer pp. 123–4; Yamanaka, of the century and a pioneer of computer science, very occasional faint foxing elsewhere, yet overall a lovely Yuriko & Tetsuo Nishio, The Arabian Nights and Orientalism: set, contents clean, joints and hinges intact. Perspectives from East & West, I B Tauris, 2006. with the library stamp to the front pastedown of Ashley Combe, the summer retreat of Ada and her first editions of Hebrew Melodies (with the first ap- £2,000 [113443] husband. Her mother Anne Isabella Noel, Lady By- pearance in print of “She Walks in Beauty”), Childe ron, had sought to keep her daughter free from her Harold’s Pilgrimage Cantos II and IV, The Prisoner of The Lovelace family copy father’s influence, and even forbade her to look at the Chillon, and Manfred, along with early editions of Childe family portrait of him until she was 20. Once married Harold Cantos I and II (tenth edition), The Giaour, The 27 and free from her mother’s influence, Ada took great Bridge of Abydos, The Corsair, Lara (fifth edition), The BYRON, George Gordon Noel, Lord. Childe interest in her father’s life and work, and asked to be Siege of Corinth; and Parisina, a Poem (third edition), Harold’s Pilgrimage. London: John Murray; Wil- buried next to him when she died. Long after Ada’s Ode to Napoleon (twelfth edition), Poems on his Domestic liam Blackwood, Edinburgh; John Cumming, Dub- death, her husband built Ben Damph House and Circumstances (twenty-second edition), Monody on the Death of Sheridan (“new edition”), Poems (second edi- lin, 1812 moved the book there, with its library shelfmark on the front free endpaper. This is the second edition of tion), The Lament of Tasso (sixth edition), and Beppo Octavo (215 × 129 mm). Contemporary sprinkled calf, spine the first two cantos, published the same year as the (sixth edition), in an attractive uniform contempo- tooled in gilt, black calf label, gilt rule to covers, turn-ins first, and enlarged with six new poems. rary binding. decorated in blind with a sawtooth roll. Folding plate at Byron proved hugely profitable for his publisher rear with facsimile of Romaic text. Half-title present. A few £1,750 [130986] pencilled marginalia. Foxing around page extremities, yet John Murray: not only did he pour out poetry at a overall a lovely copy with little wear, joints and hinges intact. breathless pace, but the public’s appetite meant that 28 each of these poems went through many editions. BYRON, George Gordon Noel, Lord. [A col- Murray capitalized on this by publishing Byron’s vari- lection of poems, including:] Hebrew Melo- ous poems in a uniform size, a form of bibliographic branding for the poet, which had the additional ben- dies; Childe Harold’s Pilgrimage; The Pris- efit of readily allowing various poems to be gathered oner of Chillon, Manfred, and many others. together and uniformly bound, as here. Likewise, London: John Murray, 1814–18 John Murray sold engravings of Byron and his poems 4 volumes, octavo (212 × 131 mm). Contemporary green separately as a further revenue stream, with 14 of straight-grain morocco, spines lettered in gilt and richly gilt these engravings here extra-illustrating this set. to compartments, covers panelled in blind and gilt enclosing gilt garlanded lyre, red endpapers, gilt edges, green silk £3,750 [130861] 27 page markers. Extra-illustrated with 14 engraved plates. Mi-

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29 divided into short chapters with critical and explana- cretion, and to enstall wisdome in the government of (CAESAR, Julius.) EDMONDS, Clement. tory notes to each” (Cockle, 71). the mind”. Edmonds was encouraged by Sir John Scott, who The Commentaries. London: Printed by R. Dan- Edmonds’s commentary included observations had seen service in the Netherlands, France and on upon contemporary campaigns in France and Ire- iel, and are to be sold by Henry Twyford, Nathaniel the Cadiz Expedition of 1596, to undertake an explan- land, and the Battle of Dreux of 1562. He had expe- Ekins, and John Place, 1655 atory study of Caesar’s Commentaries, first published rienced life on campaign, joining Sir Francis Vere at Folio in 4s (294 × 195 mm). Contemporary trade binding of in 1600 as Observations, upon the Five First Bookes of Cae- the Battle of Nieuwpoort in 1600, remarking in sub- lightly sprinkled calf, double blind rules, unlettered, red sprin- sar’s Commentaries. Edmonds explains that his motives sequent editions how Sir Francis had drawn upon kled edges, titled in manuscript on fore edge. Engraved half- were to persuade professional soldiers to widen their examples from Caesar when discussing tactics with title, portrait, medallic plate and 13 other plates, 8 of them fold- horizons beyond the lessons of their own experience: Prince Maurice. He also included a treatise on mod- ing and 1 double-page. Contemporary ownership inscription “I do not marvell that such souldiers, whose knowl- ern tactics, “The Manner of our Modern Training”, of John Kynnersley, with the tag “vox audita perit litera scripta edge groweth only from experience, & consisteth in manet”, to front free endpaper. Headcap just chipped exposing by way of an appendix, a slightly amended version of headband, short crack at foot of front joints, still a fine copy, the rules of their own practice, are hardly perswaded which was published in 1642 under the title of A Few with full margins, the contents clean and fresh throughout, no- that history and speculative learning are of any use Words to the Trained Bands and Souldiers of London Citie in tably superior to that usually met with. in perfecting their Arts . . . but those purer spirits these Perilous Times. embellished with learning, and enriched with the Fourth edition of Edmonds’s translation of Caesar’s Cockle 71; Wing C199. knowledge of other mens fortunes, wherein variety of Commentaries. Sir Clement Edmonds “had a high £2,500 [130429] reputation for learning and as a writer on military accidents affordeth variety of instructions, & the mu- art” (ODNB); his translation of the Commentaries first tual conference of things happened, begetteth both appeared in 1600. “This excellent and well-known similitudes and differences, contrary natures, but yet exposition of Caesar was always popular. The text is joyntly concurring to season our judgement with dis-

14 Spring Miscellany: Peter Harrington 30 30 30

30 the pharaoh Kamose in 1532 bce, were published by Octavo. Original limp green morocco, double gilt rules, ti- them in Five Years’ Exploration at Thebes (1912)” (ODNB). tles in gilt on front cover, yellow endpapers, edges gilt. With CARTER, Howard, & Earl of Carnarvon. Five the green slipcase, as issued. Collotype facsimile reproduc- Years’ Explorations at Thebes. London: Henry £1,500 [130948] ing manuscript text and 37 illustrations by the author, 14 Frowde, Oxford University Press, 1912 full-page; mounted photograph of Alice Liddell at foot of last page, with loose folded overslip. A fine copy. Quarto (351 × 250 mm). Original quarter parchment, gilt 31 first and only edition of this rare facsimile, lettered smooth spine, salmon pink paper boards, lettered CARROLL, Lewis. Alice’s Adventures Under on front cover, top edges gilt. Photogravure frontispiece complete with the original slipcase, privately printed (tissue guarded), 79 illustrations (largely half-tones from Ground. [Vienna: Privately printed by Max Jaffe, for Eldridge Reeves Johnson (1867–1945), who bought photographs, some diagrams, one double-page), 14 illus- for Eldridge Johnson, 1936] the original manuscript from Dr Rosenbach in 1928. trations in the text; title printed in red and black. Spine Johnson had made his fortune as co-founder of the a little soiled and stained, short split at foot of rear joint Victor Talking Machine Company. The exact edition (with slight fraying of parchment), periphery of boards size is not recorded, though it is likely to have been sunned, a few light abrasions and marks. A good copy, clean and sound. only 50 copies. “It is not too extravagant to say that this production is as near perfection as is possible first edition of this important and lavishly for a printed facsimile. It has been said that if this produced study, the costs of which were almost facsimile is put beside the original, the only way that certainly underwritten by Carnarvon. “Between 1907 they may be distinguished is that the facsimile is in and 1912 the two men excavated at or near Deir el Ba- better condition” (Jabberwocky, Autumn 1978). hari on the west bank of the Nile opposite Luxor. The Williams–Madan–Green–Crutch 38a (n); Goodacre, Selwyn and excavations were often frustrating and bore witness Denis Crutch in Jabberwocky: The Journal of the Lewis Carroll Society, to the universal activities of looters. Nevertheless, Autumn 1978. they made important discoveries, helped by Carter’s intimate knowledge of the area, among them the £2,250 [130421] tomb of a king’s son of the eighteenth dynasty (1908); a small funerary temple of Queen Hatshepsut (1909), and a richly decorated twelfth-dynasty sepulchre. At times they employed as many as 270 men. Their finds, which included an important tablet commemorating the expulsion of the Hyksos kings of the delta by 31

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32 CASANOVA, Jacques. The Memoirs. Privately printed for subscribers, [c.1920] 6 volumes, octavo (213 × 145 mm). Contemporary dark blue crushed half morocco, decorative gilt spines, blue cloth sides in imitation of watered silk, top edges gilt, marbled endpapers. Light rubbing to tips. A very attractively bound set. limited edition, one of 500 sets, printed on Lou- vain laid paper. The text consists of Arthur Machen’s translation, first published in 1894, to which has been added the chapters discovered by Arthur Symons, alongside a supplement and a bibliography. Casa- nova’s memoirs were not published in their full form until 1960. 34 £1,000 [122490] 33 34 CERVANTES, Miguel de. The History of the CHANDLER, Raymond. The High Window. Ingenious Gentleman, Don Quixote of La New York: Alfred A. Knopf, 1942 Mancha. London and Boston: J. B. Millet Com- Octavo. Original light brown cloth, spine and front cover let- pany, [c.1910] tered in brown, top edge trimmed. With the dust jacket. A very good copy in the dust jacket, light scuffing to spine panel, 4 volumes, quarto. Original brown half morocco, spines let- minor chipping at extremities, yet overall in nice condition. tered in gilt with foliate decoration incorporating red floral morocco onlays, green cloth sides, top edges gilt. With 37 first edition of Chandler’s third novel featuring illustrations designed and etched by Adolphe Lalauze, all in the Los Angeles private detective Philip Marlowe, two states (i.e. 74 plates). Spines lightly sunned, front hinge adapted into films in 1942 (Time to Kill) and in 1947 of vol. I split but firm. A near-fine set. (The Brasher Doubloon). the la mancha edition, number 7 of 50 copies only. £3,000 [131251] An attractively printed, bound, and illustrated edition of Cervantes’s masterpiece, here using the translation of Peter Motteux, which was “widely admired throughout the eighteenth and nineteenth centuries for its de- scriptive lucidity and playful wit” (ODNB). 33 £1,250 [130863]

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plates by William Russell Flint mounted on thick paper (with captioned tissue guards). The lightest of soiling to vellum, sporadic foxing. A lovely copy. An exquisitely bound copy, and a fine example of Cedric Chivers’s vellucent style, where the backing sheet of the binding is hand-painted before being covered in vellum which has been shaved to transpar- ency, which is then tooled in gilt. This is in contrast to the previous great binder of painted vellum, Edwards of Halifax, who painted in reverse on the underside 35 of translucent vellum. Chivers patented his vellucent method in 1898 and used it to create some of the most 35 The Little Sister was first published in the UK on 24 beautiful books of the turn of the century. His style influenced, and became closely associated with, the CHANDLER, Raymond. The Little Sister. June, and followed in America two months later, on 26 September, issued in orange and yellow cloth, with Arts and Crafts movement. The book itself is an at- Boston: Houghton Mifflin Company, 1949 orange taking priority, seen here on the present copy. tractive edition of Thomas à Kempis’s masterpiece, Octavo. Original orange boards, titles and decoration to Bruccoli A8.2.a. in a somewhat modernized version of the popular spine and cover in blue. With the dust jacket. Housed in a 16th-century translation by Richard Whytford. With custom red quarter morocco folding case. A fine copy in the £16,500 [131623] an old catalogue description loosely inserted. dust jacket with slightly faded spine, some creasing, chips £2,750 [132281] and nicks to extremities. 36 first u.s. edition, pre-publication presentation copy, inscribed by the author a couple of weeks (CHIVERS BINDING.) KEMPIS, Thomas à. prior to publication on the front free endpaper: “For Of the Imitation of Christ. London: Chatto and Harry Ackerman with good wishes Raymond Chan- Windus, 1908 dler La Jolla, Sept. 7, 1949”. Ackerman was the pro- Octavo (230 × 157 mm). Contemporary vellum binding by ducer at CBS who was responsible for developing the Cedric Chivers of Bath with his stamp to rear turn-in, spine radio series based on Philip Marlowe that ran for two and front cover lettered by hand, spine and front cover with seasons in 1949—the year this book was published— hand-painted design incorporating gilt tooling (bishop on and 1950. Chandler and Ackerman also worked to- spine, saints at prayer on front cover), gilt ruled turn-ins, marbled endpapers and dentelles, gilt edges. Title page gether in Los Angeles on a number of television pro- printed in blue and black, colour frontispiece and 11 colour jects based on Chandler’s work.

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37 38 CHURCHILL, Winston S. Great Contempo- CHURCHILL, Winston S. A History of the raries. London: Thornton Butterworth Ltd., 1937 English-Speaking Peoples. London: Cassell and Octavo. Original blue cloth, spine lettered in gilt with blind Company Ltd, 1956–8 rules extending over boards, publisher’s device in blind to 4 volumes, octavo (229 × 149 mm). Contemporary fine bind- both boards, title gilt to front, top edge blue. With the dust ing by Bayntun in half red morocco with red cloth boards, jacket. With 21 photographic plates. Pencilled presentation titles to spines in compartments with raised bands and gilt inscription on title page in the month of publication: “J. H. rules, acorn motifs to spine, top edge gilt, marbled endpa- Stevenson from ?Rér, Oct. 37”. Jacket spine lightly sunned, pers. Illustrated throughout with maps and genealogical creasing at folds, some nicks and chips and minor loss, tables. A little stray glare to the top of the fore-edges, not binding bright and sharp-cornered very good copy. affecting text block, very light foxing to binders blanks and first edition, printed on 4 October in a run of some titles. A handsomely bound set. 5,000 copies. This series of essays on “Great men of first editions. Churchill began his history of the our age” includes T. E. Lawrence, Trotsky and Hitler British Empire and the United States during his pe- (“We cannot tell whether Hitler will be the man who riod in the political wilderness in the early 1930s, 39 will once again let loose upon the world another war but did not complete it until after his retirement in in which civilization will irretrievably succumb, or . the late 1950s. The events of the Second World War, CHURCHILL, Winston S. Churchill’s State . . the man who restored honour and peace of mind the major interruption in the writing process, had Funeral: Enoch Powell’s Order of Service, to the great Germanic nation”). Great Contemporaries is reconfirmed his belief in the “special relationship” Order of Ceremonial, formal invitation, and “an important part of the canon and belongs in every between Britain and the United States. Consequently seating pass. London: HMSO, 1965 library” (Langworth, p. 179). On receiving his ad- he gave considerable attention to the key events of Order of Service: 20 pp., wire-stitched (186 × 134 mm), vance copy, Neville Chamberlain wrote to Churchill American history: around a quarter of the third vol- broad purple border to front cover; Order of Ceremonial: immediately: “How you can go on throwing off these ume, The Age of Revolution, is dedicated to the War of 12 pp., wire-stitched (267 × 183 mm), broad purple border sparkling sketches with such apparent ease & such Independence, and a full third of the final volume, to front cover; formal invitation 2 sheets, first with black sustained brilliance, in the midst of all your other The Great Democracies, contains a detailed study of the morning border (330 × 204 mm), embossed stamp of the occupations is a constant source of wonder to me” American Civil War. Earl Marshal’s office; seating pass (92 × 120 mm, heavy card stock), South Transept Block A, Row 4, black mourning (quoted in Cohen). Cohen A267.1(I)–(IV); Woods A138(a). border, deeply embossed stamp of the Earl Marshal’s office; Cohen A105.1.a; Langworth, Richard M., A Connoisseur’s Guide to the Books of Sir Winston Churchill, The Churchill Center, 1998 pp. £2,250 [129914] holograph entries giving Powell’s name and the date. Light 176–9; Woods A43(a). creasing otherwise in excellent condition £2,250 [131697]

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40 (COLEMAN, Ornette.) The Urantia Book— inscribed presentation copy to A&M Records President Gil Friesen. Chicago: Urantia Founda- 40 tion, 1976 Large octavo. Original mid-blue imitation leather, lettered so this may have been presented on the occasion of in silver on spine and front cover, blue endpapers. With the album’s release. the dust jacket. Title page printed in blue and black. Jacket The Book of Urantia—“a collection of neo-Christian professionally restored, rear flap reattached, several splits scriptural writings” (Hollinghaus, p. 60)—was first repaired, a very good copy. published in 1955 and accrued a cult following, being presentation copy from ornette coleman to reissued several times during the 1960s and 1970s; 39 A&M Records President Gil Friesen, inscribed on the the present copy is of the fifth printing. It is known front free endpaper: “3/14/77, To Gil, The No Name to have been consulted by both Jimi Hendrix and or Number. Ways of Reading. Ornette Coleman”. Gil Fine group of ephemera with an excellent prove- Karlheinz Stockhausen, the latter being “introduced Friesen (1937–2012) “achieved success in films and to Urantia by a New York hippie in 1971 . . . his ad- nance, commemorating Enoch Powell’s attendance television but was best known for helping to estab- at Churchill’s state funeral at Saint Paul’s Cathedral miration for the book led to several of its ideas be- lish A&M Records as an artists’ haven for an eclectic ing incorporated in Donnerstag [aus Licht, composed on 30 January 1965. Powell (1912–1998) was one of the stable of performers that included Carole King, the foremost figures in British post-war politics, Con- 1977–80]” (Joscelyn Godwin in Van den Broek & Police, Barry White, and the Carpenters . . . Herb Alp- Hanegraaff, p. 350). servative MP for Wolverhampton South-West (1950– ert, the trumpeter and band leader who co-founded 74), Ulster Unionist MP for Down South (1974–87), Hollingshaus, Wade, Philosophizing Rock Performance: Dylan, A&M Records with the music promoter Jerry Moss in Hendrix, Bowie, Scarecrow Press, 2013; Van den Broek, Roelof & Financial Secretary to the Treasury (1957–58) and 1962 . . . hired Mr. Friesen as one of its first employ- Wouter J. Hanegraaff (eds.), Gnosis and Hermeticism from Antiquity to Minister for Health (1960–63) under Macmillan, Sec- ees. (In the company name, “A” stood for Alpert and Modern Time, State University of New York Press, 1997. retary of State for Defence in the Heath government “M” for Moss. Mr. Friesen was known as the amper- £1,500 [130739] (1965–68). However, his infamous “Rivers of Blood” sand, Mr. Alpert said.) Named president in 1977, Mr speech on immigration, delivered at Birmingham in Friesen helped make A&M one of the largest inde- 1968, “thereafter defined his place in British political pendent record labels in the country” (New York Times culture” (ODNB). obituary, 20 December 2012). Coleman’s album Danc- £3,750 [131064] ing in Your Head was issued by Horizon/A&M in 1977,

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from wife to husband dated 1993 to first blank. Spine faintly toned, a near-fine copy. first florence press edition, number 100 of 260 copies printed on handmade paper, in an appealing Cosway-style binding, incorporating a fine miniature half-length portrait of Byron based on the 1813 portrait by Richard Westall. These elaborate bindings, named after the famous Regency miniaturist Richard Cosway, were a style executed by Rivière & Son for Henry Sotheran booksellers, with miniatures mounted under glass on the cover. The paintings were originally done by Caroline Billin Curry who worked for J. Harrison Stonehouse at Sotheran’s from about 1910. In 1939, the George Bayntun firm acquired the Rivière Bindery, and Miss Currie died the following year; examples such as this continued to be produced by her successors. 41 £3,500 [131376]

41 42 43 CONRAD, Joseph. The Works. Garden City: (COSWAY-STYLE BINDING.) BYRON, COURNOT, Antoine Augustin. Principes de Doubleday, 1920 George Gordon Noel, Lord. Poems. London: la Théorie des Richesses. Paris: L. Hachette et 24 volumes, octavo (215 × 147 mm). Contemporary blue half at the Florence Press, Chatto & Windus, 1923 Cie, 1863 morocco by Stikeman and Co., spines lettered and blocked Octavo (220 × 143 mm). Cosway-style binding of 20th-cen- Octavo (218 x 135 mm). Contemporary half calf and marbled in gilt, blue cloth sides, blue endpapers, top edges gilt. tury blue morocco by Bayntun Rivière, title to spine in gilt, boards, marbled edges, recently very skilfully rebacked and Spines unevenly sunned, contents clean; front joint of vol. spine gilt in compartments between five raised bands, dated recornered, spine richly gilt, red morocco lettering piece, VII repaired. A very good set. at foot, covers and turn-ins with elaborate gilt tooling, front gilt, spine dated at the foot. With the bookplate of John the sun-dial edition, number 35 of 735 sets cover with portrait miniature of Lord Byron in a central oval Neville Keynes, Cambridge logician and economist, and the signed by the author in the first volume. mounted behind glass, edges gilt, moiré silk endpapers. father of John Maynard Keynes. A fine copy. Housed in a custom blue cloth slipcase. Gift inscription £6,750 [131140]

20 Spring Miscellany: Peter Harrington 43 44 45 first edition, from the library of john may- specific topics” (Theocharis, p. 200). In the Principes The local printer-publisher Jordinson, a nationally nard keynes. Cournot was the first “to visualize the the results are united. regarded firm, and warm familial presentation in- general interdependence of all economic quantities Cossa 276 (131); Einaudi 1364; Mattioli 794; Menger, col. 568.; scription may lend support to this being a vanity pub- and the necessity of representing this cosmos by a Schumpeter, Joseph A., History of Economic Analysis, Routledge, lication. The amateur illustrator, R. Edward Wethey, system of equations” (Schumpeter, p. 467). In 1838 he 1997; Theocharis, Reghinos D., Early Developments in Mathematical was a solicitor based in Middlesbrough, Hornung’s published Recherches sur les Principes Mathématiques de la Economics, Springer, 1983. home town. Théorie des Richesses. Perhaps because he was primarily a £4,250 [130787] Ernest William Hornung (1866–1921) is best known mathematician and his work contained technicalities as the creator of the “gentleman cracksman” A. J. Raf- to which economists had previously been unaccus- 44 fles – cricketer by day and burglar by night. Hornung tomed, it went almost unnoticed until its significance “was immensely fond of cricket, although his skills was recognized by Marshall, Walras and Jevons. (CRICKET.) HORNUNG, E. W. The Cricket at the game were limited” (ODNB). In 1893 he mar- The present work states his theory without the on the Green. London: Jordison & Co. Ltd, [1895] ried Constance Doyle, the younger sister of Sir Arthur mathematics and develops it into a systematic doc- Quarto, pp. 34. Original blue cloth-backed pictorial wrap- Conan Doyle and played alongside the latter for J. M. trine. Because in the Recherches he “treated only ques- pers. With 28 blue and white illustrations by R. E. Wethey; Barrie’s amateur cricket team, the Allahakbarries, tions where mathematical analysis was applicable . . . letterpress and illustrations printed in blue. Wrappers which featured such luminaries as Kipling, H. G. the product was not a complete treatise on political slightly creased and a little soiled, neat tissue reinforcement Wells, and Jerome K. Jerome. Hornung was elected economy but a selection of contributions to various to front wrapper verso, minor spotting to a few pages, skilful to the MCC in 1907. restoration to a few edges and small chip on rear wrapper; a very good copy of this fragile publication. Padwick 6698. first and sole edition, presentation copy £3,250 [98071] from the author, inscribed on the title page, “Aunt Lizzie with the Author’s kind love”. These humorous 45 verses feature a match between the villages of Whiz- zingham and HurrycumUp for the Inter-Parochial CROMPTON, Richmal. Just – William. Lon- Cup. Decidedly scarce: no copies located institution- don: George Newnes Limited, [1922] ally in OCLC or Copac; one copy traced at the MCC Octavo. Original red cloth, titles to front cover and spine in library. black. Illustrated by Thomas Henry. Ownership signature to The publication date of 1895 is speculative and the front pastedown. Spine rolled and faded, spine ends rubbed, work perhaps dates to Hornung’s time at Uppingham minor foxing to edges. An excellent copy. School, “where his literary talents developed and he first edition of the first William book. took a keen interest in the school magazine” (Uni- £800 [100352] 43 versity of Birmingham, Cadbury Research Library).

All items are fully described and photographed at peterharrington.co.uk 21 46 CUMMINGS, E. E. Original watercolour landscape in Pornic, France. Pornic, France: [no date] Single sheet (260 × 210 mm), watercolour scene to recto only, signed and located “Cummings, Pornic” at the foot. Pencil stock number from Gotham Book Mart to verso. Excellent condition. In a handmade gold leaf frame. A striking example of Cummings’s artwork, unusually signed and located by him on the front, and notable for its dreamlike delineation and almost Fauvist colouring. Cummings’s daughter gave the entire contents of her father’s art studio to Luethi–Peterson Camps (founded 1948) for them to sell as fundraisers. The sale was handled by Gotham Book Mart and this example derives from that same collection. £4,500 [131043]

47 CUMMINGS, E. E. Original watercolour of the moon at dusk. [No location: no date] Single sheet (416 × 310 mm), watercolour scene to recto only, signed to verso. Pencil stock number from Gotham Book 46 Mart to verso. Fine. In a handmade gold leaf frame. An unusually large example of Cummings’s artwork, signed on the reverse, giving a dreamy vision of a crescent moon over an almost abstract sea- or landscape at dusk. (For provenance, see previous item.) £5,500 [131050]

48 DAHL, Roald. Kiss Kiss. London: Michael Jo- seph, 1960 Octavo. Original green cloth, titles to spine in gilt, top edge pink. With the dust jacket by Charles E. Skaggs. Spine ends slightly rubbed, faint foxing to book block edges; else a near-fine copy in the jacket with browned spine, tiny nicks to spine ends and tips. first uk edition, inscribed by the author on the front free endpaper, “For Norman Peters with best wishes from Roald Dahl. September 1960”. Ad- ditionally inserted is a typed note signed by the joint managing director of the publishers, Charles S. Pick, on Michael Joseph headed note paper, “Dear Nor- man, I was telling Roald Dahl of your interest in Kiss Kiss and he offered to sign a copy for you. I accepted on your behalf the pleasure in enclosing it”. Peters 47 worked for Whitcombe and Tombs, a New Zealand-

22 Spring Miscellany: Peter Harrington 48, 49, 50, 51, 52 based bookseller with an office in London which was 50 51 used to purchase stock for the burgeoning New Zea- DAHL, Roald. Fantastic Mr Fox. London: DAHL, Roald. Danny the Champion of the land market. Kiss Kiss was originally published in the US earlier the same year. George Allen & Unwin Ltd, 1970 World. New York: Alfred A. Knopf, Inc., 1975 Octavo. Original laminated pictorial boards, spine and cov- Octavo. Original brown cloth-backed orange boards, spine £2,000 [131694] ers lettered in red and black. Without a dust jacket, as issued. lettered in gilt, pheasant vignette blocked to the front board in blind, blue-green endpapers, top edge purple. With the dust jacket. Illustrations by Jill Bennett throughout the text. Spine gently rolled, internally fine. An excellent copy in the bright jacket that has a slightly faded spine. first u.s. edition, presentation copy, inscribed by the author on the front free endpaper: “Willa, love Roald Dahl.” It was originally published in the UK by Cape in the same year. This work was the basis for the 1989 film of the same title. £3,500 [96100] 48 50 52 49 Black and white illustrations by Donald Chaffin throughout. DAHL, Roald. George’s Marvellous Medi- Touch of rubbing to edges, tiny dent to front board; else a DAHL, Roald. Charlie and the Chocolate Fac- near-fine copy. cine. London: Jonathan Cape, 1981 tory. London: George Allen & Unwin Ltd, 1967 first uk edition, inscribed by the author on Octavo. Original blue cloth, spine lettered in gilt. With the dust jacket. Illustrations throughout by Quentin Blake. Spine Octavo. Original laminated pictorial boards, titles to front the front free endpaper, “Christopher Radmell[?], cover and spine in black. No dust jacket issued. Vignette il- very gently rolled, slight rubbing and faint browning to board Roald Dahl, 1973”. This work is notably rare inscribed. edges, top edge a little dusty, tiny marks to endpapers, small lustrations by Jaques in the text throughout. Very minor wear Fantastic Mr Fox formed the basis for Wes Anderson’s at spine ends. A near-fine copy. scuff to rear pastedown; a very good, notably bright, copy in 2009 film of the same name and has been successfully the jacket with negligibly sunned spine, tiny scuff to foot of first uk edition, illustrated by Faith Jaques (1923– adapted into both a stage play and an opera. The US spine, tiny nicks and a little creasing to extremities. 1997). It followed the US edition of 1964, which was edition was published earlier the same year. first edition, signed by the author on a “Good illustrated by Joseph Schindelman. £6,750 [131835] Book Guide” bookplate to the half-title. £675 [131645] £1,250 [130772]

All items are fully described and photographed at peterharrington.co.uk 23 53 DALÍ, Salvador. Cancer. Paris & New York: Leon Amiel, 1967 Coloured lithograph after an original gouache on Japan paper. Sheet size: 72.8 × 51.8 cm. Excellent condition. Pre- sented in a white gold leaf frame with conservation acrylic glazing. signed limited edition, one of 250 on arches paper, signed in pencil lower right by the artist and numbered lower left, from a total edition of 315. One of 12 plates from The Twelve Signs of the Zodiac portfolio. Field 67–6. £3,750 [129908]

54 DALÍ, Salvador. Leo. Paris & New York: Leon Amiel, 1967 Coloured lithograph after an original gouache on Japan paper. Sheet size: 72.8 × 51.8 cm. Excellent condition. Pre- sented in a white gold leaf frame with conservation acrylic glazing. signed limited edition, one of 50 on japan paper, signed by the artist in pencil lower right and numbered lower left, from a total edition of 315. One of 12 plates from The Twelve Signs of the Zodiac portfolio. Field 67–6. £3,750 [131444]

24 Spring Miscellany: Peter Harrington 55

55 DALÍ, Salvador. Hidden Faces. Translated by Haakon Chevalier. London: Peter Owen, 1973 Octavo. Original vellum-backed marbled boards, titles to rounded spine in gilt, cream endpapers, white silk page- marker, top edge gilt. Housed in the publisher’s red card slipcase. With 6 illustrations by Dalí. A fine copy. signed limited edition, number 29 of 100 copies signed by the author. This copy with Dalí’s previously unpublished 20-page Postface and the publisher’s advertisement slip loosely inserted, as issued. Originally written in French in autumn 1943, Hidden Faces was first published in 1944 in Haakon Cheva- lier’s translation. Chevalier spent several weeks with Dalí on the estate of the Marquis de Cuevas in Franco- nia, translating directly as Dalí wrote the work. £2,500 [130514]

All items are fully described and photographed at peterharrington.co.uk 25 56 57

56 Species as the most often printed. It is an important was one of the original members of the informal DARWIN, Charles. Journal of Researches travel book in its own right and its relation to the group of 9914 politicians and intellectuals known background of his evolutionary ideas has often been as the Souls. Wyndham built Clouds House at East into the Geology and Natural History of the stressed” (Freeman). Knoyle, Wiltshire. He commissioned the now-fa- Various Countries visited by H.M.S. Beagle, Darwin noted in his autobiography that “the voy- under the command of Captain Fitzroy, R.N. age of the Beagle has been by far the most important from 1832 to 1836. London: Henry Colburn, 1839 event in my life and has determined my whole career Octavo (225 × 140 mm). 19th-century green half calf, spine . . . As far as I can judge of myself I worked to the gilt in compartments, red morocco label, spot marbled utmost during the voyage from the mere pleasure sides, endpapers, and edges. 2 folding engraved maps, 4 of investigation, and from my strong desire to add woodcuts in the text. Extremities lightly rubbed with just a few facts to the great mass of facts in natural sci- a tear of wear at tips, internally clean and fresh, an excel- ence. But I was also ambitious to take a fair place lent copy. among scientific men . . . The success of this my first first separate edition, printed from the same literary child always tickles my vanity more than that sheets as Volume III of Fitzroy’s Narrative of the Survey- of any other books.” ing Voyages of His Majesty’s ships Adventure and Beagle, but provenance: with the engraved book label of Percy with prelims [i–iv] cancelled and [v–vi] discarded. Scawen Wyndham (1835–1911), the British soldier, “His first published book is undoubtedly the most art connoisseur and Conservative politician, who often read and stands second only to On the Origin of 57

26 Spring Miscellany: Peter Harrington mous painting of his daughters, The Wyndham Sisters, by John Singer Sargent. Freeman 11. £20,000 [130580]

57 DARWIN, Charles. On the various contriv- ances by which British and Foreign Orchids are fertilised. London: John Murray, 1862 Octavo in twelves. Original purple fine diaper grain cloth vertically ruled in blind, spine lettered and decorated in gilt, blind ornamental panels to covers, gilt orchid motif to front cover, terracotta coated endpapers. Folding wood-engraved plate of the Orchis mascula, 33 wood-engravings in the text. A few light marginal pencillings. Spine a little sunned with very minor wear at ends, cloth a little mottled, a couple of stains from pressed flowers. A very good copy, with the publisher’s 32-page catalogue at the end (dated December 1861). first edition, first issue, with advertisements dated December 1861. Darwin’s first book after the Origin of Species, and the first volume of supporting evidence, it attributes the symbiosis between orchids 58 59 and insects to natural selection. Darwin wrote to his publisher that “I think this little volume will do good to the ‘Origin’, as it shows that I have worked hard at who subscribed to a portrait of the Society president, was the model for illustrator Charles Dana Gibson’s details” (cited in Freeman), but, although praised by George Bentham. In 1885–86 he became president of dashing “Gibson man”, the male equivalent of his botanists, it was not a great success with the public, the Leeds Philosophical and Literary Society, having famous Gibson Girl, and was mentioned in Sinclair who were more interested in the controversy of evolu- already donated a number of zoological, numismatic Lewis’s book Dodsworth (1929) as the example of an tion than the details. Freeman estimates the number and other items to the Society’s museum; he also lec- exciting, adventure seeking, legitimate hero. of copies printed to be no more than 2,000, and prob- tured on botany. BAL 4564. ably less. It is the only Darwin title issued by Murray Freeman 800, variant a.; Shepherd, John, The Crimean Doctors: A £750 [131124] between 1859 and 1910 not to be bound in the charac- History of the British Medical Services in the Crimean War, Liverpool teristic green cloth. University Press, 1991, II. £4,750 [130964] 59 provenance: imposing armorial bookplate (carrying facsimile signature) of Edward Atkinson and in- DICK, Philip K. Galactic Pot-Healer. New scribed across the front endpapers “Edward Atkinson 58 York: Berkley Publishing Corporation, 1969 dono dedit John Hey, April 7th 1863”. Atkinson (1830– DAVIS, Richard Harding. The Boy Scout. Octavo. Original black imitation leather, titles to rounded spine in white, fore edge untrimmed. With the dust jacket. 1905), served in the civil service at Scutari, alongside New York: Charles Scribner’s Sons, 1914 Florence Nightingale, during the Crimean War. “He Spine minimally rolled, rubbing to spine ends; else a near- Octavo. Original red cloth, author’s name and scout illustra- fine copy in the jacket with faintly sunned spine and minor qualified in 1852 from King’s College Hospital. Af- tion to front cover in black, titles in black to front cover on creasing to extremities. ter the war he was surgeon to the British Hospital in white ground. With the dust jacket. Spine gently rolled, minor first edition, inscribed by the author on the Jerusalem for four years. He returned to Leeds, his rubbing to extremities, colour flaking from front cover as of- family being closely associated with the famous line ten, faint offsetting to endpapers; a very good, bright, copy title page, “Greetings to Bill! Philip K. Dick”. The re- of the Heys who dominated surgery in Leeds for three in the notably uncommon, faintly soiled, jacket with nicks to cipient was a doctor at Yorba Park Medical Group in generations. Appointed Surgeon in the Leeds Infir- spine ends and tips, a couple of scratches to front panel. Orange, California, where Dick was a patient in 1972. mary in 1874, he had a considerable reputation as a first edition. Davis was an active journalist, au- Inscribed copies of this work are notably uncommon. teacher as well as an operator” (Shepherd, p. 640). thor, and proponent of American masculinity. He This copy is the hardback issue, with code “08L” Atkinson was clearly a man of wide interests, he was was a close friend of Theodore Roosevelt’s and on p. 145; it was also published in a paperback issue elected a fellow of the Linnean Society in 1866 and helped create the legend surrounding the Rough Rid- earlier the same year. in 1873 was one of the members, including Darwin, ers, of which he was made an honorary member. He £2,750 [131533]

All items are fully described and photographed at peterharrington.co.uk 27 60

60 DICKENS, Charles. The Battle of Life. Lon- don: Bradbury & Evans, 1846 Octavo. Original red vertical-ribbed cloth, titles and decoration to spine and front cover in gilt, elaborate frame stamped in blind to covers, yellow coated endpapers, gilt edges. En- graved frontispiece and title page with tissue-guard, 11 illustrations in the text. Light restoration to spine and joints, spine a little rolled, superficial splits to joints, light wear around extremities. A very good copy. 62

first edition, with the engraved title page in the the plate was machine-ruled in parallel grooves which second state, rather than the far more common printed an almost uniform tone either before or after fourth state. The Battle of Life is the fourth of Dickens’s the figures and background were hand drawn. These Christmas books. brooding, atmospheric designs harmonized with the £1,250 [130521] gloomy, foggy world of Bleak House and Little Dorrit” (Schlicke, p. 59). Schlicke, Paul (ed.), The Oxford Companion to Charles Dickens, Oxford 61 University Press, 2001; Smith I, 10. DICKENS, Charles. Bleak House. With il- £875 [130525] lustrations by H. K. Browne. London: Bradbury and Evans, 1853 62 Octavo (207 × 131 mm). Contemporary half calf, red calf la- DICKENS, Charles. Great Expectations. Lon- bel, marbled sides, green endpapers. Frontispiece, engraved title page, and 38 plates, 10 of which are dark plates, all by H. don: Chapman and Hall, 1861 K. Browne. Bound without the half-title. Minor rubbing to 3 volumes, octavo (183 × 117 mm). Early 20th-century pol- extremities and spotting to calf, some foxing to plates, some ished tan calf, spine richly gilt in compartments, red and offsetting from plates and text. A very good copy. green morocco labels, place and date on red label at foot, first edition, bound from the parts. “As Dickens’s sides ruled in gilt with a French fillet with ornaments at cor- vision of society darkened, Browne adjusted his tech- ners, gilt inner dentelles, gold vein marbled endpapers, top edge gilt. Joints of vol. II starting, a few minor blemishes in- 61 niques, pioneering in the use of ‘dark plates’, where ternally, an excellent copy.

28 Spring Miscellany: Peter Harrington first edition, first impression, published on 6 July 1861, one of 1,000 copies thus. The first impression of Great Expectations is a famously rare book. Robert L. Patten, Charles Dickens and His Publishers (Clarendon 1978) states that 1,000 copies of the first impression and 750 of the second were printed and that probably most of the first and more than half of the second (1,400 copies in all) were purchased by Mudie’s Select Library where, as circulating library copies, they inevitably suffered a high rate of attrition. The first edition was divided into five impressions, with distinct title pages labelling them as five editions. The modern bibliographical authority is generally agreed to be the table given in Appendix D to the Clarendon edition, 1993, in which Margaret Cardwell agrees with the traditional conclusion that the same setting of type was used for all five impressions: “there is no warrant for treating the five impressions as distinct editions” (p. 491). However, she deduces that the impressions were sequential and that minor corrections and gradual deterioration of type can be shown across the five impressions. This copy has Cardwell’s points for the first impression throughout. Smith I.14. £18,750 [130497]

63 DISRAELI, Benjamin, Earl of Beaconsfield. The Works. London and New York: Walter Dunne, 1904 20 volumes, octavo (225 × 151 mm). Contemporary purple crushed morocco, spines lettered and tooled in gilt, elaborate gilt border to covers, gilt turn-ins, red endpapers, top edge gilt. Coloured series half-title in each volume; coloured limitation pages to first volume. Frontispieces to each volume and 42 engravings, all set in duplicate, with 124 engravings in total. Spines lightly sunned. A fine set. the imperial edition, number 7 of 100 sets. Dis- raeli’s novels came to have a clear political intent, aiming to shift Victorian public opinion and consequently the nation’s politics. As he later wrote, “it was not originally the intention of the writer to adopt the form of fiction as the instrument to scatter his suggestions, but, after reflection, he resolved to avail himself to a method which, in the temper of the times, offered the best chance of influencing opinion” (preface to the fifth edition of Coningsby, 1849). £5,750 [132030]

All items are fully described and photographed at peterharrington.co.uk 29 Superb early 19th-century letter-case formerly owned by Vice-Admiral Archibald Duff. This is a particularly large and fine example of this form of wal- let or filing case, also termed a “serviette” in French, which seems to have been used widely by French officers and politicians during the late 18th to early 19th century. The museum at Malmaison holds examples that belonged to Napoleon himself, Pierre Louis Roederer, general Leclerc, and the comte d’Arjuzon, Grand Chambellan de Hollande, among others. Duff entered the Navy on 29 June, 1788. In Septem- ber 1799, while serving as a lieutenant in Foudroyant, Duff received a gold medal from the Royal Humane Society “for his ‘intrepid and manly exertions’ in jumping overboard, in a dark night and saving the life of a man who had fallen into the sea”, on the personal recommendation of Nelson and the Sir Thomas Ba- yard, the ship’s captain. 65 Whether Duff obtained this case by purchase, or relieved the captain of one of his captures of it, is un- gilt, original cloth front cover bound in at rear. Housed in a known. dark blue cloth slipcase. Frontispiece and 15 monochrome O’Byrne, William R., A Naval Biographical Dictionary, Volume III, plates by Sidney Paget. A fine copy. John Murray, 1849. 64 first edition. The Hound was Sherlock Holmes’s £5,000 [131160] “comeback” novel after his shocking demise on the 64 Reichenbach Falls stunned his loyal Victorian reader- DONALDSON, Julia. The Gruffalo. London: ship. When first serialized in the Strand Magazine in 1901 it was a feverish success, with queues at the pub- Macmillan Children’s Books, 2007 lisher’s office and throughout the country. Large octavo. Original green cloth, titles and decoration Green & Gibson A26. to spine in gilt, illustration to front cover in gilt surrounding mounted colour illustration, illustrated vignette to rear £2,500 [131011] cover, illustrated endpapers. Housed in the original pictorial slipcase. Illustrated throughout by Axel Scheffler. A fine copy in the slipcase with the publisher’s stickers to panel. 66 first gift edition, signed by both the author DUFF, Archibald. Superb large black leather 66 and illustrator on the title page, with an original concertina-form porte-feuille. [France: c.1805] small ink drawing of the mouse by Scheffler along- Black morocco filing case (360 × 490 × 180 mm), elaborately side his signature. The Gruffalo was first published in gilt, inside and out, broad French fillet border to the exte- 1999 and won the Smarties Book Prize in the same rior, large fleur-de-lys device to all corners; interior of the flap year; copies of the first edition are notably scarce. gilt, the rigid serpentine-edged panel bearing the hasp-plate with a densely repeated floral device, the flap itself with a £1,250 [131128] superb twined garland panel, all edges including those of the “bellows” with a gilt zig-zag roll; deep-engraved silver 65 urn-shaped lock, no maker’s mark, escutcheon unengraved, eight keep positions to allow for expansion, lock with tri- DOYLE, Arthur Conan. The Hound of the angular anti-pick inset, original cast key with elaborate Baskervilles. Another Adventure of Sherlock arabesqued floral bow; lined with rose pink silk, 6 matching silk-covered card dividers with black morocco double-sided Holmes. London: George Newnes, Limited, 1902 index tags, numbered in gilt within a gilt dog-tooth panel. Octavo (178 × 113 mm). Late 20th-century dark blue morocco Lightly rubbed and scuffed, the bottom of the “bellows” in- by Bayntun-Riviere, titles to spine in gilt in compartments, evitably more so, through on some corners with old repairs, raised bands ruled in gilt, double ruled frame to covers in overall extremely well preserved, very good. gilt, triple rule to turn-ins in gilt, marbled endpapers, edges 66

30 Spring Miscellany: Peter Harrington 67 68 69

67 68 careful and superb painting”, and Dulac himself con- (DULAC, Edmund.) Stories from the Arabian (DULAC, Edmund.) FITZGERALD, Edward. sidered them his best work (Hughey, unpaginated). Hughey, Ann Conolly, Edmund Dulac - His Book Illustrations: a Nights. Retold by Laurence Housman. Lon- Rubáiyát of Omar Khayyám. London: Hodder Bibliography, Buttonwood Press, 1995. don: Hodder and Stoughton, 1907 and Stoughton, [1909] £7,500 [131651] Quarto. Original vellum, spine and front cover lettered and Quarto. Original vellum, titles and decoration to spine and decorated in gilt with blue highlights, dark green endpapers, front cover in gilt, decorated endpapers, top edge gilt, oth- top edge gilt, others untrimmed. Colour frontispiece and ers uncut. With 20 mounted colour plates and printed paper 49 other plates mounted on dark green paper, all with cap- guards. Silk ties, generally absent, here each hanging by a tioned tissue-guards. Some light soiling to vellum, silk ties thread. The lightest of soiling to vellum and foxing to con- absent as usual, some very light foxing. A very good copy. tents. A near-fine copy. signed limited edition, number 302 of 350 cop- signed limited edition, number 232 of 750 copies ies numbered and signed by the artist. It was this signed by the artist. book that first announced Dulac’s status as a popu- £2,000 [130616] lar artist, confirming him as “a direct challenger in the illustrated gift book market to the work of Arthur Rackham . . . The exotic stories he illustrated struck a 69 new chord in Dulac. They allowed him to enlarge his (DULAC, Edmund.) STEVENSON, Robert skill at caricature, and at the same time to sharpen Louis. Treasure Island. London: Ernest Benn his miniaturist’s technique and to develop his lyri- Limited, 1927 cal sense of tone and composition. The sources he turned to were Japanese prints, which he had studied Quarto. Original vellum, black morocco label, top edge gilt. Frontispiece and 11 colour plates, black and white illustra- in his youth, with their flat colour and asymetry, and tions in the text by Edmund Dulac. Trivial marks to covers, the high detail and colour of Indian and Persian min- sporadic very light foxing, very minor stain at foot of final iatures” (ODNB). two leaves. A near-fine copy. £2,750 [131648] signed limited edition, number 49 of 50 copies signed by the illustrator, bound in vellum and printed on handmade paper, and notably rare due to the unusually small limitation. Hughey describes Dulac’s watercolour illustration for Treasure Island as his “most

67 69

All items are fully described and photographed at peterharrington.co.uk 31 71 72 73

70 half-title leaf with the series note corrected to “No. 72 ELIOT, T. S. Elizabethan Essays. London: Faber 24”. By “shifting the focus of criticism from the au- ELIOT, T. S. Four Quartets. London: printed by thor to the work and altering the centre of gravity of & Faber Limited, 1934 previous English writing from the Romantics to the Giovanni Mardersteig on the hand-press of the Of- Octavo. Original green cloth, titles and decoration to spine Elizabethan dramatists and the metaphysical poets, ficina Bodoni in Verona, for Faber & Faber, 1960 in gilt. With the illustrated dust jacket. Two ownership in- Eliot reshaped the study of literature in and out of the Quarto. Original white pigskin backed marbled boards, ti- scriptions to head of front free endpaper. Spine and heads of academy” (ODNB). tles to spine gilt, top edge gilt, other untrimmed. With the covers faintly toned, negligible rubbing to extremities, top Gallup A27a. original marbled slipcase. Housed in a custom green cloth edge dust toned, faint foxing to endpapers, tiny closed tear slipcase and chemise. A fine bright copy, with the original to fore edge of pp. 173–4; a very good, bright, copy in the £675 [130875] slipcase also in exceptional condition, only a little rubbed to unusually fresh jacket with browned spine, a couple of faint the extremities and unsplit. marks to panels, short nicks to spine ends and tips. 71 first bodoni edition, number 63 of 290 copies first edition, signed by the author on the title signed by the poet on the limitation leaf. This is a page. Signed copies of this work are notably uncom- ELIOT, T. S. On Poetry and Poets. London: magnificent piece of book production, executed in mon. This copy is in the second state with the cancel Faber and Faber, 1957 Verona under the direction of Giovanni Mardersteig, Octavo. Original blue cloth, titles to spine in gilt. With the the greatest printer of the 20th century. dust jacket. Pencil ownership inscription to head of front Gallup A43c. free endpaper. Negligible rubbing to extremities, faint offsetting to endpapers; a near-fine copy in the bright jacket £4,500 [130832] with sunned spine, minor nicks to extremities, a couple of short closed tears to head of front panel. 73 first edition, signed by the author on the title page, with his printed name struck through. This ELIOT, T. S. The Waste Land. London: printed collection of Eliot’s “most important” literary essays by Giovanni Mardersteig on the hand-press of the revisits “the French symbolists and the development Officina Bodoni in Verona, for Faber & Faber, 1961 of language in twentieth-century poetry” (ODNB). It Quarto. Original white pigskin backed marbled boards, is dedicated to Valerie, his secretary, whom he mar- titles to spine gilt, top edge gilt, other untrimmed. With the ried on 10 January 1957. original marbled slipcase. A fine copy, with the slipcase only Gallup A69a. a little rubbed and the bottom edge repaired. £1,250 [130847] first bodoni edition of Eliot’s masterpiece, number 69 of 300 copies signed by the poet. 70 £4,500 [130829]

32 Spring Miscellany: Peter Harrington 74

74 (ELIOT, T. S.) Signed menu card. A Dinner given to Mr T. S. Eliot O.M. by his fellow directors and a few friends to celebrate his seventy-fifth birthday. The Ivy Restaurant: 26 September 1963 Single bifolium (230 × 165 mm). Printed in black, illustration to front cover in black. Full page printed line illustration of Faber’s Russell Square offices. Faintly soiled; in near-fine condition. A signed dinner menu for a meal held by the directors of Faber and Faber at The Ivy restaurant for Eliot’s 75th birthday; signed by 18 attendees, including Eliot, his wife Valerie Fletcher, Enid Faber, Richard de la Mare, Frank Morley, and Morley Kennerly (who has drawn his signature emerging from the chimney of the illustrated office). The exact print run for this menu is not known, 75 however, a comparable item produced for a meal held at The Ivy in 1961 for fellow Faber and Faber director top edges gilt. Housed in the original oak cabinet. Numer- and was first released in 1911 (Pedersen). The rights W. J. Crawley is listed in Gallup as having a print run ous illustrations and plates to the text. Touch of wear to a to the Encyclopaedia Britannica were sold by Hooper to of “about 30”. The present work was likely printed in a couple of board tips, rubbing and occasional rippling to Sears Roebuck in 1920, completing its transition into similarly small run and is scarce in commerce. extremities, some creasing to delicate paper, a couple of a substantially American publication. Many of the leaves proud, head of spine of vol. 12 (containing vols. 25-26) Gallup E(m). bruised; a very good, handsome, set. articles were written by the best-known scholars of £975 [131898] the time, such as Algernon Charles Swinburne, John Twelfth edition, comprising the eleventh edition and Muir, and William Michael Rossetti. Among the then three “new volumes” that update the work to include lesser-known contributors were some who would lat- 75 information on the First World War; housed in the er become distinguished, such as Ernest Rutherford (ENCYCLOPAEDIA BRITANNICA.) The En- oak cabinet issued with this edition as a marketing and Bertrand Russell. endeavour. The eleventh edition, which contained cyclopaedia Britannica. London & New York: Pedersen, Nate, “The Magic of Encyclopedia Britannica’s 11th “all the knowledge of a world on the brink of deep and Edition” in The Guardian, 10 April 2012. Encyclopaedia Britannica, Inc., 1922 everlasting change”, was assembled with the manage- 32 volumes in 16, large octavo. Original red half morocco, ment of American publisher Horace Everett Hooper, £1,000 [131802] titles to spines in gilt, red cloth sides, cream endpapers,

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76 FIRBANK, Ronald. The Princess Zoubaroff. London: Grant Richards Limited, 1920 Octavo. Original black cloth, spine and front cover lettered in gilt, top edge black. With the dust jacket. Coloured frontispiece with tissue guard, title vignette by Michel Sevier. Spine gently rolled, rubbing to extremities, a couple of dents to foot of rear cover, faint foxing to endmatter; a very good 77 copy in the lightly soiled jacket with rear panel detached, chips to spine ends and tips, edges slightly nicked. first edition, inscribed by the author on the Quarto. Original paper wrappers printed in black. Housed translation into English ever made” (Decker, p. xiv). front free endpaper, “For J. Kentish, with the Au- in a custom red cloth chemise within red morocco slipcase, FitzGerald himself referred to his work on the Rubáiyát spine lettered and tooled in gilt, sides panelled in gilt and thor’s compliments.” Inscribed copies of this work as a “transmogrification” rather than translation, de- blind. Covers lightly foxed with very minor creasing and scribing how he “mashed up” several stanzas into one, are notably uncommon. The Princess Zoubaroff, which chipping at extremities, offset from bookplate to title page, was published at Firbank’s expense, was his only play. contents a little toned. Chemise worn, slipcase fine. A very and calling the result “A pretty little Eclogue tessellated It is a key example of the “unprecedented economy, good copy of this fragile work. out of [Omar’s] scattered quatrains”. It is reasonable to suggest that in its own way the lyrical agnosticism of Carrollian fantasy, and absurdist comedy of manners second edition, substantially expanded and FitzGerald’s Rubáiyát was to be every bit as influential which coexist in his work” (ODNB). “530 copies were revised from the first of 1859. Five hundred copies on the advent of modernism as Darwin’s Origin of Species printed but, according to the Grant Richards ledger, of the second edition were printed, with Quaritch sell- published in the same year as the first edition. Many of only 513 were bound” (Benkovitz). ing each at a price of 1s. 6d.; when a copy re-appeared FitzGerald’s phrases have entered the common stock Benkovitz A7. in their catalogue in 1929, it had already reached a price of English quotations and allusions. of £52 10s (Potter, p. 12). FitzGerald substantially re- £1,500 [130571] This copy is from the library of Estelle Doheny vised the text of the Rubáiyát four times, with none of (1875–1958), with her red morocco book label lettered these five versions seen as truly definitive. The second 77 in gilt. Doheny’s library in Camarillo, California, edition is the longest at 110 quatrains. “represented one of the rarest book libraries in the FITZGERALD, Edward. Rubáiyát of Omar Omar Khayyám (1048–1131) was a Persian math- United States” (Bakken & Farrington, p. 97). Khayyám, the Astronomer Poet of Persia. ematician, astronomer, philosopher, and poet, author of about a thousand quatrains. The fact that Omar Bakken, Gordon Morris & Brenda Farrington, Encyclopedia of Rendered into English Verse. Second edition. Women in the American West, Sage, 2003; Potter 129. London: Bernard Quaritch, 1868 Khayyám is the most famous poet of the East in the West is entirely due to FitzGerald’s celebrated adapta- £5,000 [130715] tions, which would prove to be the “most popular verse

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78 79

78 vignettes. Text printed in manuscript style with elaborate gilt and colour ornaments, borders and decoration. Hinges FITZGERALD, Edward. Rubáiyát of Omar strengthened with cloth, very light soiling to vellum, else a Khayyám. The Astronomer Poet of Persia. very good copy. Rendered Into English Verse. New York: The first sangorski & sutcliffe edition, from a Grolier Club, 1885 deluxe issue of 550 copies, this copy out-of-series Octavo. Original decorated paper wrappers, spine lettered in and in a fine contemporary binding. Sangorski & 80 gilt. Housed in a custom red cloth folding chemise within a Sutcliffe’s rendering of FitzGerald and Khayyám’s red cloth slipcase, black calf label to spine. A fine copy. masterpiece unquestionably ranks among the finest other side) that I had taken. Sincerely & gratefully F. first grolier club edition, number 25 of 150 cop- editions of the poem, strikingly bound, attractively Scott Fitzgerald.” The front of the postcard, published ies on japon (there were also two copies on vellum). printed and elaborately illustrated. The text uses by the Ligue national contre l’alcoolisme, shows two From the library of the distinguished bibliophile and the 1859 first edition of FitzGerald’s translation, contrasting photographs of a stomach, one healthy, Grolier Club member, A. Edward Newton (1864–1940), with the illustrations by E. Geddes and the borders, the other of an alcoholic. Fitzgerald has captioned with his bookplate to chemise and pastedown. Potter initials and writing by A. Sutcliffe; the work was en- them by hand in ink, noting the healthy stomach as stated in 1926 that the book was “now difficult to se- graved and printed by André & Sleigh Ltd. A trade “At 22”, and the stomach of an alcoholic as “at 32” cure, even at a very high price” (Potter, p. 71). edition in cloth was also issued. (Fitzgerald’s age at the time). He adds a postscript: Potter 81. Potter 211. “The resemblance is said to be excellent”. £2,250 [130724] The card dates from the month when the Fitzger- £750 [130711] alds had moved abroad again, to Paris, where Zelda had her heart set on learning ballet. From his street 80 79 address, we identify the recipient as Robert Newman FITZGERALD, Edward. The Rubáiyát of FITZGERALD, F. Scott. Signed postcard, in (1912–2009), later chief librarian at the Berkshire Ath- Omar Khayyám of Naishapur. With an Intro- answer to a fan letter. Rennes: 20 May 1929 enaeum in Pittsfield, Mass. At the time Newman was still in his final year at Pittsfield High School, so the duction by A. C. Benson. Reproduced from Carte postale (140 × 90 mm), monochrome photographic illustration on recto, franked and stamped with two French morbid humour of Fitzgerald’s reply may have come a manuscript written and illuminated by F. blue 50-centime stamps celebrating the 500th anniversary of as some surprise. the liberation of Orleans. Inscribed and signed by Fitzgerald. Sangorski & G. Sutcliffe. London: Siegle, Hill & £4,500 [130613] Co. for Sangorski & Sutcliffe, [1910] Very good condition. Folio (341 × 245 mm). Contemporary vellum, spine and Fitzgerald writes: “Dear Mr Newman: thanks for your front cover lettered in gilt, front cover panelled with foliate kind letter. Thinking you might like to know what I design in gilt. Colour frontispiece and 11 colour plates and looked like I am sending you some pictures (on the

All items are fully described and photographed at peterharrington.co.uk 35 82

first edition, first state binding (Gilbert’s variant A), without the “Honeychile” silhouette; the silhouette was later added to bring it in line with other titles in the series which bore designs on the front board. Dr No is the sixth novel in the James Bond series, and was the first to be turned into a film, starring 81 Sean Connery, in 1962. Gilbert A6a (1.1). 81 82 £1,750 [130814] FITZGERALD, F. Scott. Tender is the Night. FLEMING, Ian. Diamonds are Forever. Lon- New York: Charles Scribner’s Sons, 1934 don: Jonathan Cape, 1956 Octavo. Original green cloth, spine lettered in gilt. With Octavo. Original black cloth, spine lettered in silver, silver the dust jacket. Housed in a custom blue quarter morocco diamond motif on front cover. With the dust jacket. Spine solander box with marbled sides. Illustrations in the text by very slightly rolled, slight foxing to top edge and endpapers, Edward Shenton. A fine copy in a very nice example of the else clean. A very good copy in the bright dust jacket with jacket, spine just slightly faded, closed tear to head of front nick to head of front panel, minor creasing to spine ends, panel but presenting nicely, a little minor chipping to spine slight mark to rear panel. ends and extremities, one small tape repair to verso. first edition of the fourth Bond novel, adapted first edition, in the first issue dust jacket into a film starring Sean Connery in 1971. with the T. S. Eliot review to the front flap. Tender is the Gilbert A4a (1.1). Night was Fitzgerald’s fourth novel, appearing some nine years after The Great Gatsby. Fitzgerald was so dis- £6,500 [131168] tressed by the critical reception from most quarters that he agreed to allow later editions to be published 83 with the narrative rearranged chronologically. Only FLEMING, Ian. Dr No. London: Jonathan Cape, years after his death was the original text restored. 1958 Bruccoli A15.I.a. Octavo. Original black cloth, spine lettered in silver. With £17,500 [131046] the dust jacket. Spine gently rolled, light foxing to edges and endmatter, top edge faintly dust toned; a very good, bright, copy in the lightly foxed jacket with slight creasing and nicks to extremities. 83

36 Spring Miscellany: Peter Harrington 84

84 FLEMING, Ian. Goldfinger. London: Jonathan Cape, 1959 Octavo. Original black cloth, skull design stamped in blind to 86 front cover with gilt “coins” in the eye sockets (Gilbert’s second state binding, no priority of issue), spine lettered in gilt. With the dust jacket. Couple of tiny spots to top edge; a near- first edition of the seventh book in the James 86 fine copy in the fresh, bright dust jacket with slight creasing to Bond series, adapted into the film starring Sean Con- FLEMING, Ian. On Her Majesty’s Secret Ser- head of spine and touch of faint foxing to rear panel. nery in 1964. Gilbert A7a (1.2). vice. London: Jonathan Cape, 1963 Octavo. Original quarter vellum with black cloth sides, titles £2,500 [131157] to spine in gilt, ski track decoration to front board in white, top edge gilt. With the original clear glassine jacket. Housed 85 in a custom black cloth chemise and slipcase. Colour frontispiece portrait of Ian Fleming. Spine very gently rounded, FLEMING, Ian. The Spy Who Loved Me. Lon- spine joints and board tips minimally rubbed; else a fine don: Jonathan Cape, 1962 copy in the jacket with rubbing to sides and a couple of nicks and chips to edges. Octavo. Original dark grey cloth, spine lettered in silver, dagger design to front cover in silver and blind, red endpa- first edition, signed limited issue. Number 69 pers. With the dust jacket. Double-page spread illustration of 250 copies signed by the author; a further 35 un- pp. 6–7. Ownership signature to front free endpaper. Spine numbered copies marked “Presentation” were also lightly rolled. A very good copy in the dust jacket, chipping released. This was Fleming’s only signed limited edi- to spine panel extremities, faint soiling to rear panel, light tion; it was published simultaneously with the first rubbing to front panel. trade edition on 1 April 1963. Over time, the vellum has first edition. This novel is the only Bond book to shown a tendency to yellow, and copies in such bright be written in the first person, presented as the testi- condition, with the original glassine, are scarce. mony of a 23-year-old Canadian woman with whom Gilbert A11a. Bond has an ill-fated affair. In furtherance of this pre- tence, Vivienne Michel gets a spurious credit on the £13,500 [131687] title page as co-author. Gilbert A10a (1.1). 85 £500 [130654]

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nor marks to glass sides, hinges delicate but firm, contents toned, small tears to front free endpaper and folding plate, overall in very good condition. A beautifully preserved, finely bound French pocket literary almanac for women, part of the Hommage aux dames series (published 1813–1830) produced by the poet, translator, and almanac editor Charles Malo, 87 containing a selection of romantic lyrical poetry, a series of accompanying miniature engravings, a “Souve- 87 first edition, signed by the author on the nir” for recording notes and memories, and a calendar half-title. for the year 1824. FLEMING, Ian. On Her Majesty’s Secret Ser- Malo (1790–1871) was the unofficial writer-in-res- vice. London: Jonathan Cape, 1963 £750 [130981] idence for the Janets during the early 19th century. Octavo. Original black boards, titles to spine in silver, deco- He was also a prolific editor, publishing translations ration to upper board in white. With the dust jacket. In a red 89 of the correspondence of Benjamin Franklin and Hor- quarter morocco solander case. Paper slightly darkened at (FRENCH LADIES ALMANAC.) MALO, ace Walpole, as well as editing the works of Théophile the edges and verso of the rear free endpaper. An excellent Gautier, among several others. The British Library’s copy in the dust jacket. Charles. Bachelette et Jouvenceau. Hom- Database of Bookbindings notes that the Janets (both first edition, presentation copy, inscribed by mage aux dames. Paris: Chez Janet, [c. 1824] father, Pierre-Étienne, and son, Louis) were well- Fleming on the front free endpaper: “To Kay with all Sextodecimo (102 × 64 mm). Contemporary metal casing, known engravers and publishers of ephemera in demy love, from Ian.” The recipient was Fleming’s aunt raised floral and dot decoration to spine and borders, clear luxe bindings, particularly women’s almanacs; the BL (his mother’s sister), Kathleen St Croix Rose. glass sides over white paper boards, engraved illustration of hold three examples in a similar casing style to ours, all cherub supporting an urn in gilt coloured green to front side £12,500 [115716] with title lettered in black, floral centrepiece to rear side in from the Petit souvenir des dames series [c.1821]. gilt, pale pink endpapers, all edges gilt. Housed in a custom This particular title from the series does not appear on OCLC. The BnF has two catalogue records for the 88 green cloth flat-back box. Text in French. Engraved frontispiece and 5 engraved plates, all with tissue guards, vignette Hommage aux dames series as published by Janet: the FOWLES, John. The French Lieutenant’s title page, 1 double-sided folding plate to rear with the cal- first, a single volume titled “Les amours”, and the sec- Woman. London: Jonathan Cape Ltd, 1969 endar for 1824, decorated with a seasonal headpiece of 4 en- ond, a 22 volume set. Scarce in commerce. graved landscapes. With a separate vignette title page, “Petit Octavo. Original brown boards, titles to spine gilt, pictorial souvenir des Dames”, followed by blank pages with engraved £1,500 [122421] endpapers, top edge brown. With the dust jacket. Spine very borders for notes, first for each day of the week, and then for gently rolled, edges lightly foxed, a very good copy in the dust each month. Casing mildly tarnished as usual with a few mi- jacket with slightly faded spine and extremities a bit rubbed.

38 Spring Miscellany: Peter Harrington 90

that were to become Gibran’s hallmarks. Most of his earliest writings were in Arabic; he was an influential member Arab-American League of the Pen (al-Rabita al-Qalamiyya), a group of expatriate writers then active in New York, often referred to as “al-Mahjar,” issuing numerous newspaper articles, poems and several books. In 1918, Gilbran published his first book in English, The Madman, a collection of seven parables, and this was followed by several English- language works, some with his illustrations, before The Prophet was published by Alfred Knopf in 1923. It is this work, a collection of 26 prose poetry fables, which has brought Gibran enduring fame outside the 89 Arab world; it remains one of the most popular works of poetry of all time. The work sold out its first print- 90 91 ing in a month, and has since been translated into at least 50 languages, with somewhere between 50 and GIBBON, Edward. The History of the Decline GIBRAN, Kahlil. The Prophet. London: Wil- 100 million copies sold world-wide, making it among and Fall of the Roman Empire. London: John liam Heinemann, 1926 the most reprinted works of poetry ever written. Murray, 1887 Octavo. Original purple cloth, titles to spine and front cover £2,000 [132204] 8 volumes, octavo (211 × 135 mm). Contemporary red mo- in gilt, publisher’s device to rear cover in blind, top edge red, rocco by J. Low of Chancery Lane (with his ticket), decorative purple silk page marker. Frontispiece portrait and 11 plates gilt spines, sides with gilt foliate roll tool border, marbled all by Gibran. Spine and board edges faded to brown, slight endpapers, gilt edges. Portraits and maps. Large gilt roundel rubbing to extremities, faint foxing to edges and occasion- stamp of The Law Society to front covers and their prize label ally to contents; a very good copy indeed. in vol. I (dated 1889). Scattered foxing. A very good set. first uk edition, notably uncommon. Gibran’s A very handsome library set of one of the best 19th-cen- work was first published in America in 1923. Gibran tury editions, edited by the classical and biblical scholar (1883–1931) emigrated from Lebanon in 1895 with William Smith (1813–1893), first published in 1854–5. his parents and siblings, settling in the South End of Ramsden, Charles, London Bookbinders 1780–1840, Batsford, 1987, Boston. The Boston publisher and photographer F. p. 59: records John Low at two addresses in the Holborn area; Holland Day funded his education, encouraging him his ticket here gives his address as 43 Southampton Buildings, to read Walt Whitman and study the drawings of Wil- Chancery Lane. liam Blake. As early as 1898 some of Gibran’s draw- £1,500 [130604] ings were published as binding designs and his first art exhibition was held in 1904 in Day’s studio. Gi- bran was broadly influenced by the writing of the Syr- ian writer Francis Marrash, whose works dealt with many of the themes of love, freedom and spirituality 91

All items are fully described and photographed at peterharrington.co.uk 39 92 93 94

92 limited edition, number 128 of 485 copies on 94 (GOLDEN COCKEREL PRESS.) CHAUCER, handmade paper; a further 15 copies were issued on GREENE, Graham. May We Borrow Your vellum. The Canterbury Tales was one of the “most im- Geoffrey. The Canterbury Tales. With wood portant Golden Cockerel editions for which Eric Gill Husband? And Other Comedies of the Sexual engravings by Eric Gill. Waltham St. Lawrence: provided the engravings”, and showcases his “origi- Life. London: The Bodley Head, 1967 Golden Cockerel Press, 1928–31 nality and verve” (ODNB). This work was one of the Octavo. Original green cloth-backed green patterned boards, 4 volumes, tall octavo (310 × 188 mm). Finely bound for the finest works to be produced by the Press, exhibiting spine lettered in gilt, top edge purple. With the tissue paper publishers by Sangorski & Sutcliffe in brown quarter niger the ideals of the private press movement as the “au- jacket. A fine copy in the jacket with a couple of tiny nicks to morocco, spines lettered in gilt, patterned paper boards, top thor, artist and printer have shared one concept and head of spine and slight creasing to front panel. edge gilt, others untrimmed. Initials printed in red, blue, expressed it” (Franklin). The publication of the work first edition, signed limited issue, number and black. With 1 full page illustration, 29 half page illus- was a major literary event and was widely covered in 79 of 500 copies signed by the author. May We Borrow trations, decorated borders, tailpieces and line fillers all by the press throughout the four year period. Your Husband? is a collection of 12 short stories, two of Gill. Slight rubbing to spines, wear to tips, occasional faint which have been adapted into successful short films. browning to covers, light foxing to book block edges; a very Chanticleer 63; Franklin 307; Gill 281. good, bright, copy. £8,500 [131099] Miller 49a. £500 [131277] 93 95 GREENE, Graham. The Third Man and The Fallen Idol. London: William Heinemann Ltd., [GRIMALDI, Stacey.] A Suit of Armour for 1950 Youth. London: Published by the Proprietor, 1824 Octavo. Finely bound by the Chelsea Bindery in black mo- Duoedcimo (187 × 114 mm). Late 19th-century calf, red rocco with black and white pictorial onlay wrapped around morocco label, gilt floral motifs to spine, double gilt fillet both boards depicting Harry Lime standing in the shadows and blind trefoil-roll border to covers, richly gilt turn-ins, holding a gun, titles onlaid and blocked to spine in white top edge gilt, marbled endpapers. Original printed wrap- and grey, black and white patterned endpapers, black edges. pers bound in at rear. Engraved frontispiece by Cosmo A fine copy. Armstrong after William Grimaldi, 11 engraved plates each with a flap bearing an engraved design, by Armstrong or R. first edition. L. Wright. Spine a little darkened with minor wear at ends, £2,000 [130734] short split at foot of front joint. An attractive copy. first edition of this allegorical “Suit of Armour” produced for the edification of Britain’s youth and an 92 early example of this type of “moveable” book with

40 Spring Miscellany: Peter Harrington 96

95 95 96 (GUTENBERG, Johann.) Biblia Sacra [Fac- flaps that could be lifted, for which there was a vogue sponded with a wide range of fellow antiquaries and simile of the Gutenberg Bible.] New York: Pag- in the 1820s. The first of these was The Toilet (1820), genealogists”. eant Books, 1961 which focused on the toilet articles from a lady’s dress- In his book Bloody Good: Chivalry, Sacrifice and the Great 2 volumes, large folio. Original brown morocco, spines let- ing-table, with illustrations by the miniaturist William War, American medievalist Allen J. Framtzen writes “For tered in gilt, covers stamped in blind incorporating Guten- Grimaldi, father of Stacey. “The Toilet was so successful many nineteenth-century writers . . . medieval armour berg’s initials, turn-ins ruled in blind, marbled endpapers, that the Grimaldis followed it with a similar book for was something that modern men could grow into. Lit- gilt edges. Colour illustrations and rubrication throughout, boys, A Suit of Armour for Youth (1824), and it was imitat- eralizing this process is Stacey Grimaldi’s book for boys, replicating the the original. Single small patch of wear and ed by other artists and publishers” (Carpenter, p. 582). A Suit of Armour for Youth, published in 1824 . . . [this] is light rubbing to rear cover of vol. I. A near-fine copy. In this delightful little book each flap carries an en- a conduct book, a kind of text that flourished in the first u.s. facsimile of the Gutenberg Bible, the graving of a particular piece of knightly equipment sixteenth and seventeenth centuries and that invoked second overall following the German Insel Verlag (helmet, lance, spurs, etc.) which when lifted reveals chivalry as a guide to the behaviour of the wellborn. Like facsimile of 1913–14; one of 1,000 unnumbered cop- a representative scene (or “virtue”), such as loyalty, manuals of chivalry, many conduct books were aimed at ies. The Gutenberg Bible was the first complete book wisdom, prudence. Each is accompanied by an his- young readers” (Framtzen, p. 122). printed from moveable type, published in Mainz in torical gloss on both the chivalric equipment and the Carpenter, Humphrey, Oxford Companion to Children’s Literature, 1455. This facsimile was derived from the Insel Ver- virtue, as well as some choice quotations. The anti- Oxford University Press, 1995; Framtzen, Allen, J., Bloody Good: lgag facsimile, taken from the copies at Berlin and quary and genealogist Stacey Grimaldi (1790–1863) Chivalry, Sacrifice and the Great War, University of Chicago Press, Fulda, widely regarded as among the most beauti- was of Genoese descent, and “for over forty years . . . 2003; Gumuchian 1995; Muir, Percy, English Children’s Books, ful copies. This facsimile is suitably lavish, the text Batsford, 1954, p. 215; Osborne p. 418. practised as a solicitor in the City of London. He was printed with lithography and the illuminations by eminent as a record lawyer and was engaged in sever- £1,250 [131200] sheet-fed gravure, all printed on rag paper and bound al important record trials and peerage cases” (ODNB). by hand. He had an extensive library “was generous in lending £3,000 [131795] books, sharing genealogical information, and making searches for others among the records; he corre-

All items are fully described and photographed at peterharrington.co.uk 41 97 98 99

97 the first poem, “A Dedication”, gives thanks for Bat- 99 HALL, Radclyffe. Poems of the Past & Pre- ten’s love, and the final poem, “Postscript”, acknowl- HEANEY, Seamus. After Summer. Illustra- edges her role in editing and compiling the poems. sent. London: Chapman and Hall, 1910 Shortly after the work was published Batten’s hus- tions by Timothy Engelland. Massachusetts: The Octavo. Original purple cloth, titles to spine and front cover band George died, allowing the pair to live together Deerfield Press & The Gallery Press, Dublin, 1978 in gilt within gilt frames, top edge gilt, others untrimmed, in a de facto marriage until Batten’s sudden death six Octavo, pp. [16]. Original brown cloth, titles to spine in gilt, pink silk page marker, partially unopened. With 3 pp. of pub- years later. The work is explicitly romantic; the po- grey endpapers. With the dust jacket. With 2 black and white lisher’s adverts at end. Pencil notation to rear free endpaper. illustrations in text. A hint of rubbing to spine ends and tips; Spine sunned, front board a little bowed, rubbing to extrem- ems of the present celebrating the “couple’s mutual devotion” and the poems of the past referring “most a near-fine copy in the jacket with faintly browned spine and ities, top edge dust toned, foxing to edges and occasionally edges, slight creasing to top edge. to margins, light soiling to first few pages; a very good copy. specifically to a sequence of Sapphic verses called the ‘Fruit of the Nispero’” (Dellamora, p. 26). first and signed limited edition. One of 250 first edition, in a variant purple cloth, of Radclyffe copies signed by the author. After Summer contains Hall’s third published work, this copy with a pleasing Dellamora, Richard, Radclyffe Hall: A Life in the Writing, University of Pennsylvania Press, 2011. two poems, “Elegy” and “Leavings”. association, bearing a Christmas gift inscription from Brandes & Durkan A17. Lady Maud “Emerald” Cunard (mother of Nancy) to £500 [131465] Violet Manners, Duchess of Rutland, in pencil on the £800 [130877] first blank, “Xmas 1910 Violet from Emerald C”, and 98 with the Rex Whistler designed bookplate of Violet’s 100 son-in-law Duff Cooper to the front pastedown. HEANEY, Seamus. North. London: Faber and Poems of the Past & Present is dedicated to Hall’s lover, Faber Ltd, 1975 HEANEY, Seamus. Beowulf. A New Transla- Mabel Batten, and memorialises their relationship; Octavo. Original blue cloth, titles to spine in gilt. With the tion. London: Faber and Faber, 1999 dust jacket. Touch of rubbing to spine ends and tips, offset- Octavo. Original dark blue boards, spine lettered in gilt, or- ting and a little foxing to endpapers, book block edges light- ange endpapers. With the dust jacket. Genealogical table of ly foxed; else a near-fine copy in the faintly foxed jacket with the Danish, Swedish, and Geatish dynasties at end. A couple sunned spine and small circular indentation to front panel. of tiny dents to head of front board; else a fine copy in the first edition, signed by the author on the jacket with slight creasing to edges. front free endpaper. North is widely considered to be first edition, signed by the author on the title Heaney’s key collection of poems in which he deals di- page. Heaney’s translation of the epic poem, which he rectly with the political conflicts in Northern Ireland. dedicated to the memory of Ted Hughes (1930–1998), The work is uncommon in the present hardback issue. won the 1999 Whitbread Book of the Year award. Brandes & Durkan A12a. Brandes & Durkan A72a. 97 £1,500 [131763] £500 [131762]

42 Spring Miscellany: Peter Harrington 100 101 102

101 102 103 HEMINGWAY, Ernest. The Old Man and the [HILLIARD D’AUBERTEUIL, Michel-René.] HILTON, James. Lost Horizon. London: Mac- Sea. New York: Charles Scribner’s Sons, 1952 Des mœurs, de la puissance, du courage et millan and Co. Limited, 1933 Octavo. Original light blue calico-grain cloth, spine lettered in des loix, considérés relativement à l’educa- Octavo. Finely bound by the Chelsea Bindery in dark green silver, author’s name to front board in blind. With the picto- tion d’un prince. Brussels: for the author in Paris, full morocco, titles to spine in gilt, raised bands ruled in gilt, rial dust jacket. Bookseller’s ticket to front pastedown. Spine single rule frame to boards in gilt, inner dentelles in gilt, sunned, minor rubbing to spine ends and tips, faint offsetting 1784 marbled endpapers, edges gilt. A fine copy with occasional to endpapers; a very good, fresh, copy in the price-clipped Octavo (192 × 124 mm). Contemporary green roan with re- light foxing. jacket with browned spine, slight nicks to extremities. peated short lines impressed in blind, sides bordered with first edition of the book that introduced Shangri- first edition, in the first issue jacket. The jacket a narrow chain-and-metope roll. Engraved book label of a French canon, M. Monpoint. Small split in spine but hold- La, a fictional utopian lamasery located high in the has the points as called for by Grissom: it is printed ing, two tips just worn, a fresh clean copy in a pleasing con- mountains of Tibet. in brown and there is no mention of Hemingway’s temporary binding. Pulitzer or Nobel Prize. Previously, much has been £1,750 [131008] first edition of this interesting work, styling itself made of the colour tint on the rear panel portrait in the venerable mirror-for-princes genre. The author by Lee Samuels on the dust jacket as an issue point. Hilliard (1751–1789) went to Saint-Dominigue aged However, Grissom refutes Hanneman’s earlier asser- only 14 and found work as a legal clerk. He became tion that the blue tinted photograph on the rear panel known in colonial circles for his fiery temperament, predates the olive tint, noting, “the identification of often finding himself in trouble because of his pro- a first-printing jacket does not require identifying vocative rhetoric and radical critiques of the estab- ambiguous rear-jacket colours: It is the brown print- lished order. His first book was Considérations sur l’état ing on the flaps and rear panel that identify the first- présent de la colonie française de Saint-Domingue (1776–7), printing Scribner’s jacket”. which was suppressed for a time. He was a support- Grissom A24.1.a; Hanneman 24a. er of the American revolution, a correspondent of £1,750 [131096] Franklin and Jefferson, and wrote Miss McCrea: A Novel of the American Revolution (1784). The book is scarce, Worldcat giving eight locations worldwide; we can trace no copy in auction records. £1,000 [130592]

103

All items are fully described and photographed at peterharrington.co.uk 43 little rubbed overall, spines sunned, small stain at the tail of the spine of volume I, corners bumped, bookplates skilfully lifted from the front pastedowns, minor traces of adhesive remain, very pale toning, the occasional spot of foxing, in all other respects a very superior set, very good. first edition, dedicated to Charles Darwin; “Hooker was Darwin’s greatest personal friend and confidant . . . and provided much plant material for CD from Kew” (Freeman, p. 165). Son of the regius professor of botany at Glasgow University, Hooker (1817–1911) graduated MD from Glasgow in 1839. He accompanied James Clark Ross’s Erebus expedition to the southern oceans (1839–43) as assistant surgeon, carrying with him a set of proofs of Darwin’s Voyage of the Beagle, provided by Charles Lyell, the father of the renowned geologist. Hooker read them “eagerly, excited but a little overwhelmed at the ‘variety of acquirements, mental and physical, required in a naturalist who should follow in Darwin’s footsteps’” (ODNB). Following the Erebus expedition, Hooker was “keen . . . to undertake a similar expedition, this time in search of tropical flora. Selecting the relatively unexplored eastern Himalayas, rather than the Andes whose natural phenomena Humboldt had 104 104 done so much to bring to the attention of the international scientific community. Hooker traveled overland from Calcutta, through Bengal and Bihar, and into the 104 bet. Norman Mailer declined his invitation, but his Himalayas. From his base at Darjeeling, he explored, HOCKNEY, David; Stephen Spender (ed.) “letter refusing seemed such a good model for Polite sketched, mapped, and botanized Sikkim, as far Rejection” that it was nonetheless published as his Hockney’s Alphabet. London: Faber and Faber north as the border with Tibet and around the slopes contribution (Preface). of Kangchenjunga, then reckoned to be the highest for the AIDS Crisis Trust, 1991 £3,000 [130896] mountain in the world” (Arnold, p. 141). Hooker’s de- Folio. Original vellum-backed blue boards, titles to spine gilt, top edge gilt. Housed in the original blue slipcase. With 26 colour drawings, one for each letter of the alphabet, by 105 David Hockney. A fine copy. HOOKER, Joseph Dalton. Himalayan Jour- first edition, signed limited issue, number 233 nals; or Notes of a Naturalist in Bengal, the of 300 copies bound in vellum and signed by the editor, artist, and 22 of the 27 contributors: Doris Less- Sikkim and Nepal Himalayas, the Khasia ing, William Boyd, Margaret Drabble, Martin Amis, Mountains, &c. London: John Murray, 1854 William Golding, Patrick Leigh Fermor, Nigel Nicol- 2 volumes, octavo. Original brick red, fine zig-zag grained son, Seamus Heaney, Douglas Adams, Julian Barnes, cloth, title gilt to the spines together with decoration in Craig Raine, Kazuo Ishiguro, Iris Murdoch, V. S. blind, gilt centre-tool of lama and pilgrim at a “chait” or stupa to the front boards, broad blind-stamped panel of Pritchett, Erica Jong, Arthur Miller, John Julius Nor- Sanskrit inscriptions to all boards, terracotta endpapers wich, Susan Sontag, Joyce Carol Oates, John Updike, with advertisements. Volume II largely unopened. Housed Norman Mailer, and Ian McEwan. The contributors in a plush-lined, leather-entry slipcase, marbled paper who did not sign were Anthony Burgess, Ted Hughes, sides. Tissue-guarded tinted lithographic frontispiece to Paul Theroux, Gore Vidal, and T. S. Eliot. This work each, and 10 other similar plates in all, one of them a fold- was a collaborative effort created to raise money for ing panorama of the Donkia Pass (Dongkha la), just one the AIDS Crisis Trust. Spender invited several British guard missing, plate of the Dhurma Rajah’s seal printed in and American writers to contribute with texts that vermillion; numerous steel-engraved illustrations, 6 of them full-page; 2 folding, engraved maps with hand colour at the could accompany Hockney’s specially drawn alpha- rear of volume I. Errata slips present in both volumes. Just a 105

44 Spring Miscellany: Peter Harrington 105 tailed account of his travels “provides rich data for an knock to fore-edge of back cover, rear free endpaper creased; Andrew Comyn Irvine, from which neither man re- early Victorian naturalist’s multilayered understanding general scattered foxing, overall a very good set, partly un- turned” (ODNB). opened, the gilt bright. of the tropics, for their aesthetic form as much as their Neate H120, B196, N31 (all asterisked as “suggested reading”); scientific significance” (ibid, p. 141). first editions of these comprehensive and im- Yakushi R213, R214, R215. Abbey 503; Arnold, David, “Envisioning the Tropics: Joseph portant first-hand accounts of the first attempts to £1,250 [131332] Hooker in India and the Himalayas, 1848–1850” in Tropical Visions climb Everest. Howard-Bury “led a diverse expedition in an Age of Empire, University of Chicago Press, 2005; Freeman, R. of surveyors, climbers, and military officers, which B., Charles Darwin: A Companion, Dawson Publishing, 1978; Yakushi achieved the goals of surveying Everest and finding H399. a route to the summit for later climbers” (ODNB). £3,250 [131287] C. G. Bruce “was too old to take part in the climbing, but his knowledge of Himalayan languages and The first attempts at climbing Everest military organization, his cheerfulness and joviality, and the Gurkhas he brought to organize the porters 106 all contributed to the expedition’s success. Captain HOWARD-BURY, C. K., Mount Everest: The John Geoffrey Bruce (1896–1972), a Gurkha officer Reconnaissance, 1921; C. G. Bruce, The As- and Bruce’s cousin, and George Ingle Finch, a chem- sault on Mount Everest 1922; E. F. Norton, ist, supported by Lance-Naik Tejbir Bura, a Gurkha NCO, reached a record elevation of 27,300 feet (8,310 The Fight for Everest: 1924. London: Edward metres) using oxygen” (ODNB). When Bruce fell ill, Arnold & Co., 1922–23–25 E. F. Norton led the third Everest expedition. “He 3 works, large octavo. Original dark blue, dark red, and dark climbed without oxygen, an aid for which he had lit- green fine diaper-grain cloth, gilt lettered spines and front tle respect. At 28,000 feet his companion, Somervell, covers, blind-stamped panel to front covers. With 2 photo- was stopped by severe throat trouble and Norton con- gravure frontispieces, one colour frontispiece, numerous tinued alone to a height of 28,126 feet. He reached the monochrome plates from photographs, 7 folding maps. Vol. I: front panel of jacket tipped to front pastedown; vol. great couloir on the north face, which later became II: bookplate of United Service Club (dated by hand De- popularly known as Norton’s couloir. This, too, was cember 1923), nicks to foot of slightly rolled spine, old pale an altitude record, and it was 54 years before anyone splash mark on back cover and light rumpling, inner hinge climbed higher without oxygen. Another summit cracked at gutter of penultimate opening; vol. III: touch of bid was undertaken a few days later by Mallory and damp-staining to head of back cover and pastedown, slight 106

All items are fully described and photographed at peterharrington.co.uk 45 107 108

107 with love and affection, from Edward—May 1931”. Octavo. Original red cloth, spine lettered and ruled in gilt, top edge gilt, others uncut. Housed in a custom made red [JAMES,] Edward. Twenty Sonnets to Mary. Edward James (1907–1984) was an aristocratic arts patron and poet. James claimed that these sonnets were quarter morocco slipcase and matching chemise. With [London:] The James Press, [1931] written to Lady Mary Curzon, but Purser disputes the two leaves of advertisements to the rear, ending p. 398 [blank]. Spine dulled, light sunning and shelf wear to cloth, Large octavo. Original brown quarter morocco, spine let- this, suggesting that the poems were in fact written to contents evenly toned; an excellent copy. tered in gilt, brown batik sides, edges untrimmed. Vignette a boy (Purser, p. 37). This beautifully produced work title page, engraved page headers, manuscript hand col- is notably uncommon, especially inscribed. first u.s. edition, presentation copy, inscribed oured colophon, text printed on rectos only. Slight rubbing by the author in the month of publication, “To Lucy and a touch of wear to board edges, a little discolouration to Lowe, John, Edward James: Poet, Patron, Eccentric, Harper Collins, 1991: “Twenty Sonnets to Mary, almost certainly published in Clifford, Henry James, Oct: 1898”, on the front past- sides, top edge dust toned, faint offsetting to endpapers; a edown; one of 2,250 copies. Clifford was one of James’s very good copy. 1931 though the final ‘Coda’ is dated June 28 1930 and states that the sonnets had been written in 1927” (p. 118). oldest and most cherished London friends. She had first edition, presentation copy, inscribed by £1,750 [130533] lost her husband, one of the greatest mathematicians the author to his sister on the first blank, “To Silvia, of the Victorian era, W. K. Clifford, at the age of 24, and was still wearing mourning when James first met her Presentation copy to Lucy Clifford in 1880. A novelist and journalist in her own right (her 108 novels Mrs Keith’s Crime and Aunt Anne were highly successful), she hosted Sunday salons and helped launch JAMES, Henry. The Two Magics. The Turn of Rudyard Kipling. Her wide network of friends includ- the Screw; Covering End. New York: The Mac- ed George Eliot, Thomas Hardy, Oliver Wendell Hol- millan Company, 1898 mes, Jr., Thomas Huxley, Leslie Stephen, and Virginia 107 Woolf. “Lucy Clifford was genial; she spoke well, and

46 Spring Miscellany: Peter Harrington Howells, Albert Kinross, Israel Zangwill (The Melting Pot), Meredith Nicholson, Booth Tarkington (to whom she was related by marriage), and T. C. Steele. It is likely that James and the Judahs crossed paths during his 1904–05 tour of the United States, when he stopped in Indianapolis while travelling cross-country to Califor- nia, Oregon, and ultimately Washington. It was a trip he would recount soon after in The American Scene (published in book form in 1907), although his impressions of the Midwest and West weren’t included alongside his accounts of the East Coast, which covered Boston to Florida (apparently there these were slated for a second volume that never came to fruition). Edel and Laurence note that the whole American edition of The Ambassadors was “marked by a curious error which remained unobserved until attention to it was drawn by Robert E. Young in the November 1950 issue of American Literature—that is, almost half a century after the book’s appearance”. The Ameri- can edition was set up from a separate set of proofs of the serialization in the North American Review, with approximately three and a half additional chapters which James had withheld to be inserted into the book. Young proved that Chapters XXVIII and XXIX had been reversed by some conscientious editor at Harper’s with an eye peeled for the chronological inaccuracy seemingly presented by James’s arrange- ment, which places a chapter set during an evening before one set during the preceding afternoon. Edel 109 notes that the error was confined to the American edition and relates that “the error was perpetuated in to the point; she was eminently expressive and gener- cloth dust jacket, spine identically lettered and ruled in gilt. the New York Edition, Scribner having set type from ous. Late in life James would speak of ‘that admirable With an autograph postcard, in German, signed by one “Mr the American edition”. Lachmann” and addressed to Fräulein Anna Schäferl at the Lucy Clifford—as a character, a nature, a soul of gen- Edel & Laurence A58b (1903 issue); Supino 58.8.0 (1904). See home of Mrs John Judah in Indianapolis, postmarked 10 May erosity and devotion’. She was . . . he said, ‘one of the Connolly, Cyril, The Modern Movement: A Discussion of 100 Key Books 1905, laid in to the front. Spine lightly soiled and marked, From England, France and America 1880–1950, Athenaeum, 1966, 16. finest bravest creatures possible’. Mrs Clifford was one ends, joints and corners worn with some small splits; jacket of three London friends who would be remembered in extremities worn and frayed, front spine joint partly split £7,500 [131659] Henry James’s will” (Edel, unpaginated). along verso but still very firm; in all an excellent copy. The first of these two stories, The Turn of the Screw, first u.s. edition, second printing, presen- 110 has been long acknowledged by innumerable critics tation copy, inscribed by the author to the Ameri- JEVONS, Stanley. Selected Works. Edited and to be one of the greatest ghost stories in the language. can writer Mary Jameson Judah, “For Mary Jameson Edel & Laurence A52b; Supino 52.6.0 (first impression, state A). Judah in remembrance of March 16th and 17th 1905. annotated by Takutoshi Inoue. Tokyo and Lon- Edel, Leon, Henry James, the Master: 1901–1916, Lippincott, 1953. Henry James”, on the front free endpaper. don: Edition Synapse and Routledge, 2018 £15,000 [131658] Mary Jameson Judah was an accomplished host- 2 volumes, octavo. Original cloth, spines lettered gilt. A new ess, giving dinners with monumental menus in both publication. 109 Memphis—where her husband John began a cotton first variorum edition of Jevons’s The Coal Ques- business in 1897—and Indianapolis, where they lived JAMES, Henry. The Ambassadors. New York & tion and The Theory of Political Economy, with editorial before and after. She was also a successful writer and introduction, notes and appendices by the leading London: Harper & Brothers Publishers, 1904 a contributor to Harper’s Magazine, and, in addition to Jevons scholar Takutoshi Inoue. Octavo. Original blue paper-covered boards, spine lettered James, her literary and artistic friends included Ham- and ruled in gilt, top edge gilt. With the publisher’s blue lin Garland, James Whitcomb Riley, William Dean £625 [131387]

All items are fully described and photographed at peterharrington.co.uk 47 copy in the dust jacket, minor creasing around extremities, short nick at head of rear panel. first edition, presentation copy to Ted So- rensen, inscribed by the author on the half-title: “for Ted with the appreciation of his companion in many other battles Bob Kennedy”. Ted Sorensen (1928–2010) had a significant behind-the-scenes influence on American politics in the 1960s. He served as speechwriter for John F. Kennedy and was one of his closest advisers. Following Kennedy’s assassination, he briefly worked for Lyndon Johnson, including drafting his first address to Congress and his 1964 State of the Union address, but resigned in February 1964. In 1968 Sorensen was a major advisor to Rob- ert Kennedy in his presidential campaign, cut short by his assassination. He ran for the Senate for New York in 1970, was unsuccessfully nominated by Jimmy Carter as director of the CIA in 1977, and managed Gary Hart’s presidential campaign in 1984. To Seek a Newer World is a collection of essays that Robert Ken- nedy developed from his speeches. £3,750 [130991] 111 112 114 111 and label sometime discreetly repaired, some separation KEYNES, John Maynard. Indian Currency and and minor loss to lower half of spine, contents evenly toned JOYCE, James. Finnegans Wake. London, Faber and clean; a very good copy. Finance. London: Macmillan and Co., Limited 1913 & Faber; New York, Viking Press, 1939 first edition of Kant’s Critique of Practical Reason, the Octavo. Original brown cloth, spine lettered and ruled in gilt, covers ruled in blind. Folding chart. Library bookplate Octavo. Original red buckram, titles to spine gilt, top edge second of his critical works, in which he develops the and shelfmarks to pastedown of the Vereniging voor de Ef- gilt, others untrimmed. With the publisher’s yellow cloth concept of categorical imperative. This work estab- fectenhandel (the Amsterdam Association for Securities slipcase. A fine copy. lished Kant’s moral thinking as a cardinal reference first edition, signed limited issue, number 271 in the successive development of ethics. “The influ- of 425 copies signed by Joyce and printed on hand- ence of Kant is paramount in the critical method of made paper. This was a joint publication, with the modern philosophy. No other thinker has been able to American and English publishers sharing the edition hold with such firmness the balance between specu- 300 to 125 respectively. lative and empirical ideas. His penetrating analysis of Slocum and Cahoon A49; Connolly, The Modern Movement 87; the elements involved in synthesis, and the subjective Burgess, Anthony, 99 Novels: The Best in English Since 1939, Simon process by which these elements are realized in the in- & Schuster, 1985, p. 25. dividual consciousness, demonstrated the operation £12,500 [131628] of ‘pure reason’; and the simplicity and cogency of his arguments achieved immediate fame” (PMM). 112 Printing and the Mind of Man 226; Warda 112. KANT, Immanuel. Critik der practischen £3,500 [131803] Vernunft. Riga: Johann Friedrich Hartknoch, 1788 Octavo (199 × 120 mm). Contemporary black patterned 113 paper boards, red spine label lettered in gilt, edges red. KENNEDY, Robert F. To Seek a Newer World. Woodcut device to title, woodcut headpiece. Printed in Gothic type. Front free endpaper filled with related notes, New York: Doubleday & Company, Inc., 1967 in a small, neat contemporary hand, in ink. Spine ends and Octavo. Original blue cloth, spine lettered in gilt on black corners bumped, extremities worn, vertical split along spine ground, blue endpapers. With the dust jacket. A very good 113

48 Spring Miscellany: Peter Harrington 114 115 116

Trading). Sticker residue to base of spine, light toning to as a whole is one which it is impossible to praise too own report. Robbins came to dominate the London endpapers and half-title. A very good, bright and tight copy. highly” (quoted in DSB). The work contains a valuable School of Economics for the next three decades, and first edition of keynes’s first book. Keynes bibliography of some 600 works on probability. in the thirties established it as a centre of academic served as a civil servant in the India Office from 1906 Fundaburk 9999; Mattioli 1848; Moggridge A3.1. opposition to Keynesian economics. After the war Robbins came round to Keynes’s view, and in his The to 1908, and, while he did not like the work, he used £975 [131310] it as the basis for the present book, a defence of the Economic Problem in Peace and War (1947) he supported Indian currency system against those who wished to Keynes’s policies of full employment through the move to a gold-based currency. Keynes took his seat 116 control of aggregate demand. However, Robbins’s on the Royal Commission on Indian Finance and KEYNES, John Maynard. A Treatise on Mon- marginalia in these copies date from his years of op- Currency the same year. ey; [Together with:] A Tract on Monetary Re- position to Keynes, and in A Treatise of Money his an- Fundaburk 9992; Mattioli 1822; Moggridge A1.1; The New Palgrave notations are generally hostile critiques of Keynes’s III, pp. 19–39. form. London: Macmillan and Co, Limited, 1930 & arguments, including “this is surely nonsense”, “it is 1923 £1,500 [131307] doubtful whether this claim is justified”, and so forth 2 works in 3 volumes, octavo. Original dark green cloth, (vol. I, pp. 211–221). spines lettered in gilt, double line rules in gilt to spines The copy of Treatise on Money also has four newspa- 115 continued in blind to front covers. Numerous tables and per clippings loosely inserted, comprising the com- diagrams to the text. Treatise on Money: stamp of the London plete run of Keynes’s The Means to Prosperity as printed KEYNES, John Maynard. A Treatise on Prob- School of Economics’s bookshop; some detailed pencilled ability. London: Macmillan, 1921 marginalia and one slip of notes in ink loosely inserted at in The Times in March 1933. Treatise: Fundaburk 9998; Mattioli 1847; Moggridge A7.1. Tract: Octavo. Original brown cloth, spine lettered in gilt. Contem- vol. I p. 12, in the hand of Lionel Robbins. Spines sunned and Fundaburk 9997; Mattioli 1845; Moggridge A5.1. porary ownership signatures to front free endpaper. Faint rolled with a central crease, a little shaken. Tract on Monetary mark to spine, spine ends and tips a little bumped, light Reform: with the ownership inscription of Lionel Robbins £3,750 [131323] rubbing to covers, endpapers toned, first and last few leaves and his occasional side-ruling and notes, binding rubbed lightly foxed. A very good copy. and worn at spine ends, bookblock shaken, small piece torn away from lower margin of page 67. Overall a good set. first edition of this mathematical-philosophical work, the subject of Keynes’s fellowship dissertation, first editions, from the library of econo- in which he sought to establish a mathematical basis mist lionel robbins (1898–1984), with his annota- for probability theory as Bertrand Russell and Alfred tions. Keynes and Robbins had a troubled relation- North Whitehead had done for symbolic logic. Rus- ship. In 1930 Keynes was appointed by the Labour sell wrote of this work “the mathematical calculus is Government to head a committee of economists, and astonishingly powerful, considering the very restrict- invited Robbins to serve. To Keynes’s dismay, Rob- ed premises which form its foundation . . . the book bins refused to support his public work programs to reduce unemployment, and insisted on writing his 116

All items are fully described and photographed at peterharrington.co.uk 49 117 118

117 white illustrations throughout by Kipling. Tiny markings to first edition, number 324 of 450 copies. Klimt se- cloth and very faint foxing to initial and final leaves. A very KIPLING, Rudyard. Collected Verse. London: lected these drawings from a series of studies he had good, tight copy. undertaken in preparation of his two celebrated “Wa- Hodder and Stoughton, 1912 first uk edition with colour illustrations, ter Serpents” paintings, 1904–1907. Quarto. Original full brown pigskin, titles and swastika mo- signed by the author on the title page, striking £10,000 [130789] tifs in gilt to spine in compartments, elephant roundel in gilt through his printed name and signing below, as was to front cover, double ruled gilt frames to covers, top edge his usual method. Signed copies of Kipling’s major gilt others untrimmed. Housed in a red cloth chemise and 120 red morocco-backed red cloth slipcase. Half-title and initials works are notably scarce. Just So Stories was first pub- in green. A touch of shelf wear, else a fine copy. lished in 1902; Gleeson’s illustrated edition was first KNIGHT, Samuel. The Life of Erasmus. Cam- published in the US in 1912. first uk edition, deluxe signed limited issue, bridge: Printed by Corn. Crownfield, and sold at Stewart 264. number 60 of 100 copies signed by the author and London by J. Wyat, T. Edlin, and T. Cox, 1726 printed on japon. A signed limited issue of 500 cop- £7,500 [130909] ies, signed by the printer and publisher and bound in limp vellum, and a trade issue, of an unknown print 119 run, were also released. Kipling’s collected verse was first published in a US edition in 1907. (KLIMT, Gustav.) Lucian de Samosate. Die Martindell 130; Richards A258; Stewart 314. Hetärengespräche des Lukian. Deutsch von Franz Blei. Mit funfzehn bildern von Gustav £2,500 [130496] Klimt. Leipzig: Julius Zeitler, 1907 118 Quarto. Original terracotta buckram, titles to front cover in gilt, text in black and gold on heavy laid paper. With the KIPLING, Rudyard. Just So Stories. London: slipcase bound in terracotta cloth with label to spine in gilt Macmillan and Co., Limited, 1913 and limitation number in black ink. 15 full page collotype plates on heavy laid paper after drawings by Klimt (36.5 × 29 Quarto. Original blue cloth, spine and front cover lettered cm.) Spine slightly faded and lacking two of the loose tissue and decorated in gilt, top edge gilt. Colour frontispiece with guards otherwise a bright, clean copy. tissue-guard and 11 colour plates by Gleeson, black and 120

50 Spring Miscellany: Peter Harrington 119

Octavo (222 × 138 mm). Contemporary panelled calf, orange served as chaplain to George II from 1730 to 1746 and Earl of Lovelace, to the front pastedown, as well as morocco label, spine gilt to compartments, panels tooled in as Archdeacon of Berkshire from 1735 to 1746. John the stamp of the Earl’s sporting lodge in Scotland, blind, red speckled edges. Frontispiece and 19 plates, 3 of Jortin, a subsequent biographer of Erasmus, com- Ben Damph Forrest, which he built several decades which are folding. Light insect damage to calf, front joint mented “Dr Knight’s work is indeed confused and after Ada’s premature death in 1852. with slight split at head, front pastedown lifting slightly, contents clean and bright. An excellent copy. not over elegant, but it contains many good materi- ESTC T92618; John Jortin, The Life of Erasmus, book II, 1758 als” (Jortin, 617). Lowndes vol. V, p. 1285. first edition of Knight’s biography. Samuel With the stamp of Ashley Combe House, the sum- £900 [131300] Knight was an English clergyman and antiquary, who mer retreat of Ada Lovelace and her husband the 1st

All items are fully described and photographed at peterharrington.co.uk 51 122 123 125

121 tions in the text. Spine gently rolled and faintly browned, 124 slight rubbing to spine ends and tips, light foxing to prelims LACROIX, Paul. [The Middle Ages and the and endmatter, a very good, remarkably bright, copy. LEVINE, Chris. Lightness of Being Crystal Period of the Renaissance; together with first edition of the eleventh and penultimate of Edition. London: Jealous Gallery, 2018 the XVIIIth Century.] London: Bickers and Son, Lang’s “Fairy Books”. This work contains 29 fairy 3 colour screenprint with Swarovski Crystals on Somerset [1875–8] tales such as “The Green Knight”, “The Satin Sur- Satin White 410gsm wove paper. Sheet size: 52.5 × 42 cm. geon”, and “The Silent Princess”. Excellent condition. Presented float mounted in a white 5 volumes, quarto. Original black calf with Bickers’s stamp, wooden frame with conservation acrylic glazing. red and green morocco labels to spines, spines gilt to com- £600 [130570] partments, marbled endpapers, gilt edges. With 86 colour one of an edition of 100, signed by the artist lithographs by F. Kellerhoven, Regamey, L. Allard and oth- in pencil lower right. ers, and over 2,000 woodcuts in the text. With late 19th/ 123 early 20th-century bookplates to front pastedowns and end- £15,000 [131948] papers. Calf stripped and scuffed, minor splitting to a few LAWRENCE, D. H. Lady Chatterley’s Lover. hinges, some foxing. A very good set. London: Penguin Books, [1960] 125 an attractive set of lacroix’s work on the Mid- Octavo. Original printed wrappers. Crease to spine and front cover, a few minor marks to wrappers, leaves toned, very LEWIS, C. S. Prince Caspian. London: Geoffrey dle Ages and the Renaissance in France, together with Bles, [1951] his volume on the 18th century. Richly illustrated, this good condition indeed. lavish production presents a fine example of 19th-cen- Rare “proof” copy of the Penguin edition, specially Octavo. Original blue boards, titles in silver to spine, map printed for the jurors and key witnesses of the nov- front endpapers. With the dust jacket. Colour frontispiece, tury colour lithography. The text was first published black and white illustrations throughout. Spine gently in French from 1871 to 1877. Of this set, the first and el’s notorious obscenity trial. In the wake of the Ob- rolled, ends a little faded, very faint foxing to edges and end- second volumes have the edition statement of fourth scene Publications Act 1959, the R v Penguin Books papers, small ink stamp to rear pastedown. A very good copy thousand, the other without such statements. Ltd trial ran for six days from 20 October to 2 Novem- in the dust jacket, spine and rear panel slightly toned, min- ber 1960, with Mervyn Griffith-Jones prosecuting, ute loss at spine head, a little rubbing to extremities. £1,250 [130802] Gerald Gardiner as counsel for the defence, and Mr first edition of the second book in the Chroni- Justice Byrne as judge. Penguin’s successful defence cles of Narnia, one of the best known series of mod- 122 is acknowledged as a milestone for the liberalization ern fantasy. Laid in is a postcard signed by Pauline LANG, Andrew (ed.) The Olive Fairy Book. of British publishing, and a gateway to the permis- Baynes, the illustrator, featuring the front cover de- London: Longmans, Green and Co., 1907 sive social attitudes of the 1960s. The printers of this sign of the 1962 Puffin edition of this title. “proof only” copy, Hazell, Watson, and Viney Ltd, of Octavo. Original olive green cloth, spine lettered in gilt, Aylesbury and Slough, were not the same as those £1,750 [131755] large gilt pictorial decoration to front cover, pictorial green and blue endpapers, edges gilt. Frontispiece with tissue used for the general Penguin edition. guard, 7 colour plates, 20 black and white plates, illustra- £1,250 [126144]

52 Spring Miscellany: Peter Harrington 124

All items are fully described and photographed at peterharrington.co.uk 53 127

126 LOWRY, L. S. Meeting Point. Cheshire: Adam Collection Ltd., 1973 Colour offset lithograph on heavy wove paper. Sheet size: 61.5 × 81.7 cm. Tape residue from previous framing to extreme top edge hidden by the mount, slight toning otherwise in good condition. Presented in a handmade white gold frame with acrylic glazing. one of an edition of 600, signed in pencil by the artist lower right, stamp-numbered and with the Fine Art Trade Guild blind stamp lower left. £4,000 [130722]

127 MACAULAY, Thomas Babington. The His- tory of England from the Accession of James the Second. London: Longmans, Green and Co., 1865 5 volumes, octavo (214 × 132 mm). Contemporary full calf by Wiseman, red and black morocco labels, elaborate tooling to spines in compartments separated by raised bands, fillets to boards gilt and in blind, crest blocked gilt to both boards, inner dentelles in blind, marbled endpapers and edges. En- graved frontispiece. Bookplate to front pastedown, contents clean and fresh, boards slightly marked and scratched overall a very good set. An attractively bound set. Macaulay’s great history was first published episodically between 1848 and 1861. “The first historical work deliberately designed to outsell the best-selling novel of the day, Macaulay’s

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book immediately fulfilled its author’s aspiration. 129 His colourful style and stirring power of description MANDELA, Nelson. The Long Walk to Free- secured for the History a success such as no historical work in the English language had had since Gibbon. dom. The Autobiography. London: Little, Brown Each volume sold about one hundred and fifty thou- and Company, 1994 sand copies within a month of its publication, and Octavo. Original black quarter morocco, green cloth sides, the numerous reprints and translations into almost spine lettered in gilt, map of South Africa to pastedowns and every literary language have perpetuated Macaulay’s endpapers. Housed in a custom green morocco slipcase. ideas almost to this day” (PMM). With numerous photographic illustrations. A fine copy. Printing and the Mind of Man 328. first uk edition, signed limited issue, number 343 of 1,000 copies signed by Mandela. The South Af- £575 [130663] rican edition was published earlier that year.

128 £3,250 [131637] MCCARTHY, Cormac. Outer Dark. New York: Random House, 1968 Octavo. Original blue quarter cloth, spine lettered in silver and blue, grey paper-covered boards, top edge grey, fore edge untrimmed. With the dust jacket. A near-fine copy in the price-clipped jacket, with the lightest of shelfwear around extremities. first edition of the author’s second novel. £1,500 [131818]

126

129

All items are fully described and photographed at peterharrington.co.uk 55 130 131

130 tion, second state of part II of the Fable. In this state as “the wickedest cleverest book in the English lan- [MANDEVILLE, Bernard.] The Fable of the gathering O is “figured” (see Kaye for a full explana- guage” (Robinson). tion). Part II, which matches the length of the first Einaudi 3688; Kress 3561; Sraffa 3725. Part II: Kaye II, p. 394; Bees. London: printed for J. Tonson [Part II printed part, comprises six dialogues in which Cleomenes Kress 3758 (making no distinction between the two states); Sraffa and sold by J. Roberts], 1724 & 1729 instructs Horatio as to the Fable’s true meaning. 3727; not in Einaudi. See the well-known diarist Henry Crabb Robinson’s discussion of Mandeville in Diary, Reminiscences, and 2 volumes, octavo. Near-uniform in contemporary calf but Though the work originated in 1705 as a poem ti- Correspondence of Henry Crabb Robinson (1870), entry for June 1812. with a few small differences in book block size and tooling. tled The Grumbling Hive, and the rare first edition ap- Vol. I (192 × 119 mm), contemporary panelled speckled calf, peared in 1714, it was not until the publication of the £2,250 [130767] boards tooled in blind. Vol. II (196 × 116 mm), contemporary second enlarged edition in 1723 that The Fable of the speckled calf, spine and boards ruled with gilt fillet. Both Bees prompted the heated controversy for which it is vols. with red morocco spine labels, raised bands, volume 131 now famous. Mandeville’s implication that religion numbers lettered in gilt to third compartments, and edges MARVELL, Andrew. Miscellaneous Poems. sprinkled red. Engraved head- and tailpieces, initials. Ex- was damaging to social welfare was particularly con- tremities and boards worn, joints starting at spine ends but tentious, and in 1723 the work was declared a public London: Printed for Robert Boulter, 1681; [togeth- otherwise firm, contents browned. Vol. I: small chip to head nuisance by the grand jury of Middlesex, and Man- er with:] [SAVILE, Henry, attrib.] Advice to a of spine, two scratches to front board, early ink notation to deville himself accused of blasphemy. Undeterred, Painter; [and:] Second Advice to the Painter. front pastedown, endpapers foxed but otherwise clean. Vol. he addressed his accusers in The London Journal and [place and publisher not stated, 1679 & 1679] II: joints a little more tender, early ownership signature of published a pamphlet defending himself against such Conyors Jocelyn to initial blank, some faint dampstain to 3 works, folio (293 × 186 mm). Mid-20th-century brown calf head of gutters throughout. Overall a very good set. charges; the contents of this “Vindication” were in- (Miscellaneous Poems) and brown morocco-backed brown cluded in the third edition. Mandeville would spend cloth (Advice to a Painter/Second Advice), all housed in brown Third edition of this “celebrated work, which through the rest of his life justifying his work to its numerous chemises within a brown cloth slipcase, spine lettered in Adam Smith, had an immense influence on politi- critics, and it was still described, well after his death, gilt attributing each work to Marvell. Contemporary nota- cal economy” (Foxwell), together with the first edition “12” at head of Miscellaneous Poems. With an old catalogue

56 Spring Miscellany: Peter Harrington 133

132 (MARX, Karl.) GELLERT, Hugo. Karl Marx’ “Capital” in Lithographs. New York: Ray Long & Richard R. Smith, 1934 Quarto. Original brown burlap-covered boards, spine and front cover lettered in black, illustrated endpapers. With the dust jacket. With 60 lithographic illustrations by Hugo Gel- lert. A very good copy, in the jacket which is chipped with some loss to wording, split along folds, toned, and with ar- chival repairs to verso. first gellert edition. A powerful graphic rendering of Das Kapital by the Hungarian-born American artist Hugo Gellert (1892–1985), published in the midst 132 of the Depression. The accompanying text is from the translations of Ernest Untermann, the first American translator of Kapital, and Eden and Cedar Paul. The description by James F. Drake of New York loosely inserted. Advice to a Painter is now generally attributed to the book is rarely found with the dust jacket preserved. Miscellaneous Poems: earlier stab holes visible, pages lightly Restoration courtier Henry Savile (1642–1687), rather toned, scattered foxing, small stain at foot of title and prefa- than to Marvell. The poem, an anti-Catholic satire £1,250 [130928] tory page. Advice to a Painter/Second Advice: a little toned and on the Duke of York, was written in 1673 but was only foxed, very minor fraying around extremities. Overall a very good set. published in 1679, at the height of public uproar over 133 the Popish Plot. The attribution to Marvell was up- first edition of all three works. Miscellaneous held by both Wing and Pforzheimer, but correspond- MAUGHAM, W. Somerset. The Complete Poems includes the first printing of “To his Coy Mis- ence between Savile and his brother show it to be Short Stories; [together with:] The Collected tress” and “The Garden”. Published a couple of years Savile’s authorship. The Second Advice to the Painter was Plays; [and:] The Selected Novels. London: after Marvell’s death, the volume made his poetic tal- also generally accepted as the work of Marvell, but is William Heinemann Ltd., 1961–65 ents known to a general readership who would have now in doubt, given the authorship of the first. known him, if at all, only from his commendatory 9 volumes, octavo (191 × 124 mm). Contemporary red half ESTC R23026, R641 and R737; Wing M872, M864 and M887; morocco by Bayntun, spines lettered in gilt, red cloth sides, verses to the second edition (1674) of Milton’s Paradise Pforzheimer 671, 668, and 669. For the attribution of Advice to marbled endpapers, top edges gilt. Spines lightly sunned, a Lost, and perhaps from some satires, thus rescuing a Painter to Henry Savile, see Margoliouth, The Poems and Letters few tiny marks to sides, a little closely cropped at head. A from obscurity one of the major English lyricists of of Andrew Marvell, 3rd edition, Clarendon Press, 1971, vol. I, pp. near-fine set. the 17th century. As usual, this copy has the cancelled 420–5. An attractive set of Maugham’s collected works, with leaves removing poems in praise of Oliver Cromwell: £12,500 [130819] three volumes each of stories, plays and novels. The “Failure of nerve during a temporary crisis in Whig books are later editions, with the collected short sto- fortunes had led to excision of the three Cromwell ries first published in 1951, the plays in 1931, and the pieces before sale from almost all known copies of novels in 1953. the work” (ODNB); only two copies, both imperfect, are known with them. £2,250 [130862]

All items are fully described and photographed at peterharrington.co.uk 57 134

134 MAXWELL, James Clerk. Matter and Motion. London: Society for Promoting Christian Knowl- 136 edge; sold at the depositories, and by all booksellers; Pott, Young & Co., New York, 1876 endpapers, top edges gilt. Vol. I with Pickering’s 8 page cata- 136 logue bound in at the front, portrait frontispiece of Milton, Small octavo. Original brown pebble-grain cloth, covers and folding facsimile of Milton’s contract for Paradise Lost; MILLER, Henry. Tropic of Capricorn. Paris: printed in black. With several figures in the text. Spine ends coloured initial and publisher’s device to each title page. The Obelisk Press, 1939 very lightly rubbed, inner hinges partly cracked but still very Some very minor rubbing in places, slight chip to head of Octavo. Original white and red wrappers, titles printed in firm; a very good copy. spine of vol. II, light toning to plates and offset from frontis- black to spine and front cover, edges untrimmed. Slight piece. An excellent set. first edition of Maxwell’s textbook on dynamics. In creasing to extremities, inner front hinge cracked but firm; the modest guise of a brief introduction to Newtonian A handsomely bound set of this attractive printing of else a near-fine copy. mechanics, Matter and Motion, one of the finest elemen- Milton’s works, preserving the original orthography. first edition, prepublication presentation tary scientific treatises ever written, anticipates prob- copy, inscribed by the author on the front free end- lems with distant synchronization that led, via its in- £1,500 [130939] paper, “To E. F. Knight with best of greetings! Henry fluence on Henri Poincaré, to Einstein’s special theory Miller Paris 5/4/39”. This copy was inscribed six days of relativity. “A masterpiece of natural philosophy, no- before the official publication date of 10 May; Pear- table especially for introducing into physics the term son notes that publication was originally scheduled relativity in a passage that combines strenuous scien- for February 1939 but was “delayed for three months, tific insight with a mystical awareness” (Craig, p. 209). as a result of which few copies were sold before the Craig, Edward (ed.), Routledge Encyclopedia of Philosophy, beginning of the war, the death of Kahane, and the Routledge, 1998. shutting down of the Obelisk Press”. £2,500 [131068] The recipient, E. F. Knight, was a journalist based in Bedford and an early admirer of Henry Miller and 135 his circle. He corresponded with a number of authors, including Anaïs Nin and Lawrence Durrell, so- MILTON, John. The Works. London: William liciting information on their publishing plans, shar- Pickering, 1851 ing thoughts on literature, and receiving a number of 8 volumes, octavo (225 × 147 mm). Early 20th-century brown their works in gratitude for his support. crushed morocco by Ramage, spines lettered and tooled in gilt, covers panelled in gilt and blind, gilt turn-ins, marbled 135

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This copy is in the first state with “60 frs” to the spine and the folded wrapper flaps. Pearson A60. 138 £6,500 [131852] 138 sixteen other editions in the 18th century, four of 137 [MOORE, Edward, & Henry Brooke.] Fa- which were American; it was translated into French in MISES, Ludwig von. Planned Chaos. Irving- 1764 and German in 1772. Influenced by but inferior to bles for the Female Sex. London: printed for R. John Gay, the sixteen verse fables, three of which were ton-on-Hudson, New York: Foundation for Econom- Francklin, 1744 contributed by Henry Brooke, the author of Gustavus ic Education, 1947 Octavo (197 × 122 mm). Contemporary mottled calf with Vasa, whom Moore had met in Ireland, were ‘intend- Octavo. Original green cloth, spine and front cover let- neat repairs at head and tails of joints, red morocco label, ed’, according to Moore’s Preface, ‘for the reading of tered in black. With the dust jacket. A very good copy in the compartments tooled in gilt, raised bands, boards panelled those whose only business is amusement’” (ODNB). chipped, toned, and lightly soiled jacket. in gilt, edges sprinkled red. Engraved frontispiece and 16 Francis Hayman (1707/8–1776) was an intimate of plates by Simon François Ravenet (3), Charles Mosley (4), first edition of von Mises’s attack on socialist Hogarth, whose “versatility as an artist is remarkable Charles Grignion (10) after Francis Hayman; title printed economic intervention, serving as a broader critique in red and black and with engraved vignette of a trophy of . . . his output embraced history painting, canvases of the worldwide trend towards interventionalism, music by Grignion after George Michael Moser. 20th-century with theatrical subjects, and portraiture. By the end of socialism, communism, and fascism. The work was armorial bookplate of Stanley Austin (historian of engraving), the 1740s his conversation pieces reflected a reciprocal written as the epilogue for the forthcoming Spanish designed by C.F.A. Voysey. Extremities lightly worn, front influence with those of the young Thomas Gainsbor- edition of Mises’s Socialism, which in fact went unpub- joint tender but firm, endpapers browned from turn-ins, ough” (ODNB). Moore’s Fables was “the first book which lished until 1961; the essay was included in English- contents occasionally spotted but mostly crisp and clean, Hayman decorated completely independently . . . A language editions of Socialism from 1951 onwards. small puncture to lower margin of leaf B7 affecting catchword reading of the latter is sufficient to suggest that the on p. 14, some staining near the gutters of pp. 120–3, in all a This edition was issued in both paper wrappers and very good, attractive copy. book’s popularity was due in large part to the attrac- cloth, without known priority. tiveness of Hayman’s illustrations, although students first edition, with a fitting early female Greaves & McGee B-14. of literature are prone to ignore the form in which the provenance, with the contemporary ownership £575 [131505] book was originally published” (Ruch). A copy was ex- inscription of one Catherine Williams, who has very hibited at the V&A Rococo exhibition in 1984. carefully formed her name on the front free endpaper. Rococo: Art and Design in Hogarth’s England, V&A 1984, E16; Ruch, Published anonymously in May 1744, with each fable John E., “Francis Hayman’s Drawings for Moore’s Fables” in prefaced by an engraved plate, Fables for the Female Sex Master Drawings, Vol. 8, No. 4, Winter, 1970. was also printed in Dublin the same year by George Faulkner. It “had its third edition by 1746 and at least £800 [130662]

All items are fully described and photographed at peterharrington.co.uk 59 139

139 MYERS, Margaret G., and others. The New York Money Market: Origins and Development; Sources and Movement of Funds; Use of Funds; External and Internal

Relations.] New York: Columbia University Press, 140 1931–2 4 volumes, octavo. Original blue cloth, spines lettered in Small quarto., pp. 16. Sewn in original plain paper wraps, 2 volumes bound as one, small quarto (254 × 184 mm). Early gilt, publisher’s device in gilt to front covers, pictorial end- some leaves watermarked “B. Picardo”. Woodcut illustrations, 20th century sheep bound to style, decorative gilt spine, papers, top edges speckled blue. Contemporary ownership flags and pennants, to the text, many of them coloured. Light red morocco label, yellow edges, endleaves renewed. 25 en- signature of W. E. Dunkman to front pastedown of first vol- marginal browning, small stain to the lower wrap carrying graved plates (complete) of which 7 are maps (6 folding), ume. Vol. IV a little shaken, some minor bumping and mark- through to the last two leaves, but overall very good. plate XVI (“Exercises militaires des Arabes d’Yémen”, loosely ing to cloth, else a very good set. first and apparently only edition, a single inserted) present, and with the folding genealogical table for first editions of the complete series; volume I a the ruling house of Yemen (not in list of plates); wood-en- copy traced at JCB, of this abbreviated signal manual, presentation copy from Margaret Myers, with her graved head and tail-pieces. Front joint a little rubbed, scat- including signals in fog and at night, provided for presentation slip pasted to the front free endpaper, tered foxing and light toning, neatly repaired closed-tear to Portuguese merchant ships travelling in convoy with and volume II a presentation copy from Benjamin folding map of the Red Sea, a very good copy. British naval vessels during the closing stages of the Haggott Beckhart, with his presentation slip loosely Second French edition, revised and corrected from Peninsular War. The manual appears over the printed inserted. Myers wrote the first volume, Benjamin the first complete French edition of 1776–80. This signature of Sir George Smith as “Secretary of the Haggott Beckhart and James G. Smith the second, is the sole eyewitness account of the 1761–7 Danish Marine Headquarters”. From 1812 to 1814 Smith was Beckhart the third, and Beckhart, Smith, and William expedition to Arabia, the first great scientific expe- commander-in-chief in the Tagus. Adams Brown the fourth. dition to the Middle East, by its only survivor, the £850 [130911] German-born surveyor Carsten Niebuhr (1733–1815). £950 [131119] The first volume is an abridged translation of Nie- 141 buhr’s Beschreibung von Arabien (1772), a description of 140 the original expedition to Yemen. The second volume NIEBUHR, Carsten. Description de l’Arabie, (NAVAL SIGNALS.) Signaes, que se mandão excerpts his Reisebeschreibung von Arabien und andern um- d’apres les observations et recherches faites observar pelos Navios Mercantes, que vao de- liegenden Ländern (1774–8), and is almost entirely de- dans le pays même. Nouvelle Édition, revue voted to the peoples of Arabia and the Persian Gulf, baixo de Comboyo dos Navios de Guerra de & corrigée. Paris: Chez Brunet, 1779 with a brief relation of his return journey from India S.M.B. [Lisbon?: for the Admiralty] 4 December 1813

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143 (PANKHURST, Sylvia E., & I. O. Stefanovici, trans.) EMINESCU, Mihail. Poems. Translated from the Rumanian and rendered into the orig- 142 inal metres. With a preface by George Bernard Shaw. With an introduction by N. Iorga. London: via Muscat and the Gulf to Bushire, and thence overland to Europe. It is one of the most detailed accounts Kegan Paul, Trench, Trubner & Co., Ltd, 1930 of the Arabian Peninsula in the 18th century. In ad- Octavo. Original red cloth, titles to spine in gilt, top edge yel- dition to chapters on the Hejaz, the Nejd, Yemen, low. Front board slightly bowed, rubbing to spine ends and tips, foxing to endpapers, edges of single gathering browned. and Oman, and general accounts of Arabian culture, religion, science, and natural history, there is much first edition in english, presentation copy valuable information on today’s Gulf states. from sylvia pankhurst, one of the translators, in- Originally published in German at Copenhagen scribed on the front pastedown, “Presented to Alberto (1772–8), a French translation of just the first part was Tamb[?] by Sylvia Pankhurst, 1940”. The recipient has issued there in 1772. The final section of Niebuhr’s added their ownership inscription in pencil on the account covering Syria and Palestine, edited from his same page, “Property of Alberto Tamb[?]”, and also papers by his daughter, was not published until 1837. annotated the work in pencil on a couple of pages. Gay 3589; Howgego I N24; Speake II pp. 857–9. This was the first collection of Eminescu’s poems published in English. “Pankhurst discovered in Emi- £2,500 [130409] nescu a kindred spirit in dislike of contemporary dec- adence and social injustice, and she sent her transla- 142 tions to her friend George Bernard Shaw”, who pro- ORWELL, George. Nineteen Eighty-Four. vided the preface for this edition (France, p. 215). In 1934 Pankhurst and her partner, the Italian anarchist London: Secker & Warburg, 1949 Silvio Corio, travelled to Romania to be present at the Octavo (178 × 120 mm). Recent red morocco by Bayntun- unveiling of a statue of Eminescu in Constanza on the Riviere, titles to spine in gilt in compartments, raised bands Black Sea. Pankhurst was active in the Italian anti- ruled in gilt, single rule frame in gilt to covers, turn-ins and fascist movement, partially through her connection board edges ruled in gilt, marbled endpapers, edges gilt. Boards very slightly bowed, inner hinge at pp. 310–11 cracked to Corio, and started the Society of Friends of Italian but firm; else a near-fine copy. Freedom and the Women’s International Matteotti Committee (1932), which agitated for the release of first edition, attractively bound. Italian Socialist Giacomo Matteotti’s widow. £1,250 [131522] Peter France, The Oxford Guide to Literature in English Translation (2000); Shirley Harrison, Sylvia Pankhurst: A Crusading Life (2003). £1,350 [131196]

141

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ton with many thanks for his generous interest Irving Penn 1963”. This work contains a collection of photographs taken by Penn between 1947 and 1958, which first appeared within the editorial pages of Vogue. Roth p. 158. £1,000 [131511]

146 PICASSO, Pablo. Portrait d’Aimé Césaire Lauré. Paris: Editions Fragrance, 1949 Etching with drypoint and uncorrected title page of Corps Perdu, both printed on single folded sheet of Japon Impe- rial paper (sheet size 565 x 393 mm, unfolded). Etching presented float mounted in a white gold leaf frame with acrylic glazing. In excellent condition. 144 one of three on japon imperial paper, signed by the artist, from a total edition of around 200 144 145 unnumbered impressions. This is a proof of Picasso’s portrait of the poet Aimé Césaire (1913–2008) for PARKER, Gilbert. The Works. New York: PENN, Irving. Moments Preserved: Eight Césaire’s 1950 work Corps Perdu, the uncorrected title Charles Scribner’s Sons, 1913–23 Essays in Photographs and Words. New York: page of which is also printed on the present sheet, 24 volumes, octavo (211 × 140 mm). Original red half morocco Simon and Schuster, 1960 now folded and framed. Picasso and Césaire met in by Stikeman and Co. for the publisher, spines lettered in gilt Tall quarto. Original buff cloth, titles to spine in black. With 1948 at the Communist-led World Congress of Intel- with gilt floral design, red cloth sides, red cloth endpapers, the dust jacket and the pictorial slipcase. Numerous photo- lectuals for Peace, in Poland. Césaire was the “figure- top edges gilt, others untrimmed. Frontispiece with tissue- graphic illustrations in colour and black and white. A fine head of the 1930s Negritude movement in France . . . guard to each volume. A couple of patches of very minor wear copy in the dust jacket with slightly toned spine, small closed writers who hoped to foster a sense of shared heritage around extremities, spines lightly sunned. A near-fine set. tear to spine panel, small label to foot of spine, minor creas- throughout the African diaspora” (MoMA). ing to top edge. imperial edition, number 43 of 256 copies printed on Bloch 633; Baer 841Ba. japon and with a signed portrait of the author in vol. I. first edition, inscribed by the photogra- £8,500 [131055] £1,750 [131158] pher on the front free endpaper, “For M. Joseph But-

62 Spring Miscellany: Peter Harrington 146

All items are fully described and photographed at peterharrington.co.uk 63 148

147 PICASSO, Pablo. Toros en Vallauris 1957. Val- lauris: Arnéra, 1957 Linocut in blue on thin wove paper. Image size: 63.8 × 53.2 cm. Sheet size: 100 × 65 cm. Light creasing to margins, tape to edges of verso used to strengthen the paper. Presented in a handmade white gold frame with acrylic glazing. proof aside from the edition of 198, signed by the artist in red pencil crayon lower right. This copy unnumbered as issued. Bloch 1276; Baer 1045; MMA 123. £6,000 [131146]

148 PIGOU, Arthur Cecil. Protective and Preferential Import Duties. London: Macmillan and Co., Limited, 1906 Octavo. Original blue cloth, spine lettered in gilt. Light crease at head of first few leaves, slight split in gutter between first 2 gatherings. A very good copy. first edition of Pigou’s defence of free trade based on Marshallian principles, the copy of Pigou’s fellow economist Lionel Charles Robbins (1898–1984), with his ownership signature to the front free endpaper. At the LSE, Robbins “dominated the economics department for thirty years and built it up to its pre-eminent position in British economics” (ODNB). Robbins and Pigou’s relationship was cordial, and the pair served 147 together on John Maynard Keynes’s Committee of

64 Spring Miscellany: Peter Harrington 149

Economists in 1930, but they differed in their views; significant sections of Robbins’s 1932An Essay on the Nature and Significance of Economic Science were directed against Pigou’s system of welfare economics. 151 £650 [131594] first edition, signed by the author on the title 151 149 page; his first full-length play. PLATH, Sylvia. Ariel. London: Faber and Faber, PIGOU, Arthur Cecil. Wealth and Welfare. £1,250 [131516] 1965 London: Macmillan and Co, Limited, 1912 Octavo. Original red cloth, spine lettered in gilt. With the Octavo. Original blue cloth, spine lettered in gilt. Ownership dust jacket and the wraparound band. Minor rubbing to signature of one Richard Williams of Croydon dated 1912 to spine ends, patch of glue residue to front free endpaper; else the title page. Nick at head of spine, light marking to cloth, a near-fine copy in the jacket with slight nicks to spine ends light foxing to initial and final leaves. A very good copy. and top edge, and uncommon wraparound band with tiny nick to front flap. first edition, association copy, with the ownership signature of fellow economist Lionel Robbins first edition, from the library of poet Alice Mac- (1898–1984). At the LSE, Robbins “dominated the kenzie Swaim (1911–1996), with her book label on the economics department for thirty years and built it front pastedown. Swaim was a successful poet, pub- up to its pre-eminent position in British economics” lished in the New York Times, The American Bard, Modern (ODNB). For the relationship between Pigou and Rob- Images, and more, and wrote as a poetry critic for the bins, see previous item. American Poetry League and the National Writers Club. She won the Presidents Award for Literary Ex- £1,500 [131590] cellence and the Woman of the Year Award (American Biographical Institute) in 1994. 150 Ariel is Plath’s most enduring poetry book, pub- PINTER, Harold. The Birthday Party. London: lished two years after her suicide, edited by Ted Encore Publishing Co. Ltd, 1959 Hughes and with an introduction by Robert Lowell. Plath believed her Ariel poems to be the best she had Octavo. Original black and white pictorial wrappers. Covers ever produced, “announcing to her mother that ‘they re-attached with tape on hinges, lightly rubbed and creased. will make my name’” (ODNB). A good copy. 150 £1,500 [130027]

All items are fully described and photographed at peterharrington.co.uk 65 152

152 PULLMAN, Philip. His Dark Materials. [Northern Lights; The Amber Spyglass; The Subtle Knife; Lyra’s Oxford]. London: Scholas- tic, 1995–1997–2000–2003 4 works, octavo. Northern Lights, original purple cloth, spine lettered in gilt; The Subtle Knife, original green cloth, spine lettered in gilt, gilt knife design on front cover; The Amber Spyglass, original black cloth, spine and front cover lettered in gilt, orange endpapers. With the dust jackets. Lyra’s Oxford, original red cloth with map design on rear board, black lettering, original colour pictorial on front board, light green endpapers, folding map. Lyra’s Oxford with pictures and illustrations. Spine ends lightly rubbed, The Subtle Knife: minimally spine-rolled. A near-fine set in excellent dust-jackets, extremities slightly rubbed, Northern Lights: small abrasion to foot of rear flap verso from a label sometime removed. first editions, each work signed by the author on the title page; Northern Lights and The Am-

152 153

66 Spring Miscellany: Peter Harrington 154 155 156 ber Spyglass additionally inscribed, “my greetings to pears on page 27 of the published work as a full-page 155 Stephen” and “To Amanda”, respectively. Northern line drawing. (RACKHAM, Arthur.) POE, Edgar Allan. Lights with the required issue points to the jacket: the In A Midsummer Night’s Dream Rackham “developed £12.99 price, “Point” imprint to the spine panel, and his gift for drawing witches, gnomes, fairies, and an- Tales of Mystery and Imagination. London: 7-9 Pratt Street to the rear flap. It also bears the Carn- thropomorphized trees and brought them to a pitch George G. Harrap & Co Ltd, 1935 egie Medal sticker which some take to denote any of of vivid characterization, sometimes with an unset- Quarto. Original vellum, titles and decorations to spine and the first three states. tling frisson of horror” (ODNB). front cover in gilt, pictorial endpapers, top edge gilt. With the original numbered slipcase. Colour frontispiece and Pullman’s epic trilogy of fantasy novels is recog- £15,000 [130494] nized as one of the best children’s novels of the 20th 11 colour plates tipped-in with captioned tissue guards, 17 black and white plates, illustrations in the text, all by Rack- century. The Amber Spyglass won the 2001 Whitbread ham. A fine copy. Book of the Year award, being the first children’s 154 book to do so, while the trilogy as a whole came third (RACKHAM, Arthur.) WALTON, Izaak. The signed limited edition, number 68 of 460 copies in the BBC’s Big Read survey of 2003. signed by the artist. Rackham’s “illustrations to Poe’s Compleat Angler. London: George G. Harrap & Tales have a sharp edge of true horror, a re-emergent £4,000 [131813] Co Ltd, 1931 strain from the earlier Grimm and Wagner subjects” Small quarto. Original vellum, spine and front cover (ODNB). 153 lettered in gilt, three-line gilt border to front cover, pictorial Latimore & Haskell pp. 72–3; Riall p. 189. endpapers, top edge gilt, others untrimmed. Colour RACKHAM, Arthur. Original watercolour frontispiece and 11 colour plates with captioned tissue £3,000 [131649] for A Midsummer Night’s Dream (“-down topples guards, black and white illustrations in the text, all by she”), 1908 Rackham. Spine lightly creased, very faint soiling to covers. 156 A very good copy. Ink and watercolour on card (175 × 240 mm). Mounted and ROBBINS, Tom. Still Life With Woodpecker. framed (590 × 490 mm). Very good condition. signed limited edition, number 717 of 775 copies signed by the artist. New York: Bantam, 1980 Original watercolour by Rackham for the 1908 edi- Latimore & Haskell pp. 66–67; Riall p. 175. Octavo. Original buff cloth, titles to spine in gold and cop- tion of A Midsummer Night’s Dream, signed and dated per, buff endpapers. With the dust jacket. A fine copy in the by the artist at the upper right-hand corner, with his £750 [131650] bright jacket. caption outside the margin on the bottom left. first edition, signed by the author on the The illustration, captioned “-down topples she”, title page. depicts a section of Act II, Scene 1, in which Puck recounts a trick he plays on human-folk, disguising £500 [131010] himself as a chair only to vanish when sat upon. It ap-

All items are fully described and photographed at peterharrington.co.uk 67 158 ROSEN, Michael. We’re Going on a Bear Hunt. London: Walker Books, 1989 Oblong quarto. Original orange boards, spine lettered in black, pictorial endpapers. With the dust jacket. Illustrated throughout in black and white and colour by Helen Oxenbury. Spot of wear to head of spine, small dent to head of front board; else a near-fine copy in the price-clipped jacket with a few tiny marks to covers, nicks to extremities, a couple of short closed tears. first edition, inscribed by the author on the copyright page, “hello! Michael Rosen, best wishes”. Loosely inserted in this copy is a ticket to An Evening with Michael Rosen at the Nottingham Mechanics In- stitute, dated 8 November 2018. Signed copies of this work are notably scarce in commerce. £1,250 [130892] 157 159 159 157 lower outer corners, faint foxing to endmatter; a very good, ROSSETTI, Christina. Poems. With an remarkably bright, copy. ROLFE, Frederick, Baron Corvo. In His Own Introduction by Alice Meynell. London: Blackie first edition thus, presentation copy, in- Image. London & New York: John Lane, The Bod- and Son Ld, 1906 scribed by the editor on the half-title, “To Anita, with ley Head, 1901 Small octavo. Original green cloth, titles and decoration to the love of the editor, Alice Meynell”. The recipient Octavo. Original purple cloth, spine and front cover lettered in spine in gilt, stylistic publisher’s series motif featuring two is believed to be the Meynell’s friend and fellow poet white, top edge gilt, others untrimmed. With the dust jacket. birds stamped in gilt to front cover, floral patterned green Anita Bartle (1876–1962). This edition was issued as endpapers, all designed by Talwin Morris, top edge gilt. Bookseller’s ticket to front pastedown. Spine faded with a spot part of Blackie and Son’s Red Letter Poets series, each of loss to colour, rubbing and fading to board edges, light fox- Printed in red and black. Illustrated portrait frontispiece title of which was edited and introduced by Meynell. ing to endpapers, a couple of spots of worm damage to book and title page. A couple of marginal pencil marks. Spine block; a very good copy in the scarce, faintly soiled, jacket with ever-so-slightly rolled, rubbing to extremities, tiny bumps to The series, the first title of which was published in a couple of chips to extremities, a little loss to centre of spine, 1902, was designed “to appeal to consumers of cul- short closed tear to foot of front panel. ture by being both beautiful objects and English ‘clas- first edition, first issue binding. This work sics’” (Kooistra, p. 232). Alice Meynell (1847–1922) expands Rolfe’s earlier collection of short stories de- was a prolific editor, a highly respected literary critic, scribing the travels of a group of young saints, Stories and a poet in her own right. Toto Told Me, (1898), from six to thirty-two. The sheets Kooistra, Lorraine Janzen, Christina Rossetti and Illustration: A Publishing History, Ohio University Press, 2002. for this work were printed in the US, and 1,500 sets were imported into the UK, where the book was pub- £675 [130797] lished on 5 March 1901. It was released in the US one month later, on 6 April 1901. Copies issued in the US were bound in purple cloth, as in the present copy, and those in the UK in green, grey, red, or dark blue cloth. Woolf suggests, however, that the earliest copies issued in the UK were imported from the US already bound in the purple cloth. Woolf A4. £4,500 [131348]

158 159

68 Spring Miscellany: Peter Harrington 160 161 163

160 162 ing and Greenfield are notably uncommon. This copy ROWLING, J. K. Harry Potter and the Cham- ROWLING, J. K. Harry Potter and the Goblet is the rarer variant printed at Omnia Books, Glasgow. Errington A9(a). ber of Secrets. London: Bloomsbury, 1998 of Fire. London: Bloomsbury, 2000 Octavo. Original pictorial boards. With the pictorial dust Octavo. Original pictorial boards, titles to spine and front £3,000 [131863] jacket. Contents very lightly toned as often, a near-fine copy cover in blue and black. With the dust jacket. A fine copy in in the bright jacket with very slight creasing to extremities. the jacket with negligible creasing to spine ends, a couple of 163 spots of glue residue to rear panel. first edition. [ROWLING, J. K.] GALBRAITH, Robert. Errington A2(a). first edition, signed by the author on the dedication page, and additionally signed by the cov- The Cuckoo’s Calling. London: Sphere, 2013 £2,500 [130830] er artist, Giles Greenfield, to the front panel of the Octavo. Original dark blue cloth, spine lettered in gilt. With dust jacket. Copies of this work signed by both Rowl- the dust jacket. Small red mark on title page; a near-fine 161 copy in the bright and crisp dust jacket, spine ends slightly rubbed. ROWLING, J. K. Harry Potter and the Pris- first edition. The first printing of the first edi- oner of Azkaban. London: Bloomsbury, 1999 tion ran to at least 1,500 copies, with a cover which Octavo. Original pictorial boards. With the dust jacket. features a quote from Val McDermid, while the back A fine copy in the bright jacket with negligible creasing to cover has quotes from Mark Billingham and Alex edges. Gray. The copyright page does not have a number line first edition, first state, with the requisite but simply states “First published in Great Britain in points: number series on the copyright page from 10 2013 by Sphere”. down to 1, “Joanne Rowling” as the copyright holder, Errington A17(a). and the dropped line (line 24) of text on page 7. In the second state, the dropped text is corrected, and the £800 [131822] copyright attributed to “J. K. Rowling”. It is generally held that there were 2,500 copies of the first state. Errington A7(a). £2,500 [130835]

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164 Ruskin’s ideal working man—had been reduced to the Simon & Schuster published the first US edition in RUSKIN, John. The Stones of Venice. With condition of a machine” (ibid.). the preceding year. Printing and the Mind of Man 315. Blackwell & Ruja A79.2a. illustrations drawn by the author. London: Smith, Elder and Co., 1873–4 £3,500 [130972] £600 [131528] 3 volumes, large octavo (252 × 173 mm). Early 20th-century brown half morocco by Birdsall & Son of Northampton, tan 165 166 and green twin morocco labels to spines, blue cloth sides. With 62 illustrated plates and illustrations in the text. Contemporary RUSSELL, Bertrand. History of Western Phi- RUTHERFORD, Ernest, James Chadwick, gift inscription to front free endpaper. Spines toned, light losophy. London: George Allen and Unwin Ltd, & C. D. Ellis. Radiations from Radioactive marking to bindings, some foxing. A very good copy. 1946 Substances. Cambridge: Cambridge University signed limited edition (stated “New Edition”), Octavo. Original grey cloth, spine lettered in yellow on Press, 1930 one of 1,500 unnumbered copies signed by the au- a brown background. With the dust jacket. Cloth a little Octavo. Original green cloth, titles to spine in gilt. With the thor at the end of the preface; with the self-designed rubbed, minor creasing at spine ends, top edge dust toned, dust jacket. With 12 plates and numerous diagrams in the bookplates of Major Robert Gregory (1881–1918), the contents lightly toned; a very good, notably bright, copy in text. Ownership inscription to head of front free endpaper subject of W. B. Yeats’s famous poem, “An Irish Air- the jacket with creasing and nicks to extremities, a couple of and p. 273. Spine just starting to roll, light offsetting to short closed tears to spine ends. man Forsees his Death”. endpapers, foxing to edges, verso of plates, not affecting One of the key texts of the aesthetic movement, The first uk edition. Russell’s expansive account of images, and very occasionally to text; else a near-fine copy in the remarkably bright jacket with a couple of small nicks Stones of Venice was first published from 1851 to 1853 and the history of philosophy, ranging from the Orphism to spine ends and tips. was “a revolutionary success” (PMM). Its importance of ancient Greece to the logical positivism of the au- lies “in its celebration of the Byzantine and the Gothic, thor’s present day, was a triumph of his populist craft first edition, in the notably uncommon dust jack- which had an immediate effect on Victorian architects, and is perhaps his most famous book. Written dur- et. Ernest Rutherford (1871–1937) was a pioneer in the who began to introduce Romanesque forms and Vene- ing the Second World War, Russell’s project was in study of nuclear physics, the discoverer of the structure tian and Veronese colour and sculptural features into part conceived to explain to his audience the exact of the atom and the first scientist to split the atom. their designs” (ODNB). In the most famous chapter, nature of the civilization for which they were fight- This work updates his 1913 work Radioactive Substances “The nature of Gothic”, which was twice reprinted in ing. Appropriately, the dust jackets were printed on and their Radiations (an account of the whole subject of his lifetime (first for the inauguration of the London the backs of surplus Second World War maps, the radioactivity as it then stood) and includes an account Working Men’s College in 1854, and second by William present example showing a part of eastern Poland. of the “very rapid growth of our knowledge of the Morris in 1892), “Ruskin argued that under conditions transformations of radioactive substances and of the of industrialization and the division of labour, social radiations which accompany these transformations” disharmony and industrial unrest were bound to oc- which had occurred since 1913 (preface). cur, because the previously expressive craftsman— £1,350 [131167]

70 Spring Miscellany: Peter Harrington 168

Huédé, captain of the French luxury liner Normandy, which made its final voyage across the Atlantic in Au- gust 1939 and was stranded in New York at the out- break of war in September. Le Huédé was promoted when the original captain Stephen Payen returned to France, and he served aboard the docked ship until it 167 was requisitioned by the US government in 1941. Saint-Exupéry and Lamotte met in art school in 167 sociation with Vogue magazine, and was employed by France, and during the early 1940s spent a great deal Vita’s mother, Lady Sackville, as an interior designer. of time together at Lamotte’s New York studio, Le Bo- SACKVILLE-WEST, Vita. The Land. With cal (The Fishbowl). It was here that Saint-Exupéry did Cross & Ravenscroft-Hulme A13b. woodcuts by George Plank. London: William much of his work for The Little Prince while Lamotte Heinemann, 1926 £1,250 [130507] completed the illustrations for this volume. Le Bocal Quarto. Original japon-backed cream paper boards, spine was the social hub for a large group of French expatri- lettered in gilt, top edge gilt, others untrimmed. Housed in 168 ates, artists, and celebrities, and it is likely that the stranded captain spent time there. the cream card slipcase. Woodcut frontispiece and 4 chapter SAINT-EXUPÉRY, Antoine de. Flight to Ar- headers. Foxing to covers, faint browning to endpapers, in- £2,950 [126754] ternally fresh; a near-fine copy. ras. Translated from the French by Lewis Gal- signed limited edition, number 65 of 125 cop- antière. Illustrated by Bernard Lamotte. New ies signed by the author and artist, printed on japon, York: Reynal & Hitchcock, 1942 and with engraved chapter headings not featured in Octavo. Original blue cloth, spine and front cover let- the trade issue. This poem, dedicated to her lover tered in gilt, pictorial endpapers, top edge blue, others Dorothy Wellesley (1889–1956), was “an ambitious untrimmed, a few pages unopened. With the dust jacket. attempt to write a modern version of Virgil’s Georgics With 12 plates by Bernard Lamotte. Spine very gently by celebrating the annual round of the Kentish farm- rolled, spine ends lightly creased, else a near-fine copy in the slightly rubbed jacket, spine panel faded with a couple ing year” (ODNB). It was critically and commercially of small marks, head of spine panel a little chipped, a few successful, and won Sackville-West the Hawthornden nicks and short closed tears. Prize in 1927. The artist, George Plank (1883–1965), first edition in english, signed by the au- was an American illustrator known for his long as- thor and inscribed by the illustrator on the half-title: “a le Huédé, avec toute mon amitié, Bernard Lamotte 1942”. The recipient was Hervé Le 168

All items are fully described and photographed at peterharrington.co.uk 71 and readers. In the note, dated 23 April 1934, three months after publication of this title, Sayers discuss- es the potential marriage of Lord Peter Wimsey to Harriet Vane in her novels. Addressed “Dear Madam” and written in response to a fan letter, Sayers prom- ises to “do my best to get Lord P. married to Harriet, but so many people (mostly women) write & beg me to keep him single that it is difficult to please every- body”. The relationship between Wimsey and Vane began in Strong Poison (1930), in which Vane was on trial for poisoning her lover. Wimsey cleared her name and romantically pursued her in the following novels; their marriage eventually took place in Bus- man’s Honeymoon (1937). Sayers notes that she is “glad you understand & like Harriet – most people hate her” indicating the sympathy she herself felt for the character. Sayers repeatedly faced the criticism that she modelled Vane on herself. 169 The Nine Tailors, the ninth Lord Peter Wimsey mystery, was “as much a meditation on time and change 169 as it is a murder mystery” (ODNB). It was described by Haycraft as “her finest achievement and one of the SAYERS, Dorothy L. The Nine Tailors. truly great detective stories of all time” (Haycraft, p. London: Victor Gollancz Ltd, 1934 135). It immediately ran to three impressions, with 170 Octavo. Original black cloth, titles to spine in red. With the nearly 100,000 copies sold in seven weeks in the UK dust jacket. Together with autograph note on headed card, alone. a powerful symbol of the themes of the novel. Ivanhoe written in black in on both sides (88 × 114 mm), housed in a Haycraft, Howard, Murder for Pleasure: The Life and Times of the may be set in a distant period, but it has a political plain envelope (96 × 143 mm). Black and white frontispiece, Detective Story, Appleton, 1941; Gilbert A19, a. I. modernity which makes it one of the most remarkable maps to page 55. Slight shelfwear to extremities, light novels of the nineteenth century” (ODNB). foxing to edges and endpapers; a remarkably bright copy in £6,750 [132138] the jacket with sunned spine and folds, short closed tears This copy has a pleasing Scottish provenance, with the contemporary armorial bookplates of James Urqu- to spine ends, a couple of faint marks and creases to front 170 panel and flap, slight nicks to edges, three small pieces of hart of Meldrum (1759–1835) to the front pastedowns, tape reinforcement to verso. SCOTT, Sir Walter. Ivanhoe; a Romance. and presentation inscription dated 1950 from one Gor- First edition, with an autograph note from Say- Edinburgh: Archibald Constable and Co.; Hurst, don B. Duff to the Scottish academic and writer Wil- ers loosely inserted, providing a fascinating insight Robinson and Co., London, 1820 liam Douglas Simpson (1896–1968)—who published works on Scottish mediaeval architecture and archae- into Sayers’s relationship with both her characters 3 volumes, octavo (176 × 109 mm). Contemporary calf, ology—to the front free endpaper of vol. I. Simpson’s smooth spines lettered and numbered in gilt on green and red morocco labels, blue edges. A few very minor pencil an- ownership signature is also on the front free endpaper notations. Half-titles present. Lightly rubbed, neatly repaired of the second and third volumes. closed tear to vol. II pp. 217–220 and pp. 283–4 (affecting text Todd and Bowden, 140Ab. without loss). A very attractive set, contents clean. £1,250 [131636] first edition, second issue. The print run was increased due to promising advance orders, and the 171 first sheets of vol. I were reset with some corrections for the additional copies; this second issue “appears to (SEED CATALOGUE.) BUCKBEE, [Hiram have been accomplished within a few days of original W.] H. W. Buckbee seed & plant guide. 61st publication” (Todd and Bowden, p. 505). “Ivanhoe is es- Year. Rockford, IL: H. W. Buckbee, 1932 sentially a moral work. It is an intense consideration of Octavo. Colour lithograph wrappers, wire-stitched, front cover misogyny and racial oppression, in which the attempt- depicting Buckbee’s Break O’Day Tomato, rear cover depicting ed rape of Rebecca the Jewess by the dominant figure their rock garden collection. With the order forms to the front of the Norman master race, Brian de Bois-Guilbert, is and rear and the envelope laid-in as issued, and the catalogue 169

72 Spring Miscellany: Peter Harrington 172 173 174 mailing envelope addressed to Owen Wade in Colton, Oregon and it quickly became one of the most important mer- 173 preserved. Wrappers colour illustrated on recto and verso, nu- chandising institutions in the US. In 1921, the year of SEUSS, Dr. I Can Lick 30 Tigers Today! And merous black and white photographic and woodcut illustra- Buckbee’s death, the company mailed approximately tions to the text. Very slight rubbing to extremities and gentle 750,000 catalogues. The Buckbee Seed Company lat- Other Stories. New York: Random House, 1969 vertical crease to front cover, an excellent copy. er merged with Rockford’s three other seed and plant Quarto. Original pictorial boards, title to spine and front first edition of this bright and attractive seed cat- wholsalers to become Condon-Shumway, a company cover in red and black, illustrated endpapers. No dust jacket alogue from Buckbee’s, a seed company famous for that continued selling produce until the 1970s. issued. Illustrated throughout by the author. Boards a little toned, very minor wear to extremities, light crease to a few their tomatoes. Hiram Buckbee (1860–1921), along- Some pre-1930 Buckbee tomato seeds are still avail- side his brother John, founded the company in 1871 page corners and a small patch of soiling to one page. A very able to buy as heirloom seeds for planting. This cata- good copy. logue advertises seeds for beans, asparagus, beets, first edition, with the requisite 29 titles and no cabbage, carrots, cauliflower, celery, cucumbers, ISBN code on the rear cover. peppers, radishes, and many varieties of tomatoes. It is both commercially and institutionally scarce. Younger and Hirsch 38. OCLC locates one copy (USDA’s Henry G. Gilbert £500 [131029] Nursery and Seed Trade Catalog Collection). £175 [118107] 174 SEUSS, Dr. Please Try to Remember the First 172 of Octember! Illustrated by Art Cumings. New [SEUSS, Dr.] LESIEG, Theo. The Eye Book. York: Beginner Books, a division of Random House, New York: A Bright and Early Book, Random House, 1977 1968 Quarto. Original pictorial paper-covered boards, pictorial Large octavo. Original pictorial paper-covered boards, pic- endpapers. No dust jacket issued. Illustrated in colour by torial endpapers. With the dust jacket. Colour illustrations Cumins throughout. Wear to spine ends, a little toned, else throughout by the author. Light scratch to front cover. A very a very good copy. good copy in the dusty jacket, lightly toned and soiled. first edition, with the number line running to 0 first edition, with the correct 195/195 price on the as called for. dust jacket. Younger and Hirsch 65. Younger & Hirsch 21. £550 [131030] £875 [131028] 171

All items are fully described and photographed at peterharrington.co.uk 73 175 176

175 100 miles of the south pole” (ODNB). Sir Raymond of volume 2. Ends of spines and tips slightly rubbed, joints slightly tended, internally clean, a very good copy in bright SHACKLETON, E. H. The Heart of the Ant- Priestley (1886–1974), a British Geologist and Ant- arctic explorer who accompanied Shackleton on the cloth. Two of the folded maps “Explorations and Surveys” arctic. London: William Heinemann, 1909 1907–1913 Antarctic expeditions, said, “For scientific and “Southern Journey Party” have slight puncture holes to the folded creases. 2 volumes, large octavo. Original silver pictorial blue cloth, leadership, give me Scott; for swift and efficient trav- titles on spines in gilt, top edges gilt, others untrimmed. el, Amundsen; but when you are in a hopeless situa- first u.s. edition, first published in the UK the With the price-stating dust jackets. With 2 frontispieces, tion, when there seems to be no way out, get on your same year. (See previous item.) 3 maps and a panorama in rear pocket of volume 2 as pub- Rosove 305.C1; Taurus 58. lished, 12 coloured plates, 257 black and white plates on 204 knees and pray for Shackleton” (McKay, p. 39) leaves, and numerous illustrations and diagrams in the text. Books on Ice 7.4; McKay, Gordon, Practical Leadership, Chandos £1,800 [131302] Lightly spine rolled, slight bumping and wear to extremities, Publishing, 2006; Rosove 305.B1a, dustwrapper 2; Taurus 58. light rubbing, endpapers a little toned, faint spotting. An ex- £6,500 [132066] 177 cellent copy in the very good dust-jackets, spines somewhat darkened, some wear to extremities. SHACKLETON, E. H. South. The Story of first edition, trade issue of Shackleton’s ac- 176 Shackleton’s Last Expedition 1914–1917. count of the British Antarctic Expedition of 1907–9 SHACKLETON, E. H. The Heart of the Ant- London: William Heinemann, 1919 (Nimrod). “Their sledge journey to the south magnet- arctic. Philadelphia: J. B. Lippincott Company, Octavo. Original dark blue cloth, spines and front cover let- ic pole was one of the three foremost achievements 1909 tered in silver, front cover with large silver block of Endur- of this expedition. The other two achievements were, ance stuck in ice, publisher’s device in blind to rear board, 2 volumes, large octavo. Original blue cloth, gilt lettered first, the ascent and survey of Mount Erebus (12,448 top edge blue. Housed in a custom brown morocco-backed spines, front covers lettered and with large pictorial block cloth solander box. Colour frontispiece and 87 half-tone feet), the active volcano on Ross Island and, second, in silver, top edges gilt, fore edges untrimmed, several page the southern sledge journey, which reached within plates, folding map at the rear. Professional repair to inner uncut. One folded plate and three maps in the rear pocket hinges. Touch of wear to rubbed spine ends and tips, light

74 Spring Miscellany: Peter Harrington 177 178 foxing to edges, contents browned (although less so than 178 usual), short closed tear to head of map stub; a remarkably bright copy. (SHACKLETON, E. H.) WILD, Frank. first edition, with the three-line errata slip pasted Shackleton’s Last Voyage. The Story of the into the gutter at page 1. Externally and internally a Quest. From the Official Journal and Private lovely copy of a book which usually suffers from the Diary kept by Dr. A. H. Macklin. London: Cas- deterioration of materials produced to wartime econ- sell and Company, Ltd, 1923 omy standards. Due to the immense popularity of the Large octavo. Original blue cloth, spine lettered in gilt, front work a second impression was released a month after 177 board with titles in black and pictorial block of the Quest to the first using a superior paper stock. the front board in black, white and gilt, all within concentric “The failure of Shackleton’s Imperial Trans-Ant- this factor has led to the re-interpretation of the book frames in black and white, pictorial endpapers. Coloured arctic Expedition to even reach the Antarctic con- in terms of a leadership and man-management man- frontispiece, 50 halftone plates from photographs, sketch maps to the text. Spine minimally rolled and faintly toned, tinent, much less to cross it via the South Pole, has ual, and several influential attempts have been made become the great polar success story of the twentieth rubbing to extremities, touch of wear to tips, slight discol- to distil from the narrative the underlying principles ouration and a couple of marks to cloth, top edge dust toned, century” (Books on Ice). Shackleton embarked in 1914 of Shackleton’s command, in order that they might foxing to edges, endmatter, and occasionally to contents; a on the Endurance to make the first traverse of the Ant- be applied more widely. very good copy. arctic continent; a journey of some 1800 miles from As Apsley Cherry-Garrard remarked in Worst Jour- first edition. Wild had been with Scott on the Dis- sea to sea. But 1915 turned into an unusually icy year ney in the World; “For a joint scientific and geographi- in Antarctica; after drifting trapped in the ice for nine covery, was with Mawson in 1911–14, “and was a close cal piece of organization, give me Scott; for a Winter friend of Shackleton on both the Nimrod expedition months, the Endurance was crushed in the ice on Oc- Journey, Wilson; for a dash to the Pole and nothing tober 27. “Shackleton now showed his supreme quali- of 1907–09 and second-in-command on the Transan- else, Amundsen; and if I am in the devil of a hole and tarctic Expedition of 1917–17 . . . Wild joined Shack- ties of leadership. With five companions he made a want to get out of it, give me Shackleton every time”. voyage of 800 miles in a 22-foot boat through some of leton on his final voyage to the Antarctic in 1921–23 Books on Ice 7.8; Conrad p. 224; Spence 1107; Taurus 105. the stormiest seas in the world, crossed the unknown but the explorer’s death sapped Wild’s desire to con- lofty interior of South Georgia, and reached a Norwe- £3,750 [130954] tinue” (Howgego). This is a “handsome publication” gian whaling station on the north coast. After three reproducing “the last photographs of Shackleton to attempts. Shackleton succeeded (30 August 1916) in be taken” (Taurus). rescuing the rest of the Endurance party and bringing Howgego III, S25; Rosove 349.A1; Taurus 112. them to South America” (ODNB). £1,500 [130953] Amazingly, all members of the Endurance party sur- vived the ordeal, attributing their survival to Shackle- ton’s exceptional leadership qualities. In recent years,

All items are fully described and photographed at peterharrington.co.uk 75 180

180 SHAKESPEARE, William. The Works. Lon- don: Chapman and Hall, 1866 9 volumes, octavo (216 × 136 mm). Mid-20th-century red half calf by Bayntun, twin blue and green calf labels, gilt theatrical motifs to compartments, red cloth sides, marbled endpapers, top edge gilt. Engraved frontispieces to vols. I, II, and III. Light cockling to cloth in places, a few trivial paper repairs. An excellent, bright set. second and preferred edition. Dyce (1798– 1869) was one of the principal editors involved in William Pickering’s prestigious Aldine Edition of the British Poets; his edition of Shakespeare in that series was first published in 1832. He then produced his own complete edition of Shakespeare (6 volumes, 1857), and improved it for this revised second edi- 179 tion, an edition which “became widely accepted as the most authoritative text then available” (ODNB). A third edition was completed after his death by John first appeared in 1674 (printed twice in that year). As 179 Forster. “He did much to rescue Shakespeare’s pre- was common practice with play texts in the 17th cen- SHAKESPEARE, William. Macbeth, a cursors and contemporaries from the neglect of the tury, Macbeth is here bound up with 11 other popular 18th century and added considerably to the stock of tragedy: with all the alterations, amendments, plays of that era, allowing it to be seen in its contem- knowledge of the Elizabethan stage. As a scholar he additions, and new songs [together with 11 porary context. was distinguished by his erudition, industry, probity, Though without any marks other than a pencilled other plays of the period, in one volume]. and judgement” (ibid.). London: for Hen. Herringman, 1687 shelf-mark on the front free endpaper, the volume is £1,500 [131073] Quarto, 12 plays in one volume. Contemporary mottled from the library at Ombersley Court, Worcestershire, and panelled calf, covers decorated in blind, spine in six which was built in the early 18th century for the first compartments, horizontally ruled in gilt. Macbeth: some Lord Sandys. slight browning to text. Front joint slightly cracked, some Macbeth: Pforzheimer 914; Wing S2932. wear to extremities. £15,000 [131682] fourth quarto edition of macbeth, adapted by William Davenant; Davenant’s version of Macbeth had

76 Spring Miscellany: Peter Harrington ies, it was the first truly popular edition and the first to contain an illustration depicting Frankenstein and the Creature. Bentley insisted that all Standard Novel authors should revise their texts, and Mary took the opportunity to retain most of minor changes introduced by William Godwin into the 1823 second edition, as well as making substantial revisions, including an entirely new chapter and the celebrated Preface in which she describes the novel’s genesis at the nocturnal storytelling session with Shelley, Byron, and Polidori at the Villa Diodati (including the misleading suggestion that she been married at the time). Though Mary Shelley lived for another 20 years, this was the final revision she made in her lifetime. It was issued as volume IX of Bentley’s Stand- ard Novels series alongside the first part of Schiller’s Ghost Seer, which was completed in volume X of the 180 181 series. Sadleir 3734a; Wolff 6280a. 181 first illustrated edition, the third overall, and £8,500 [130901] SHAKESPEARE, William. The Works. Phila- the first substantially revised by Mary Shelley alone as sole author. Published in an edition of 3,500 cop- delphia: George Barrie & Son, Publishers, [1899] 16 volumes, octavo (215 × 140 mm). Near-contemporary har- lequin morocco by Ph. K. Ferney, spines lettered in gilt with elaborate gilt foliate design to compartments, front covers with initials “M.S.F.” emblazoned in gilt, marbled sides and endpapers, top edges gilt, others untrimmed. With 171 steel engravings and 64 photogravures, with captioned tissue guards. Spines a little sunned, a bit of very minor marking to bindings and endpapers, vol. IV expertly recased with light cockling to rear cover. A very good set. limited edition, number 37 of 500 copies printed on japon. A highly desirable set, strikingly bound, attractively printed, and lavishly illustrated. £4,500 [131091]

182 SHELLEY, Mary W. Frankenstein: or, The Modern Prometheus. London: Henry Colburn and Richard Bentley, 1831 Octavo (168 × 105 mm). Late 19th-century red half morocco by Chatelin, twin red morocco labels to spine with gilt ornaments to compartments, marbled sides and endpapers, top edge gilt. Original brown cloth spine bound in at rear (repaired at head, labels scuffed). Engraved frontispieces and illustrated title page by Theodor von Holst. Half-title present. Spine a little sunned, tiny chip at foot of rear joint, faint stain at bottom edge, scattered foxing, some minor staining around peripheries, Ghost Seer with 2 cm closed tear to pp. 35/6 and tiny chips to pp. 163/4. A very good copy. 182 182

All items are fully described and photographed at peterharrington.co.uk 77 183

183 SHELLEY, Percy Bysshe. Posthumous Poems. London: Printed for John and Henry L. Hunt, 1824 Octavo (212 × 129 mm). Near-contemporary black straight- grain morocco by S. Ratcliffe of Faversham, spine lettered in gilt, spine and front cover tooled in gilt, marbled endpapers, gilt edges, green silk page marker. Faded contemporary ownership signature to the front free endpaper; red morocco book label of the American collector, and bibliographer of Rupert Brooke, Richard Montgomery Gilchrist Potter (1898– 1941). Some sporadic foxing, small marginal repair to pp. 25/6 not affecting text. A handsome, tall copy with little wear to binding, joints and hinges intact. first edition, first issue, without the errata 184 slip. Edited by Mary Shelley, this collection contains hitherto unpublished poems—“Julian and Maddalo” (with its evocation of Byron), “The Witch of Atlas” prohibit her from publishing P. B. Shelley’s works or printed in red and black. Jacket with slight nicks, chips and tears, light abrasions to back panel, binding with slight and “The Triumph of Life” foremost among the long- bringing the Shelley name to public attention again. mark to back joint, a little wear to corners, scattered foxing er works—fragments and translations (from Homer, Graniss 78; Wise, p. 70; Ramsden, Charles, Bookbinders of the United Kingdom, B. T. Batsford, 1987, p. 137. to edges of book block and periphery of letterpress. A very Euripides, Calderon, Goethe and Moschus), and good copy. Alastor, previously published in 1816. The collection is £2,500 [131201] first and limited u.s. edition, number 259 of prefaced by Mary’s moving account of her husband’s 800 copies, comprising the UK sheets with cancel life and work. 184 title page, the scarce dust jacket carries the Bodley Mary had difficulty finding a publisher until Head imprint as clearly no separate jackets were Thomas Lovell Beddoes, Bryant Waller Proctor (“Bar- SIRÉN, Osvald. The Walls and Gates of provided for the US issue. The Finnish-born Swed- ry Cornwall”), Thomas Forbes Kelsall and Nicholas Peking: Researches and Impressions. New ish art historian Osvald Sirén (1879–1966) was one of Waller agreed to stand guarantors for 250 copies. York: Orientalia, 1924 the pioneers of Chinese art scholarship in the West After publication, Sir Timothy Shelley withdrew the Quarto (325 × 253 mm). Original quarter natural buckram, and wrote widely on many aspects of Chinese cul- allowance he had made to her son Percy Florence, brown calf label, patterned paper sides, untrimmed. With ture; this lavishly produced monograph is one of his demanded the volume be withdrawn and the remain- the dust jacket. 109 photogravures on 128 plates from pho- major publications, alongside Chinese Sculpture from ing 191 unsold copies be destroyed, and attempted to tographs by the author, 50 architectural drawings made by Chinese artists, folding skeleton map of Peking; title page the Fifth to the Fourteenth Centuries (1925), The Imperial

78 Spring Miscellany: Peter Harrington 184 186

Palaces of Peking (1926) and the monumental seven- ing names in Urdu, English and Latin and Burmese volume Chinese Painting (1956–58). The very fine pho- together with properties and dosages. togravures, printed by Frank C. Thomas in London, 185 capture the tonal subtlety of Sirén’s originals, which provenance: pencilled inscription to the first combine a forensic approach with a highly evocative blank of Mountstuart Elphinstone Grant-Duff, Un- sense of place. from the records available, the cause of the high rate der-Secretary of State for India (1868–74), Under- Secretary of State for the Colonies (1880–1), and Törmä, Minna, Enchanted by Lohans: Osvald Sirén’s Journey into of mortality among the Government elephants in Chinese Art, Hong Kong University Press, 2013. Burma” (Preface). Extremely uncommon, OCLC re- Governor of Madras (1881–6). During his governor- cords two locations for the earlier edition—BL and ship he visited all 22 districts of Madras, where he £12,500 [131343] Oxford—together with a single copy of an 1897 reis- took “an especial interest in forests and in fauna and sue in BL, and just one record for the present edition flora generally” (ODNB). 185 at Edinburgh. Just the present copy and a single copy Bryant, Raymond L., “Forest problems in colonial Burma: of the 1897 lithographic facsimile of the author’s 1873 historical variations on contemporary themes”, in Global Ecology SLYM, Martinus Johannes. Elephants and and Biogeography Letters, 3, 1993. their Treatment in Health and Disease. manuscript traced at auction. At the time of writing Slym was Deputy Conserva- £7,250 [131660] Moulmein [Mawlamyine, Myanmar]: [ for the tor of Forests, British Burma in the Forest Depart- author,] 1878 ment, an organization established to prevent the 186 Octavo (237 × 148 mm). Contemporary brown morocco over over-exploitation of Burmese teak forests. Following bevelled boards by Higginbotham & Co., Madras—ticket to the opening up of the trade to laissez-faire forestry in SPARK, Muriel. The Prime of Miss Jean Bro- rear pastedown, title gilt to the front board within elabo- 1829 traders flocked to the province and the town of die. London: Macmillan & Co Ltd, 1961 rate “Orientalist” panel with stylized floral devices, similar Moulmein became an important timber and ship- Octavo. Original green cloth, titles to spine in gilt. With the panel to the lower board enclosing central foliate cartouche, pictorial dust jacket designed by Victor Reinganum. Slight repeated gilt roll to the spine, all edges gilt, foliate roll to building centre. “A small and nondescript village had rubbing to spine ends and tips, a near-fine copy in the very the turn-ins, mid-brown surface-paper endpapers. 15 litho- been turned into a major regional lumber town, and faintly foxed jacket with a little creasing and rubbing to ex- graphed plates from the author’s sketches, 2 of them fold- Tenasserim’s teak forests had become a valuable eco- tremities. ing, illustrations to the text, errata slip tipped in at p. 5. A nomic resource” (Bryant, p. 123). This “success” led little rubbed at the extremities, pale toning, occasional spot- to the rapid depletion of this resource requiring the first edition in book form. It was first published ting, but overall very good. “creation of reserved forests dedicated to long-term in the New Yorker on 14 October 1961, in a slightly first edition thus, expanded from a “small” edi- timber production” (ibid., p. 122). Within this con- abridged version. In 2005 the novel was chosen by tion issued in 1873 at the request of the Conservator text Slym’s work meticulously addresses the care and Time magazine as one of the 100 best English lan- of Forests, British Burma to “answer the purpose of treatment of the elephant. Chapters cover breeding, guage novels from 1923 to the present. a guide for the management of those animals, in a feeding, comparative anatomy, common diseases £500 [130779] more direct and complete form; and also to gather, and their cures, with a tabulation of medicines giv-

All items are fully described and photographed at peterharrington.co.uk 79 187

187 STANLEY, Henry Morton. In Darkest Africa. London: Sampson Low, Marston, Searle and Riving- ton Limited, 1890 2 volumes, octavo (214 × 138 mm). Contemporary red morocco by George Cross, binder to the Queen, titles to spines in gilt in compartments, elaborate tooling to spines in gilt, raised bands ruled in gilt, wide foliate frame to covers in gilt, turn-ins ruled in gilt, blue marbled endpapers, edges gilt. Frontispieces, 36 plates, 3 folded colour maps, folded table, numerous illustrations in the text, many full page. Book plate of William Ruddell Clarke of Trabolgan to front pastedowns. Professional repair to tear at head of first map in vol. II; similar short closed tear to head of first map in vol. I. Slight rubbing to extremities, touch of wear to tips, a couple of faint marks to covers, light foxing to endmatter; a very good, handsome, set. first edition of Stanley’s famous account of his 1886–9 expedition to relieve Emin Pasha, the governor of Equatoria who was supposedly besieged by Mahdist forces. Stanley’s dealings with Pasha (who proved resistant to being “rescued”), his abandon- ment of his own rear column and his wider motives for his mission have all come under suspicion then and since, but the book remains a classic of African exploration. It contains some of his most celebrated writing, especially his account of the tortuous 450- mile passage through the dense Ituri rain forest. In the course of the journey Stanley met Roger Case- ment, then in service on the Congo, discovered the great snow-capped range of Ruwenzori, the Moun- tains of the Moon, a new lake which he named the 188

80 Spring Miscellany: Peter Harrington Albert Edward Nyanza and a large south-western ex- tension of Lake Victoria. Translations of In Darkest Africa appeared quickly in French, German, Italian, Spanish, and Dutch while sales of the English trade editions reached 150,000 copies. Howgego IV, S60. £1,500 [130744]

188 STEADMAN, Ralph. Let’s Party. Lexington: Petro III Graphics, 2006 Two colour screenprint on White Rising Stonehenge deckle edge paper. Sheet size: 76 × 56 cm. Excellent condition. Pre- sented in a wooden black box frame with conservation glass and mount. edition of 250. signed by the artist in pencil lower right, numbered lower left. £1,500 [131051]

189 THACKERAY, William Makepeace. Vanity Fair. A Novel Without a Hero. London: Brad- bury and Evans, 1848

20 parts in 19, demy octavo. Original yellow printed paper 189 wrappers. Housed in a green morocco pull-off case and chemise, with red leather book label of the American collector E. H. Mills on chemise. Etched frontispiece, vignette title In this set, all but two parts are the first printing Probably the most familiar Van Duzer point (“Mr. page, and 38 plates, wood-engraved vignettes and initials from type, except No. V, which is the second print- Pitt” at 453.31) is not indicative of first issue or state, in the text, all after Thackeray. Front wrapper of no. V with ing, from stereo plates, with “done;” at 156.5 (cor- as the reading is common to the entire first edition the bookseller’s inkstamp of Law & Pinkney, Waterloo Build- rected to “done,” in the third printing); and No. VII, and the change to “Sir Pitt” was not made until the ings, Birkenhead (rubbed). Wrappers a little dust-soiled, a few spines with old repairs, some spotting to plates as usual, second printing, from stereo plates, with “stately” at second edition of 1853. mostly marginal, overall an excellent copy. 202.35 and “commission” at 23.17 (corrected to “state” As for the wrappers, which Shillingsburg does not and “commissions:” in the third printing). There are deal with (mentioning that these are the elements the first edition in the original parts. As a novel second state readings within the first printing at author had least to do with), Randall notes that the published in parts, the first edition of Vanity Fair re- No. I, sig. C; No. XIII, sig. DD; No. XIV, sig. EE; and front wrappers of the last four parts, XVI to XX (XIX– sists attempts to shoehorn it into the template famil- No. XVI, sig. KK. No. X is the first state with “Os- XX being a double number), occur in two states, dat- iar from booksellers’ descriptions of Dickens novels borne” at 309.3 (“Sedley” in second state and later ed and undated. In this copy, all four parts are undat- in parts, such as Pickwick Papers. The early parts of printings). The title page in the final part is the first ed, and the last double number has the imprint with Vanity Fair were already being reprinted in stereotype printing (Shillingsburg distinguishes six different “T. Murray, Glasgow”, all of which Randall hints, on before serialization was complete, and some parts title-pages). “purely negative” evidence, may be later states. were reprinted as many as eight times. Variants both These points are from Peter L. Shillingsburg, who before and after stereotyping were not all introduced Randall, David A., “Notes Towards a Correct Collation of the is the best guide to the complicated process of print- First Edition of Vanity Fair”, in Papers of the Bibliographical Society of in an orderly sequence, with the result that individual ing and reprinting parts of the first edition, including America, vol. 42, second quarter 1948, pp. 95–109. Shillingsburg, copies inevitably contain some corrected and some Peter L. “The Printing, Proof-Reading, and Publishing of changes made after stereotyping, building on earlier uncorrected sheets. Given the practices of contempo- Thackeray’s ‘Vanity Fair’. The First Edition”, in Studies in work by David A. Randall. The description still usu- rary publishing, a complete set of all parts in uncor- Bibliography, vol. 34, 1981, pp. 118–145. Shillingsburg, Peter L., ally relied on, that of Henry S. Van Duzer, was pub- “Final Touches and Patches in ‘Vanity Fair’: The First Edition”, in rected first state as first issued to one original buyer lished in 1919; his copy had one rear wrapper sup- Studies in the Novel, vol. 13, no. 1/2, William Makepeace Thackeray is a pipe dream. plied, so was not an ideal copy, and Randall points (spring–summer 1981), pp. 40–50. out that his collation is incorrect in several instances. £15,000 [130821]

All items are fully described and photographed at peterharrington.co.uk 81 190 191 192

190 191 192 THOMAS, Dylan. 18 Poems. London: The Sun- THOMAS, Dylan. Twenty-Six Poems. Verona: THOMAS, Edward. In Pursuit of Spring. Lon- day Referee and The Parton Bookshop, 1934 printed by Hans Mardersteig on the hand-press of don: Thomas Nelson and Sons, April 1914 Octavo. Original black cloth, titles to spine in gilt. With the the Officina Bodoni for James Laughlin and J. M. Octavo. Original ribbed blue cloth, spine lettered in gilt, titles dust jacket. Bookseller’s ticket to rear pastedown. Negligible Dent & Sons, 1949 and astronomical device within double ruled frames in gilt to rubbing to spine ends and tips, lettering to spine faded, front cover, illustrated map endpapers, top edge gilt. With the a couple of very faint marks to foot of front cover, light Quarto. Original boards, beige cloth spine, paper title label, dust jacket, illustrated plate after Ernest Hazlehurst to front offsetting to endpapers; a very good, remarkably bright, patterned paper sides. With the original grey card slipcase. panel. Frontispiece and five other plates after drawings by Er- copy, in the notably well-preserved jacket with browning to Spine faintly toned and spotted, otherwise a fine copy, with nest Hazlehurst tipped-in to grey paper, as issued, with cap- spine and front cover, a couple of short closed tears to edges, the slipcase lacking the printed label and splitting a little at tioned tissue guards. Prize label dated Christmas 1921 to front small chips to spine and fold ends, another to head of front the bottom edge. free endpaper verso. Slight rubbing to extremities, touch of panel. wear to very tips of bottom edge, loss to gilt of top edge, light first edition, second issue, in the first is- foxing to edges and endmatter; a remarkably bright copy in the faintly soiled jacket with browned spine, small chips and sue jacket. 18 Poems is the author’s first collection nicks to extremities, short closed tear to head of front panel, of poems and was printed in an edition of 500 copies; small section of glue residue to front panel. the first issue was bound and released in December first edition. In Pursuit of Spring was Thomas’s last 1934, the latter 250 copies were bound and distribut- work of prose and provides an account of his week- ed in February 1936. The second issue has a rounded long bicycle ride from central London out into the spine, a trimmed fore-edge, the original 1934 issue Quantock Hills in Somerset undertaken in March date omitted from the title page, and the extra Parton 191 1913. It is often considered the best of Thomas’s Press advertisement leaf tipped in between the half- country books, and mixes “observation, information, title and the title page. The second issue jacket has first and signed limited edition, number 85 stories, portraits, self-portraits, literary criticism, the 3/6 price crossed through; this jacket is in the first of 150 copies printed, each signed by the poet. This folk-tales, and reflection” (ODNB). state with the original, uncorrected, 3/6 price. is one of 140 on handmade paper (there were 10 on £1,500 [131147] japon), split between 90 for America (as here) and 50 £2,000 [131308] for the UK. Mardersteig’s was a beautiful fine press production bringing together the best of Thomas’s 193 poems from his previous sometimes patchy collections to create the key lifetime selection of his work, TINGAY, Lance. 100 Years of Wimbledon. including his finest piece by far, “Fern Hill”. London: Guinness Superlatives, 1977 £3,750 [130834]

82 Spring Miscellany: Peter Harrington 193

Folio. Original green morocco by Weatherby Woolnough, spine lettered in gilt with gilt tennis motifs to compartments, title and gilt vignette to front cover, gilt ruled turn- ins, marbled endpapers, gilt edges. Housed in the original marbled slipcase, green calf roundel to side lettered in gilt. Illustrated with photographs throughout. Spine faintly sunned with a couple of very minor scuff marks. A fine copy. signed limited edition, number 100 of 100 copies signed by Fred Perry, additionally inscribed “A great history” by him. Perry was the winner of three con- secutive championships at Wimbledon from 1934 to 1936. 194 £600 [130425] Ohio. With the love of her good & dutiful adopted of wit and intelligence” (Saad and Saad, p. 16). Clemens 194 son, The Author. Hartford, Dec. 20, 1881”. and Fairbanks maintained a close correspondence upon A highly significant association copy: Mary Mason their return, Clemens adopting the nickname “Mother” TWAIN, Mark. The Prince and the Pauper. Fairbanks (1828–1898) was “by far the most influen- for her, while Fairbanks provided advice both on Cle- Boston: James R. Osgood and Company, 1882 tial non-family member in Sam Clemens’s life” (Ap- mens’s writing (Clemens “destroyed or rejected manu- Quarto. Original dark green cloth, neatly rebacked retaining the plebaum). Fairbanks was an editor and correspond- scripts at Mrs Fairbank’s suggestion”) and his courtship original spine, front cover and spine lettered and decorated in ent for the Cleveland Herald, which was co-owned by of Olivia Langdon (Stahl, p. 56). Their close relationship gilt, black and in blind, toned white endpapers (B state binding, her husband, Abel W. Fairbanks. Clemens met Fair- continued until Fairbanks’s death in 1898. with true binder’s endpapers at both front and rear). Housed banks in June 1867 when they were fellow passengers The London and Montreal editions of this work in a custom black cloth slipcase. Facsimile letter, facsimile aboard the steamer Quaker City on its five-and-a-half- “were issued some days prior to the Boston edition” coins and signature as frontispiece, illustrations in the text month “pleasure excursion” to Europe and Palestine. (BAL). throughout. Professionally furbished, tips consolidated, professional repair to a couple of marginal tears, reinforcement Both were there as roving reporters; Clemens for the Applebaum, Alex, http://twain.lib.virginia.edu/projects/ to edges of 42 pages. A couple of marks and slight rippling to San Francisco Daily Alta, Fairbanks for the Cleveland applebaum/Twain.html, retrieved 18/02.19; BAL 3402; Saad and cloth, slight marks to contents, edges browned; a very good Herald. Clemens’s assignments for this trip were ed- Saad, “Mary Mason Fairbanks” in Mark Twain Journal, Vol. 46, No. 1/2 2008; Stahl, J. D. “Mary Mason Fairbank’s disguised copy. ited by Fairbanks and compiled in The Innocents Abroad debate with Sam Clemens”, in Constructing Mark Twain: New first u.s. edition, presentation copy, in- (1869). Directions in Scholarship, University of Missouri Press, 2011. Fairbanks was “indispensable to the entire ship – a scribed by the author on the front free endpa- £12,500 [130674] per, “To Mrs A. W. Fairbanks, Fair Banks, Cleveland, fluent French interpreter, a gracious hostess when the ship entertained royalty, and a ready conversationalist

All items are fully described and photographed at peterharrington.co.uk 83 195

195 195

195 dunes, and traversed the roadless ‘white spots’ on the Erley, Laura Mieka, Reclaiming Native Soil: Cultural Mythologies of map of Turkmenistan” (Erley, pp. 41–2). Soil in Russia and Its Eastern Borderlands from the 1840s to the 1930s, UREKLYAN, Gabriel’ Arkadyevich as El- University of California, 2012. Events were recorded by a team of leading Soviet Registan, & Lazar Brontman. Moskva—Ka- artists and writers. The expedition cinematographer £2,000 [130555] ra-Kum—Moskva. Moscow: Sovetskaia litera- was eventual three-time Stalin Prize winner Roman tura, 1934 Karmen (1906–1978). The party of photographers 196 Octavo. Red lithographically printed paper-covered boards, included Mikhail Prekhner, recently rediscovered spine in silver with repeated wheel device lapping onto the and recognized as one of the outstanding practi- VIGNE, Godfrey Thomas. A Personal Nar- boards, spine lettered in red, three colour printed stylized tioners of the Russian avant garde, both of whose rative of a Visit to Ghuzni, Kabul, and Af- map to the endpapers. With pictorial dust jacket in sepia, sil- work is represented here. The text was provided by ghanistan, and of a Residence at the Court of ver and red. Profusely illustrated from photographs. Boards Armenian-born, Uzbekistan-based journalist and Dost Mohamed: with Notices of Runjit Sing, a little chafed at the edges, corners a touch bumped, spine poet El-Registan (1899–1945), co-author of the lyrics crumpled head and tail with some associated chipping, pale Khiva, and the Russian Expedition. London: of the Soviet national anthem, and Lazar Brontman toning to the text, jacket slightly rubbed and soiled, some Whittaker & Co., 1840 scuffing at the spine, minor edge-splits, old paper tape re- (1905–1953) subsequently the first journalist to visit Octavo. Original green vertical-rib cloth, gilt lettered spine, pair/support verso, but overall very good. the North Pole, accompanying the Soviet Arctic expedition of 1937. The brilliantly striking design scheme two-line blind border on covers enclosing ornamental first and only edition. The Kara Kum desert of central panel, yellow coated endpapers. Hand-coloured was entirely the work of constructivist book designer central Turkmenistan, the largest sandy desert in the lithograph portrait frontispiece of Dost Mohammad Khan world, “became, briefly, a Soviet cultural obsession Mikhail Miloslavsky (1907–1965). (heightened with gum arabic), 6 tinted lithograph plates by when, in July 1933, a team of 23 cars from the Gor’kii Uncommon, OCLC locates just four copies—BL, J. B. Pyne after the author and lithographed by A. Ducôte and Stalin auto plants embarked on the Moscow–Kara Princeton University, Indiana University and Yale (2 portraits, 4 views), folding engraved map of the author’s route, wood engravings in the text by Samuel Baxter. Bind- Kum–Moscow motor rally . The front pages of Pravda University—and a single copy of a Yiddish edition at the Center for Jewish History. ing refurbished, gilt of spine smoothed, extremities of spine and Izvestiia followed the team led by geochemist Alek- and corners consolidated, inner hinges neatly repaired; dark sandr Fersman over the course of nearly three months stain in lower fore-corner running about halfway through and 5,800 miles as they forded streams, climbed sand

84 Spring Miscellany: Peter Harrington 196 197

of a Russian incursion” (ibid). Vigne was travelling at bookplate, designed by Quentin Blake, loosely insert- a time of heightened awareness as to the strategic im- ed. God Bless You, Mr. Rosewater was Vonnegut’s sixth portance of the regions that he traversed, although, novel. In October 1967 Vonnegut travelled to Europe as ODNB puts it, “he seems to have had no ulterior to revisit the places he had seen in wartime. political motives”. Tom Maschler (born 1933), head of the publish- 196 In his preface Vigne notes that he has reserved “For ing company Jonathan Cape, was a highly influential a subsequent work . . . those parts of my manuscript figure in 20th-century literature, launching the ca- the letterpress, yet this remains a very good copy in the original cloth. that relate to Kashmir, Great and Little Tibet, the reers of various writers including Ian McEwan, Bruce mountain-banks of the Indus, and Alpine India north Chatwin, Cliva James, and Edna O’Brien; 15 of his au- first edition; a second followed in 1843. This is of the Punjab”; this was published as Travels in Kashmir, thors were awarded the Nobel Prize for Literature. He an attractively illustrated and entertaining narrative Ladakh, Iskardo, the countres adjoining the mountain-course additionally has the honour of conceiving the Booker that includes a brief vocabulary “from the language of the Indus, and the Himalaya, north of the Panjab (1842). Prize, and for having introduced his friend Quentin of . . . Kaffiristan”. Vigne (1801–1863) was from a line Abbey, Travel, 505; Ghani p. 384; Howgego II V6; Wilber, Donald, Blake to Roald Dahl. of London Huguenot merchants whose wealth de- Annotated Bibliography of Afghanistan, HRAF Press, 1956, 329 rived from supplying gunpowder to the East India (“useful observations made in tribal territory”); Riddick, Glimpses £1,750 [130980] Company. He entered Harrow in 1817, destined for of India, 182; Yakushi (1994) V89. a career in law, but in 1830 threw up his position at £2,500 [131821] Lincoln’s Inn and embarked on a series of travels. “Through friends in high places and after representa- tions to Ranjit Singh at Lahore, Vigne in 1835 received 197 a permit to visit Kashmir. In June 1835, dressed in VONNEGUT, Kurt. God Bless You, Mr. Norfolk jacket and broad-brimmed hat, [he] crossed Rosewater, or Pearls Before Swine. London: the Sutlej and eventually arrived at Srinigar . . . but Jonathan Cape, 1965 immediately pressed on for the mountain wall above Bandipur, camping below the Gurais Pass” (How- Octavo. Original pink cloth, spine lettered in gilt. With the dust jacket. Small mark to fore edge. A very good copy in the gego). Following travels in Kashmir he set out for dust jacket, slightly chipped and creased around extremities, Afghanistan, his explorations taking him through lit- faintly rubbed. tle-known routes, arriving at Kabul at the end of 1836. first uk edition, presentation copy, inscribed “Although he never penetrated Central Asia he was by the author to the publisher Tom Maschler on the all too aware that routes existed to the north of the front free endpaper, “most affectionately for Tom— Hunza Valley into China—information of particular Kurt Vonnegut Jr Oct. 26, 1967”, and with Maschler’s interest to members of the British government fearful 197

All items are fully described and photographed at peterharrington.co.uk 85 198

198 WARHOL, Andy. Exposures. Photographs by Andy Warhol. Text by Andy Warhol with Bob Colacello. New York: Andy Warhol Books/Grosset & Dunlap, A Filmways Company, 1979 Quarto. Original black cloth, titles to spine silver, index endpapers. With the pictorial dust jacket. Illustrations throughout. Spine gently rolled, slight mottling to edges; a near-fine copy in the bright dust jacket with short closed tear to head of spine. first edition, signed by the artist on the half- title. This is Warhol’s collection of 360 pictures of his celebrity friends, presenting a unique view of contemporary celebrity life. £1,250 [131557]

199 WARHOL, Andy. Reigning Queens. Amster- dam: George Mulder, [1985] Quarto. Original white paper wrappers, embossed royal in- signia to front wrapper. With 16 colour plates. Light foxing and several faint marks to front cover, internally bright and clean; a near-fine copy. limited edition, inscribed by the artist “$ Andy Warhol to Ric” on the limitation page, and with 15 of the 16 portraits individually signed by

86 Spring Miscellany: Peter Harrington 200

Warhol. The collection contains reproductions of Warhol’s portraits of Elizabeth II of the United King- dom, Margrethe of Denmark, Beatrix of the Neth- erlands, and Ntombi of Swaziland, the four female monarchs in the world at the time of publication. This is number 3,846 of 5,000 copies. £7,500 [131485]

200 WASHINGTON, Irving. Life of George Wash- ington. New York: G. P. Putnam & Co., 1855–59 5 volumes, octavo (228 × 143 mm). Contemporary tan half calf, light brown and green morocco labels, elaborate tooling to spines gilt in compartments, raised bands, marbled boards and endpapers, top edges gilt. Engraved frontispieces and further illustrations throughout. Touch of rubbing to spines, an excellent set. first editions. A handsomely bound set of Irving’s biography of George Washington, from the library of Robert Charles Winthrop, with his ownership inscription to the front blanks of each volume. Win- throp (1809–1894) was a lawyer and had a successful political career, serving in both the Senate and the House of Representatives, and acting as the eighteenth Speaker of the House of Representatives from 199 1838 to 1840. £1,250 [127333]

All items are fully described and photographed at peterharrington.co.uk 87 201

201 WEBER, Max. The Protestant Ethic and the Spirit of Capitalism. Translated by Talcott Parsons. With a foreword by R. H. Tawney. New York: Charles Scribner’s Sons, 1930 Octavo. Original black cloth, spine lettered in gilt. Front panel and front flap of dust jacket present, the rest absent. 202 Contemporary ownership signature to front free endpaper. Light wear at spine ends, crease to rear cover. Dust jacket remnants a little chipped around peripheries with short split religion and society. These wide ranging studies had small bump to foot of front board, foxing to book block at head of front flap fold. the common purpose of defining and explaining the edges, faint offsetting to endpapers; a very good copy in the first u.s. edition of the first english trans- distinguishing characteristic of Western civilization. jacket with sunned spine and edges, creasing and nicks to spine ends and tips, a couple of scuffs to panels. lation of weber’s great work, which originally The Protestant Ethic was destined to serve as an in- appeared in German across two issues of the Archiv troduction to this major theme of Weber’s lifework, a first edition, presentation copy, inscribed by für Sozialwissenschaften und Sozialpolitik (November 1904 specification of the interrelation of religious ideas and the author on the front free endpaper, “‘The Young and June 1905). He substantially revised the text for economic behaviour as the focus for further research. Mistress’s Tale’ to Arnold Bennett. With love from its first publication in book form shortly before his Weber’s particular thesis—that Puritan ideas had in- his nephew, H. G. Wells”, with Bennett’s bookplate death in 1920; it appeared under the title Die protes- fluenced the development of capitalism—became the to the front pastedown. Ann Veronica is commonly be- tantische Ethik und der Geist des Kapitalismus and was in- subject of a voluminous literature” (Bendix, p. 71f ). lieved to be inspired by Well’s 1908–9 extramarital af- tended as the first volume in a series collecting We- Bendix, Reinhard, Max Weber: an Intellectual Portrait, Doubleday, fair with feminist author Amber Reeves (1887–1981), ber’s writings on the sociology of religion, though his 1960; IESS (1904–1905). a fact to which he seems to be referring in his genial inscription. It was the first of a series of Wells’s novels death meant the project was never completed. This £1,250 [131501] American edition was preceded by the UK edition, aimed at addressing the taboos surrounding sexual published earlier that year. desire in Edwardian England, and features vignettes 202 In this work “he traced the influence of religious of the women’s suffrage movement in Great Britain, ideas upon the conduct of men and challenged the WELLS, H. G. Ann Veronica. A Modern Love including a chapter inspired by the 1908 attempt of Marxist thesis that man’s consciousness is determined Story. London: T. Fisher Unwin, 1909 suffragettes to storm Parliament. Bennett, a close friend of Wells from 1897 until his death in 1931 “was by his social class . . . Instead of completing his inves- Octavo. Original brown cloth, titles to spine and front cover clearly alert to the same issues . . . especially women’s tigation of Protestantism, Weber began a comparative in gilt, vignette design in gilt to front cover within frame analysis of urban communities and of political or- blocked in blind. With the dust jacket. Housed in a custom rights, and the ‘new woman’. Hence he produced two ganization as well as a study of the relation between brown cloth solander box. Slight rubbing to extremities, important novels which turn on married infidelity

88 Spring Miscellany: Peter Harrington 204

seller George Kearns, manager of Smith’s bookshop in Shrewsbury before the Second World War. Respectively inscribed: The Forbidden Territory: “For T. G. Kearns. My first book With the best of good wishes from Dennis Wheatley”; Such Power is Danger- ous: “For T. G. Kearns. My second book. Not quite up to the others with good wishes from Dennis Wheat- ley”; Black August: “For T. G. Kearns. With the best 203 of good wishes from Dennis Wheatley”; The Fabulous Valley: “For T. G. Kearns. Souvenir of a very pleasant and divorce (Leonora, 1903, and Whom God Hath Joined, Fabulous Valley; Contraband. London: Hutch- visit to Birmingham Oct 1935 from Dennis Wheat- 1906)” and “all through his career Bennett showed inson & Co., 1935–36 ley”; Contraband: “For Mr. T. G. Kearns. With all good remarkable insight into the plight of women caught 5 works, octavo. Original black and red cloth, spines lettered wishes from Dennis Wheatley”. in marriages or by emotional circumstances which in gilt. Spines a little faded and rolled, some scuffing to £1,750 [131536] bring them little satisfaction but which they never- cloth. A very good set. theless try to manage in ways that allow them some first editions, later impressions, each volume in- freedom” (ODNB). Signed copies of Ann Veronica are 204 scribed by the author on the title page to the book- uncommon, with just three copies traced at auction, WHITE, T. H. The Witch in the Wood. London: none with such an appealing literary association. Collins, 1940 Wells 38. Octavo. Original grey cloth, titles to spine on green ground, £4,500 [131700] top edge green. With the dust jacket. Line-drawing chapter head- and tailpieces. Spine faintly sunned, light foxing to 203 edges and endmatter; a near-fine copy in the uncommonly bright jacket with slight nicks to edges, short closed tear and WHEATLEY, Dennis. [Collection of five in- slight creasing to head of rear panel. scribed works:] The Forbidden Territory; first uk edition of White’s second Arthurian book. Such Power is Dangerous, Black August; The It was first published in the US the preceding year. £2,250 [130501]

203

All items are fully described and photographed at peterharrington.co.uk 89 205 206 207

205 206 Hole, including the ten stories from Wodehouse’s first WILDE, Oscar. Poems. London: David Bogue, WILDE, Oscar. Lord Arthur Savile’s Crime & collection on golf, The Clicking of Cuthbert (1922). McIlvaine B7a. 1881 other stories. London: James R. Osgood McIlvaine Octavo (182 × 122 mm). Contemporary vellum, twin brown & Co., 1891 £1,250 [131532] morocco labels to spine, covers panelled in gilt, gilt turn-ins, Octavo (175 × 114 mm). Contemporary half vellum, twin marbled endpapers, top edge gilt. Bookseller’s ticket to front green morocco labels to spine, green cloth sides, marbled 208 turn-in, contemporary bookplate to front pastedown, old endpapers, top edge gilt. Ownership signature of one M. catalogue description loosely inserted. Vellum lightly soiled, de Mérey dated 1897 to front free endpaper; alongside the WOOL, Christopher. Black Book. New York & boards a little bowed, yet still a lovely copy. bookplate of Hubert Beaumont, also dated 1897, to front Cologne: Thea Westreich and Gisella Capitain, 1989 first edition, first issue, publisher’s presen- pastedown. Binding very light soiled, else a very good copy. Elephant folio. Original black paper covered boards. With tation copy, with the title page stamped “with the first edition, one of 2,000 copies printed, in an the original publisher’s cardboard packaging box. With 17 publisher’s compliments”. One of only 250 copies for attractive binding. This volume contains four short full page offset lithographs on smooth matt art paper. Sheet sizes 57.2 × 40 cm. Excellent condition. the first issue; 750 copies were printed in total, but the stories, the title story, “The Sphinx without a Secret”, remaining 500 copies were equally split between the “The Canterville Ghost”, and “The Model Millionaire”. from an edition of 350, signed and numbered second and third issues, with new title pages stating Mason 345. by the artist in black pen on the colophon page. second and third editions. Wilde paid for the publica- The work is uncommon intact, as many copies have tion of the book, with David Brogue reciprocally only £750 [131849] been disbound for individual sale of the lithographs. receiving a small share of the profits. Wilde took a £40,000 [130453] great interest in the book’s design, following the exam- 207 ples of Morris, Rossetti, and Swinburne in attention to WODEHOUSE, P. G. Wodehouse on Golf. the aesthetics and quality of their books (Ellman, pp. 131–2). The edition includes a misprint on page 136, New York: Doubleday, Doran & Company, Inc, 1940 “that mightier may whose care it is”, which should Octavo (198 × 133 mm). Recent green morocco for Asprey, read “that mightier maid whose care it is”, an error that titles to spine in gilt in compartments, raised bands ruled in gilt, single rule frame in gilt to covers, turn-ins rolled in was repeated in future editions and not corrected until gilt, marbled endpapers, edges gilt. Spine faintly toned; else 1908. This is the copy of the pioneering American avia- a fine copy. tor and book collector Cortlandt Field Bishop (1870– first edition. This work is an expansive collection of 1935), with his bookplate to the front free endpaper. Wodehouse’s short stories about golf, the majority of Ellman, Richard, Oscar Wilde, Hamish Hamilton, 1987; Mason 304. which are told by the Oldest Member at the Nineteenth £3,000 [131022] 208

90 Spring Miscellany: Peter Harrington 209

209 WOOLF, Virginia. The Voyage Out. London: Duckworth & Co., 1915 Octavo. Original green cloth, spine lettered in gilt, front cover lettered in black, publisher’s device in blind to rear cover. Housed in a Chelsea Bindery brown morocco-backed solander box. Spine very gently rolled, rubbing to extremities, edges a little toned, top edge dust toned; else a near- fine copy. first edition of woolf’s first novel. Origi- nally titled Melymbrosia, Woolf had “applied herself with ‘tortuous intensity’ to the work since 1907, and it was an ‘excruciating effort’ for her to accept that it was complete” (Licence). The resulting work “was a literary debut that marked Virginia as a writer worth watching” (ibid.). Kirkpatrick A1a; Licence, Amy, Living in Squares, Loving in Triangles: The Lives and Loves of Viginia Woolf, Amberley Publishing, 2015. £2,000 [131250]

208

All items are fully described and photographed at peterharrington.co.uk 91 211

Cornell 4; See Foxon, D. F., “The Printing of Lyrical Ballads, 1798”, in The Library, Fifth Series, Vol. IX, No. 4, December 1953; Grolier Hundred 66; Printing and the Mind of Man 256; Wise 4. £11,000 [131012]

211 YEATS, W. B. The Trembling of the Veil. Lon- don: T. Werner Laurie, Ltd, 1922 210 Octavo. Original japon-backed green boards, titles printed in brown to paper label to spine, green endpapers, top edge trimmed, others untrimmed. With the dust jacket. Spine 210 This is the earliest obtainable issue of the collec- very faintly toned, slight rubbing to edges, small bump to WORDSWORTH, William, [& Samuel Tay- tion of poems that inaugurated the Romantic move- head of rear board, top edge dust toned, light offsetting to ment in English literature and poetry, one of the most endpapers, a very good copy indeed, in the slightly browned lor Coleridge]. Lyrical Ballads, with a few celebrated of all collaborative literary works. Though jacket with browned spine with small chips to spine ends other poems. London: printed for J. and A. Arch, he is not credited, Coleridge’s “The Rime of the and nicks to edges. 1798 Ancient Mariner” is printed here for the first time, first edition, signed limited issue, number Octavo (158 × 96 mm). Contemporary tree calf, spine gilt- alongside “The Foster-Mother’s Tale”, “The Nightin- 844 of 1,000 subscribers copies signed by the author tooled in compartments with deep red morocco title label, gale”, and “The Dungeon”. Wordsworth contributed and printed on handmade paper. The Trembling of the sides bordered with gilt roll, board edges and turn-ins also most of the poems, drawing on a huge creative burst Veil was the second of Yeats’s seven autobiographi- gilt-rolled, marbled endpapers, all edges gilt. Housed in a in the spring and summer of 1798, which included cal works, and was described by Arthur Symons as custom purple cloth folding case. Headcap worn, front joint “Lines Written a Few Miles Above Tintern Abbey.” “an absolute masterpiece: far & away the best thing superficially split but holding firm, rear joint only rubbed The London issue differs from the Bristol issue [Yeats] has ever done” (Ross, p. 559). The following with the ends just starting, extremities otherwise a little rubbed, internally very clean and fresh. A very good copy. only in the title page. A case can also be made that year, Yeats was awarded the Nobel Prize for literature. Ownership inscription of “Eliza Saville” dated 1799 to first this was the first published issue: the Bristol issue Ross, David A., Critical Companion to William Butler Yeats, Facts on blank, birthday gift inscription dated 1851 to second blank. was prepared in anticipation of publication by Long- File, 2009; Wade 133. first edition, the london issue (following the mans, an event which never materialized, leading £2,000 [131699] unobtainable Bristol issue of the same year, listed by Dorothy Wordsworth to write in September 1798 that Healey in 13 copies, of which none are thought to re- the book had been “printed, not published”, since main in private hands), this copy in a finely decorated there was no publisher until Cottle found Arch and and unrestored contemporary binding. Wordsworth found Johnson at about the same time.

92 Spring Miscellany: Peter Harrington 213 214

213 214 212 YEATS, W. B. A Packet for Ezra Pound. Dublin: YEATS, W. B. The Poems. London: Macmillan 212 The Cuala Press, 1929 and Co. Ltd, 1949 Octavo. Original buff linen-backed blue paper covered 2 volumes, octavo (24.7 × 15.5cm). Finely bound in YEATS, W. B. The Cat and the Moon and cer- boards, paper label to spine printed in black, front board contemporary full mid-green morocco by Morrell of London, tain Poems. Dublin: The Cuala Press, 1924 lettered in black, blue endpapers, edges untrimmed. With title to spine in gilt, raised bands, top edge gilt, other the plain paper dust jacket. Title page vignette by T. Sturge edges untrimmed, many pages uncut, coloured endpapers. Octavo. Original buff linen-backed blue paper covered Moore. A couple of tiny dents to bottom edge of rear board, Photogravure portrait frontispieces of Yeats by Emery Walker boards, paper label to spine printed in black, front board very faint browning to endpapers; else a fine copy in the after John Singer Sargent and Augustus John. Spines faded to lettered in black, blue endpapers, fore and bottom edges un- lightly soiled jacket with touch of creasing to edges. brown, vol II with damp stain to spine and head of front cover, trimmed. Title page vignette, contents page and colophon in occasional foxing to contents; an attractively bound copy. red. Single marginal pencil mark to p. 37. Slight rubbing to first edition, one of 425 copies printed by Eliza- extremities, faint toning to board edges and endpapers, oc- beth Yeats in June 1929. Yeats’s Packet for Ezra Pound first and signed limited edition, number 182 casional light offsetting; a very good, bright, copy. presents one side of an intriguing literary and per- of 375 copies signed by the author to the half-title first edition, signed by the author on the ti- sonal friendship. Yeats lived with Pound on more verso, published by Macmillan as a Definitive Edition tle page. This is the first appearance of “Leda and the than one occasion; first in Ashdown Forest, where of his work, as stated in the prospectus, which is not Swan” and “Meditations in the time of Civil War”, and Pound’s helped to renovate Yeats’s poetic style for found with this copy. The edition was personally over- was printed in a limited edition of 500 copies by Eliza- his 1914 collection Responsibilities, and later in Rapallo seen by Yeats’s widow, George, the publisher Harold beth Yeats at the Cuala Press, one half of Cuala In- during the late 1920s, the period with which the pre- Macmillan, and the publisher’s reader Thomas Mark. dustries. A co-operative business run with Lily Yeats, sent work is concerned. Yeats describes Pound as a Wade 209 & 210. Cuala Industries was founded with the aim of reviving man “whose art is the opposite of mine, whose criti- £2,750 [131846] the craft of book printing in Ireland and “to give work cism commends what I most condemn, a man with to Irish girls” (McMurtrie, p. 472). The press’s “clearly whom I should quarrel more than with anyone else if legible, slender volumes with their distinctive paper we were not united by affection”. Copies in the origi- labels may be seen as the sole survivors of the hand- nal jacket are notably uncommon. crafted ideal established in 1900 by Walker and T. J. McMurtrie, Douglas, The Book: The Story of Printing and Bookmaking, Cobden-Sanderson’s Doves Press” (ODNB). Signed Oxford University Press, 1943; Wade 163. copies of this work are notably scarce. £750 [131791] McMurtrie, Douglas, The Book: The Story of Printing and Bookmaking, Oxford University Press, 1943; Wade 145. £2,250 [131664] 214

All items are fully described and photographed at peterharrington.co.uk 93 mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff www.peterharrington.co.uk London sw3 6hs 94 Spring Miscellany: Peter Harrington