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All items are fully described and photographed at peterharrington.co.uk 1 We are exhibiting at these fairs 8–9 September 2018 brooklyn Brooklyn Antiquarian Book Fair Brooklyn Expo Center Brooklyn, NY www.brooklynbookfair.com

4–7 October frieze masters Regent’s Park, London frieze.com/fairs/frieze-masters

14–15 October seattle Seattle Antiquarian Book Fair Seattle Center Exhibition Hall Seattle, WA www.seattlebookfair.com

3–4 November chelsea Chelsea Old Town Hall Kings Road, London www.chelseabookfair.com

16–18 November boston Boston International Antiquarian Book Fair Hynes Convention Center Boston, MA bostonbookfair.com

30 November–2 December hong kong China in Print Hong Kong Maritime Museum www.chinainprint.com

Front cover image adapted from Edward Shenton’s VAT no. gb 701 5578 50 decorations for F. Scott Fitzgerald’s Tender is the Night, item 49. 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 london

catalogue 145

SUMMER MISCELLANY

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

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edition in 1912, entitled Polycylo-epicycloidal and other Geometric Curves. 1 2 £1,750 [124669]

1 2 A subscriber’s copy of this “masterpiece of (AESOP.) JAMES, Thomas. Aesop’s Fables: ALABONE, Edwin W. Multi-Epicycloidal and descriptive travel” A New Version, Chiefly from the Original other Geometric Curves. London: John Swain 3 Sources. With more than one hundred illus- and Son, Ltd, c.1910 ANSON, George. A Voyage Round the World trations designed by John Tenniel. London: Tall octavo. Original green morocco-grain cloth, spine in the Years MDCCXL, I, II, III, IV. Compiled John Murray, 1848 and front cover lettered in gilt, geometric curve design from Papers and other Materials, and pub- to front cover in gilt, floral endpapers, edges gilt. Por- Octavo (212 × 150 mm). Contemporary dark green mo- lished under his Direction, By Richard Wal- trait frontispiece, 77 coloured plates. Spine ends and tips rocco by Worsfold, raised band to spine, compartments rubbed, light foxing to first few pages, plates unaffected. ter, M.A. Chaplain of his Majesty’s Ship the lettered and richly tooled with rose motifs in gilt, dou- A very nice copy. Centurion, in that Expedition. Illustrated ble fillet border in gilt to spine with roses tooled in the corners of panel, gilt edge roll, turn-ins tooled in gilt, first edition, first impression, presen- with Forty-Two Copper-Plates. London: Printed marbled endpapers, top edge gilt. With original cov- tation copy, decorated by the author with an for the Author; by John and Paul Knapton, 1748 ers bound in at rear. Illustrations in the text by Tenniel. original multi-epicycloidal black ink drawing and Quarto (254 × 198 mm). Contemporary calf skilfully Spine sunned to brown, small repair to first gathering. A inscribed, “To W. Osmond Esq, with the author’s refurbished (joints, extremities of spine and corners very good, handsomely bound copy. compliments 1911” on the first blank. This form sympathetically consolidated), decorative gilt spine, first tenniel-illustrated edition. Best- of mechanical drawing, using a series of intercon- dark red morocco label, two-line gilt border on sides known for his illustrations for Alice’s Adventures nected wheels with variously offset centres, had a enclosing blind roll tool border, red speckled edges. 42 in Wonderland (1865) and Through the Looking-Glass considerable vogue at the end of the 19th century. engraved plates, plans, charts and maps, all but one of (1872), Tenniel actually obtained that role as a re- Although several such works were published, in- them folding. Armorial bookplate of original subscriber sult of this work: “Much impressed by Tenniel’s George Bond (see below); later ownership inscription cluding T. S. Bazley’s Index to the Geometric Chuck of “W. Burcher, London, Nov[embe]r 1795” to facing work in Aesop’s Fables, Charles Dodgson (Lewis (London, 1875), Alabone’s is the most beautifully endpaper. Patchy rubbing to covers, scattered worming Carroll) asked the artist to illustrate his Alice presented. It was evidently a popular success since (more particularly to initial gatherings, largely confined books” (ODNB). the large number of “letters and personal visits” to margins), occasional offsetting, overall a good, wide- £500 [125176] he received compelled him to produce a second margined copy with the list of subscribers.

2 Summer Miscellany: Peter Harrington 3 first edition, subscriber’s copy, of this ed book became a best-seller, running through from it, but that Benjamin Robins completed the “masterpiece of descriptive travel” (Hill), quickly numerous editions in its full or abridged form and editorial task. “Anson’s voyage appears to have been reprinted several times, but the original quarto re- being translated into several European languages. the most popular book of maritime adventure of the mains “the most desirable” (Sabin). With the con- It is now agreed that the ostensible author, Richard eighteenth century” (Hill). temporary armorial bookplate of George Bond, Walter, took the initiative for publishing, gathering Hill 1817; Howgego I A100; NMM I 109; Sabin 1625. whose name is printed in the list of subscribers; names of subscribers and profiting handsomely £4,750 [124562] there are a number of indexing side notes in a neat early hand (a few shaved by the binder, presumably made when the book was still in boards), noting such things as “Capt: shoots ye Ringleaders” and “wherefore ye Crew deprive him of his Com- mand” (at p. 149). Anson (1697–1762) was in command of a squad- ron sent to plunder Spanish trading territories on the Pacific coast of South America during the War of Jenkins’ Ear. After an astonishing series of mis- haps and adventures, Anson returned to England in June 1744 a rich man. His voyage is remembered as “a classic tale of endurance and leadership in the face of fearful disasters, but to the British public of 1744 it was the treasure of the galleon, triumphantly paraded through the streets of London, which did something to restore national self-esteem battered by an unsuccessful war” (ODNB). The keenly-await- 3 3

All items are fully described and photographed at peterharrington.co.uk 3 4 4

“Part of the ‘triple’ crown of early 20th-century of the complete set is due to the smaller limitation dies tending a hive, 40 woodcut illustrations in the text. fine press printing” of the first volume, Inferno. In the present set Inferno Spine lightly faded, corners minimally rubbed, a little is one of 135 copies on paper from a total edition of light spotting; a very good copy. 4 149, and both Purgatorio and Paradiso are each one of first edition of Bagster’s practical manual on (ASHENDENE PRESS.) DANTE ALIGHIE- 150 paper copies from a total edition of 170. the management of bees, which enjoyed some suc- RI. [La Divina Commedia.] Lo Inferno; Lo The Ashendene Dante is justifiably considered cess, with further editions in 1838, 1852 and 1865. Purgatorio; Lo Paradiso. Chelsea: Ashendene “one of the outstanding and highly prized vol- “Bagster could not have foreseen that the Lang- Press, 1902–5 umes . . . in fine printing” (Aldis, p. 57), this set in stroth movable-frame hive would make his book notably fine condition. irrelevant, but his book remains one of the more 3 volumes, small quarto. Original limp vellum, green silk ties, spines lettered in gilt. Purgatorio and Paradiso in the See Harry G. Aldis, The Printed Book, second edition, publisher’s marbled slipcases. Initials in red and gilt for revised by John Carter and E. A. Crutchley (Cambridge the first canto, and in red and blue for the following can- University Press, 1941); Sian Echard, Printing the Middle tos; illustrated woodcut vignettes in the texts. With the Ages (University of Pennsylvania Press, 2008). erratum slip at the rear of Purgatorio. A near-fine set,In - £20,000 [127300] ferno particularly so, the leaves of all three volumes fresh and uncockled. Inferno: covers bowed. Purgatorio: some faint marks to covers. Paradiso: one or two very trivial 5 marks to spine. Slipcases worn but firm. BAGSTER, Samuel, Jun. The Management first ashendene press edition of Dante’s Di- of Bees. With a Description of the “Ladies’ vine Comedy, exceptionally uncommon complete Safety Hive.” London: Samuel Bagster and Wil- in three volumes, “one of the Press’s most famous liam Pickering, 1834 books, revered as part of the ‘triple’ crown of early 20th-century fine press printing” (Echard, p. vii), Small octavo. Publisher’s flower patterned cloth, black the two other high spots being Morris’s Kelmscott paper spine label lettered gilt. Coloured engraved fron- Chaucer and the Doves Press Bible. The noted rarity tispiece of queen, worker, and drone bees, title page printed in red and black with a vignette illustration of la- 5

4 Summer Miscellany: Peter Harrington With the contemporary armorial bookplates of the Jansenist scholar, translator, and author Pierre-Thomas du Fossé (1634–1698). Situated at Port-Royal, du Fossé produced several theological works, and had been imprisoned in the Bastille for his Jansenist beliefs in 1666. His memoirs (published 1697–8) provided an important historical account of life at Port-Royal. En français dans le texte 129; Jonathan I. Israel, Enlighten- ment Contested: Philosophy, Modernity, and the Emancipation of Man, 1670–1752; Richard & Colas, Le fonds Polier à la Biblio- thèque nationale, Bulletin de l’École Française d’Extrême-Orient; Printing and the Mind of Man 155. £4,500 [125823]

7 BLAKE, William. Writings. Edited by Geof- frey Keynes. London: The Nonesuch Press, 1925 3 volumes, quarto. Original vellum-backed marbled boards, spine lettered in gilt, some pages unopened. Photogravure frontispiece, 59 collotype plates. Vellum a 6 6 little finger-marked, tips slightly worn, a little creasing to vol. III at head of spine. A near-fine copy. entertaining how-to guides for women” (Tammy first edition of Bayle’s dictionary, which bore a limited edition, number 783 of 1,000 copies Horn, Beeconomy, 2012). tremendous influence on the Age of Enlightenment printed on handmade paper. “The significance of British Bee Books 222; Keynes, William Pickering, p. 51. and its emblematic Encyclopédie, one of 2,000 copies the Keynes edition . . . cannot be underestimated” printed. French Protestant Pierre Bayle (1647–1706) £450 [124873] (Whitson and Whittaker, p. 38). It was the first wrote his Dictionnaire while on self-imposed exile accurate transcription of Blake’s work, and re- in Rotterdam as an “anti-clerical counterblast to 6 mained the standard text until the publication of Moreri’s [Le Grand Dictionnaire Historique, 1674], in or- the Erdman edition 40 years later. BAYLE, Pierre. Dictionaire Historique et Cri- der, as he put it, ‘to rectify Moreri’s mistakes and fill Whitson and Whittaker, William Blake and the Digital Hu- the gaps’. Bayle championed reason against belief, tique. Rotterdam: chez Reinier Leers, 1697 manities: Collaboration, Participation, and Social Media (2013). philosophy against religion, tolerance against su- 2 volumes bound in 4, folio (365 × 233 mm). Contempo- perstition” (PMM). The work’s elegant typography £1,000 [125271] rary calf, red morocco labels, spines richly gilt to com- was designed by Bayle himself. Described by En partments, third compartments lettered in gilt direct, edges speckled red, green silk page markers. Engraved français dans le texte as no less than superb, it relies in- vignette to title pages, historiated capitals and tailpieces. novatively on an army of shoulder- and footnotes to A few chips at spine ends, vol. II with a couple of tiny convey the crux of Bayle’s argument. The dictionary chips to spine, vols. II and IV with very minor insect contains some 2,000 entries, including mostly bi- damage to spines, short splits at a few joint ends, wear ographies of religious and historical figures as well to tips, some scratches, marks and a few tiny chips to as writers, in the latter case focusing on the 16th covers, occasional very light creasing and minor blem- and 17th centuries, but also articles on geography. ishes to pages, some pages a little toned, vol. II with 6 The views he expressed in his detailed Life of Ma- cm closed tear to p. 801 not affecting text and with slight soiling and insect damage to p. 1359, vol. III with slight homet, which, in radical opposition with the opinion soiling to title page, tiny wormholes in gutter of pp. of the Church, “stresses the superior tolerance and 50–200 and very minor paper faults to pp. 687 and 703, rationality of Islam’s core teaching” (Israel), were vol. IV with pastedown lifted and front free endpaper reasserted more than 60 years later by Voltaire in chipped and creased. A highly attractive set. his Traité sur la Tolérance (1762). 7

All items are fully described and photographed at peterharrington.co.uk 5 8

8 BORGES, Jorge Luis. El idioma de los argen- tinos. Buenos Aires: Colleccion Indice, M. Gleizer,

Editor, 1928 9 Octavo. Original printed wrappers. Spine tanned, slight splitting to joints but holding firm with discreet amateur for getting Borges his very first published appear- charts. All printed on fine white wove paper. Fine and repair to front joint, minor marks and toning to the rest ance in English, when he brought the story “The bright, with no defects. of wrappers, minor foxing within, a very good copy. Garden of Forking Paths” to the attention of Ellery first and only edition of this extraordinar- first edition, first printing, signed by Queen’s Mystery Magazine (published August 1948, ily rare first attempt to quantify and graphically borges in his blind hand on the title page, of trans. Anthony Boucher). analyse the financial world from 1797 to 1868, cov- this scarce and very early collection of philosophi- £3,500 [125401] ering the entire Industrial Revolution. It covers cal and literary essays. This copy derives from the banks, interest rates, roads, railway construction, estate of Borges’s friend and translator Donald A. public buses, shipping, energy supplies, stocks, 9 Yates – though without ownership mark it has a bonds, municipal finance, public markets, the laid-in slip with some manuscript notes in Yates’s BOSTMEMBRUN DE BOISMONTBRUN, Suez Canal, and much more. WorldCat locates hand, as well as the torn paper bookmark laid F. Atlas du capitaliste. Années 1797–1865; only two copies, at the Bibliothèque nationale and in on the page of Borges’s signature as is typical [with] Années 1866–1867; [with] Année 1868. British Library, both rather worn. This is arguably of the books from his library. Yates was a prime Paris: C. Robert, and E. Lebrault, Le Mans, 1866–9 the best surviving copy of this landmark in the his- mover in bringing Borges to the English speaking tory of capitalism and the most spectacular book world through his translation (joint with James 3 parts in 1, complete. Bound in large folio (555 × 400 on finance ever printed. Irby) of the hugely influential short story collec- mm), contemporary polished cloth with decoration in tion Labyrinths (1962), which he worked on while gilt and blind. Part 1: 3 leaves (printed rectos only), 47 £7,750 [125508] living in Buenos Aires. He was also responsible lithographed charts, many double-page. Part 2: 1 leaf, 15 lithographed charts. Part 3: 1 leaf, 39 lithographed

6 Summer Miscellany: Peter Harrington gradually moving into the demimonde he knew so intimately” (Roth, p. 76). Parr & Badger I, p. 134; Roth, p. 76. £3,500 [125269]

12 BRICKHILL, Paul. The Dam Busters. With a Foreword by Marshal of the Royal Air Force The Lord Tedder. London: Evans Brothers Lim- ited, 1951 Octavo. Original blue cloth, spine lettered in gilt. With the dust jacket. Photographic frontispiece, 6 photographic plates. A little ghosting to spine from jacket, spine ends a little faded, edges foxed, occasional faint spot to contents. A very good copy in the bright jacket with slightly toned spine, short closed tear to head of front panel, extremities a little creased and nicked. first edition, first impression, presentation copy, inscribed by the author a month after publication on the title page, “Best wishes and many thanks to John May – Paul Brickhill Oct. 17 10 11 1951”. Together with Wing Commander Gibson’s autobiography, this account was the basis for the 10 of D.C. From Ray Bradbury, With good wishes! 1955 film of the same title, starring Richard Todd BRADBURY, Ray. Dark Carnival. Sauk City, Mar. 10 1978”. Dark Carnival, Bradbury’s first book, and Michael Redgrave. Brickhill’s other famous is a collection of short stories, all but six of which WI: Arkham House, 1947 work, The Great Escape, was published the preced- were originally published in magazines such as ing year. Octavo. Original black cloth, spine lettered in gilt. With Weird Tales and Harper’s Magazine. £750 [125552] the dust jacket. Spine ends and tips a little rubbed, odd Locke, Vol. I, p. 39. spot of foxing to first couple of pages. A near-fine copy in the slightly rubbed, bright jacket, a little creasing to tips, £2,500 [125731] tiny chip to foot of front panel. first edition, first printing, presenta- 11 tion copy, inscribed by the author on the front BRASSAÏ, & Paul Morand. Paris de nuit. Par- free endpaper, “For Jerry Colet! This first edition is: Edition Arts et Métiers Graphiques, 1933 Quarto. Original spiral-bound photographic stiff card wrappers, front cover lettered in red. With 62 full-page photogravures. Loss to a couple of punch holes at spine ends, front wrapper slightly creased, a little rubbing to extremities. A very good copy of this fragile publication. first edition, first impression. In this work “Brassaï became a master at drawing luminos- ity from the darkness. The swaths of wet paving stones featured on the covers and endpapers of Paris de Nuit gleam like pale beacons in the street- light. Inside, Brassaï explores the city, beginning 10 with its broad vistas and grand public spaces and 12

All items are fully described and photographed at peterharrington.co.uk 7 13 14 15

13 14 Presentation copy to the chairman of the SEC BROOKE, Rupert. Poems. London: Sidgwick & BULGAKOV, Mikhail. The Master and Mar- 15 Jackson, Limited, 1911 garita. Translated from the Russian by Mi- BULLOCK, Hugh. The Story of Investment Octavo. Original blue cloth, titles to printed paper label chael Glenny. London: Collins and Harvill Press, Companies. New York: Columbia University Press, to spine. Issued without a jacket. Housed in a custom 1967 1959 blue cloth jacket and matching slipcase. Small contem- Octavo. Original green and black boards, spine lettered in porary ownership inscription to front free endpaper. Octavo. Original blue cloth, spine lettered in silver. gilt. With the dust jacket. Spine very slightly rolled, a little Spine label a little rubbed and tanned, tiny spot of wear With the dust jacket. Spine ends and corners very gently foxing to edges and endpapers. A very good copy in the to fore edge of rear cover, contents very fresh and clean; rubbed, a few pencil annotations to text, else a near-fine bright jacket, with a couple of light marks to rear panel. a near-fine copy. copy in the soiled dust jacket with a number of tears and first glenny edition, first impression. Al- chips to extremities. first edition, first impression, one of 500 though the Glenny translation was beaten to the copies issued. Poems was Brooke’s first collec- first edition, first impression, presenta- press by Mirra Ginsburg’s translation earlier the tion, his previous poetry having been written for tion copy, inscribed from the author to Edward same year, Ginsburg had taken as her copy text the school competitions and printed solely for pri- Gadsby, the chairman of the US Securities and heavily bowdlerized Soviet version. This version is vate distribution. Brooke developed a fatal case complete and remains the standard English trans- of blood poisoning from an insect bite while an- lation of one of the 20th century’s literary master- chored off Skyros; he died on 23 April 1915 aboard works. The Russian text was first published (al- a hospital ship, just two days before the Allies beit in censored form) in two issues of the journal launched their ill-fated invasion of Gallipoli. The Moskva in November 1966 and January 1967; the poet’s second book, 1914 and Other Poems, whose full text in Russian was not published until 1969. war sonnets Churchill described as “incompara- ble”, was published posthumously. £800 [125179] Keynes 5. £1,000 [125916]

8 Summer Miscellany: Peter Harrington 16 16

Exchange Commission, 1957–61, “To Edward N. tation as a champion of conservatism and tradi- pages. Spines slightly rubbed, light scuffing to boards, a Gadsby, able chairman of a vital government agency tion”. An excellent association copy of “a classic few pencil corrections to text and occasional light foxing that has given American investors protection they volume that will stand unchallenged as a source to contents, maps and plans in good condition with small never knew before” on the front free endpaper. for the history of the mutual fund” (Zerden). tear to plate of al-Medinah. A very good set. The Senate confirmation hearing of Gadsby Zerden, p. 60. See John Brooks, “The Happy Venture”, first edition. Forbidden to non-Muslims, less (1900–1973) as chairman was reportedly one of The New Yorker, 8 March 1958. than half a dozen Europeans were known to have made the hajj, or pilgrimage, to the Islamic holy the shortest ever held – 48 seconds. He resigned £4,000 [125342] upon the inauguration of John F. Kennedy. Bullock cities of Mecca and Medina and lived, and of those only the Swiss explorer J. L. Burckhardt had left a (1898–1996) served as president of Calvin Bullock “A most remarkable work of the highest value” Ltd, a firm founded by his father, and headed over detailed account. Burton made the pilgrimage in a dozen financial companies over the course of his 16 complete disguise as a Muslim native of the Mid- dle East, an exploit of linguistic and cultural vir- long career. He was among the group of executives BURTON, Richard F. Personal Narrative of tuosity which carried considerable risk. During who helped write the law that regulates mutual a Pilgrimage to El-Medinah and Meccah. funds, the Investment Company Act of 1940. the several days that Burton spent in Mecca, he London: Longman, Brown, Green, and Longmans, performed the associated rites of the pilgrimage This volume is the first (and, until recently, the 1855–6 such as circumambulating the Kaaba, drinking only) book on the history of the mutual fund in- the Zamzam water, and stoning the devil at Mount dustry, published just as mutual funds were cap- 3 volumes, octavo (208 × 131 mm). Contemporary half calf, spine lettered and ruled in gilt, red morocco label, raised Arafat. His resulting book surpassed all preced- turing the public interest and becoming the fastest bands, decorative roll to compartments in blind, marbled ing Western accounts of the holy cities, made him growing phenomenon of the US financial world. sides, boards triple ruled in blind, orange endpapers, famous and became a classic of travel literature, In this climate, the business “was full of hard-driv- edges sprinkled red. 15 plates of which 5 chromolitho- described by T. E. Lawrence as “a most remarkable ing types, with ulcers”, noted John Brooks in his graphs (including the famous portrait of Burton as “The work of the highest value”. profile of Bullock for the New Yorker. In contrast, Pilgrim” mounted as frontispiece to vol. 2), 8 single-tint Abbey Travel 368; Gay 3634; Howgego IV B95; Ibrahim- lithographs, some with tissue guards, engraved plate of Brooks continued, Bullock’s firm “has somehow Hilmy I p. 111; Penzer, pp. 49–50. succeeded not only in maintaining an imposing “Bedouin and Wahhabi Heads”, 4 maps and plans of which serenity but in building up and preserving a repu- 3 folding. Partially erased ownership inscription to title £4,850 [126964]

All items are fully described and photographed at peterharrington.co.uk 9 Kekulé were moving to similar conclusions. But his accomplishment was “actually much more important – his version of the theory was much clear- er and more easily used. Butlerov may not have developed the theory first, but he made it useful – he did do it best” (Lewis, “High Creativity, Historical Invisibility: The Growth of Chemistry in Russia” in Rasmussen, Igniting the Chemical Ring of Fire: Histori- cal Evolution of the Chemical Communities of the Pacific Rim, p. 322). Often mentioned alongside his com- patriot Dmitri Mendeleev, the creator of the peri- odic table, Butlerov is perhaps internationally less famous, but his work was equally influential. One of Butlerov’s successors as professor at Ka- zan, and head of the Soviet Institute of Organic chemistry, Aleksandr Arbuzov considered their work to be of a piece: “Mendeleev and Butlerov! These are two giants that hold on their shoulders the eastern portal of the international edifice of chemistry” (Brief Sketch of the Development of Organic Chemistry in Russia, 1948). provenance: with the inscription and stamp of Innokentiy Nikitich Soldatov on the title page. Soldatov was a professor of mathematics at Kazan 17 18 University, Butlerov’s alma mater and now home of the Alexander Butlerov Chemistry Institute, in 17 the later 19th century; small private library stamp nary blank. Joints just a little rubbed, short nick at head of front joint, inner joints cracked to cords but sound, to the front free endpaper and title page. BUTLEROV, Aleksandr Mikhailovich. Vve- marginal dampstaining to a few gatherings yet withal a denie k polnomu izucheniyu organicheskoy £10,000 [125476] superior copy. khimii (Introduction to the Complete Study first edition of Carême’s first book, signed by of Organic Chemistry). Kazan: Fan-der-Flit, One of the most famous chefs in all the history of the author at the foot of the explanation of the 1864 cuisine frontispiece. Decidedly uncommon: Copac cites only the copies at the British Library and Well- Octavo (224 × 152 mm). Contemporary quarter sheep, 18 marbled boards, cloth tips, spine lettered in blind. Somewhat rubbed, headcap pulled, corners through, CARÊME, Marie Antonin. Le Patissier Royal typically lightly browned and spotted throughout, some Parisien, ou traité élémentaire et pratique de marginal hygroscopic tide-lines front and back, but over- la patisserie ancienne et moderne, de l’en- all a very good copy, well-preserved. tremets de sucre, des entrée froides et des first edition of this significant work, extreme- socles; suivi d’observations utiles aux progrès ly uncommon with two copies only on OCLC, de cet art, d’une série de plus de soixante me- Deutsches Museum, Munich, and North Carolina; nus, et d’une revue critique des grands bals the first edition of the first textbook of organic de 1810 et 1811. Paris: J. G. Dentu, 1815 chemistry to be based on the theory of chemical structure. It is impossible to credit Alexander 2 volumes bound as one, octavo (200 × 125 mm). Mid- Mikhailovich Butlerov (1828–1886) as the sole dis- 19th-century red half calf, smooth spine gilt banded, coverer of chemical structure: the Scot Archibald marbled sides and endpapers. Engraved frontispiece Scott Couper and the German Friedrich August (by Le Roy after Carême) and 69 plates. Contemporary ownership inscription of “Marie Fonteyne” on prelimi- 18

10 Summer Miscellany: Peter Harrington 19 20 come among British and Irish institutions; OCLC Signed by the original Alice notes another 15 copies in international holdings. 20 “Carême [1784–1833] is one of the most famous chefs in all the history of cuisine and certainly CARROLL, Lewis. Alice’s Adventures in the most famous in the nineteenth century. . . . Le Wonderland; [together with] Through the Patissier Royal Parisien, in two volumes, is divided 19 Looking Glass. Illustrated by John Tenniel. into ten chapters. It discusses many aspects of New York: The Limited Editions Club, 1932 & 1935 haute cuisine, from the making of the dough that 19 2 works, octavo. Publisher’s red and blue calf, spines gilt accompany Carême’s recipes for hot and cold en- CARROLL, Lewis. Alice’s Adventures in Won- in compartments with tools based on Tenniel’s illustra- trées and entremets to the aspics, petits fours, and derland. Illustrated by Gwynedd M. Hudson. tions, boards elaborately gilt stamped, edges gilt. With the grand pièces montées. Usually constructed the publisher’s red and blue cloth slipcases. Housed in with coloured almond paste, these pièces montées London: Hodder and Stoughton, Limited, [1922] custom red and blue chemises and matching leather were, in Willan’s words, ‘the great decorative cen- Quarto. Original red cloth, spine and front cover lettered slipcases. Frontispiece and engraved title to each volume tre pieces that were the crowning glory of a grand in gilt and decorated in gilt and black. Colour frontis- and illustrations throughout by John Tenniel. Alice in Wonderland: fine copy. Looking-Glass: spine ends rubbed, dinner’” (Lilly Library). piece and 11 colour plates with captioned tissue guards, black and red illustrations in the text by Gwynedd M. split to head of rear joint and spine panel. “Carême’s ideas – which included an emphasis on Hudson. Spine and head of rear cover lightly faded, signed limited editions, both signed by the the artful presentation of dishes and on the use slight nicks to spine ends, a tiny touch of wear to tips of original “Alice”, Alice Hargreaves (née Liddell). of fresh ingredients – caught on in restaurants bottom edge, a couple of faint scratches to covers, pale Each volume is one of 1,500 copies: Alice’s Adven- throughout Europe, especially in France, where offsetting to free endpapers. A very good copy. tures in Wonderland is number 675, signed by Alice the French Revolution contributed to the develop- first edition thus, first impression. on the second blank and typographer and binder ment of restaurants, as cooks of the deposed aris- Gwynedd Hudson (1909–1935) was a notable Alice Frederic Ward the limitation page; Through the tocracy looked for work. Carême helped create a illustrator whose “choice to portray the mad hat- Looking Glass is number 1378, signed by Alice on new culinary ethic befitting the new France” (Ency. ter’s tea-party in an autumn setting distinguishes the limitation page. Brit.). it from others, providing a colour scheme that Williams–Madan–Green, pp. 223 & 233. Bitting p. 74 (citing the third edition of 1841); Lilly Li- previous illustrators had not thought to explore, brary, Une Affaire de Goût: A Selection of Cookbooks 1475 to resulting in a freshness without any disrespect for £5,000 [125942] 1873, 134; Simon BG 287 (also third edition); Vicaire 144. the material” (Moser, Alice Illustrated: 120 Images from £15,000 [124938] the Classic Tales of Lewis Carroll, p. 93). £1,000 [125920]

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

21 CHAGALL, Marc. The Jerusalem Windows. Text and Notes by Jean Leymarie. New York: George Brazillier Inc. in association with Horizon Magazine, 1962 Tall quarto. Original red cloth, gilt titles to spine and front board, pictorial endpapers. With the dust jacket. With 2 original lithographs and colour illustrations throughout by Chagall. A couple of faint marks to covers. An excellent copy in the bright jacket with a couple of nicks to head of rear panel.

first edition in english, with two original Octavo. Original orange cloth, spine lettered in black. lithographs prepared by Chagall for this edition, With the pictorial dust jacket. Brentano’s bookseller’s and with numerous beautiful chromolithographic ticket to foot of rear pastedown. Spine gently rolled, light reproductions of the artist’s work. It was issued the fading to spine and head of front cover, small, partially erased blue ink mark to front free endpaper, internally same year as the first edition in French, and features fresh. An uncommonly bright copy in the sharp jacket, various stages of Chagall’s 12 stained glass window spine panel very slightly faded with tiny white mark to designs for the synagogue of the Hadassah-Hebrew head, couple of small nicks to extremities, tiny chip to University Medical Centre in Jerusalem. foot of spine. £1,250 [127551] first edition, first impression. A remarkably well-preserved example of the scarce jacket 22 designed by Christie’s friend Robin Macartney, a painter and architect, who often joined the author CHRISTIE, Agatha. Appointment with and her husband, the archaeologist Max Mallow- Death. London: for The Crime Club by Collins, 1938 an, on digs in the Middle East. Christie wrote Ap- 21 pointment with Death during one such archaeologi-

12 Summer Miscellany: Peter Harrington 23 cal dig in the Balikh Valley, in Syria, from which they returned in December 1938. “It was to be their last dig in the Middle East before world events conspired to prevent any immediate possibility of return” (Wagstaff & Poole). Wagstaff & Poole, pp. 146–51. £6,750 [127512]

“The finest Polar book ever written” – in the rare dust jackets 23 CHERRY-GARRARD, Apsley. The Worst Journey in the World: Antarctic 1910–1913. London: Constable and Company Limited, 1922 2 volumes, octavo. Original linen-backed pale blue boards, printed paper labels to spines, endpapers to match the boards, all edges untrimmed, duplicate spine- labels tipped to front free endpapers as issued. With the pictorial dust jackets. Housed in a leather entry slipcase by the Chelsea Bindery. Colour frontispiece to each vol- 23 ume, 3 similar plates, 40 black and white plates from sketches and photographs, 5 maps of which 4 folding, 10 the experiences of its men untold: it was Cherry- A total of 1,500 copies of Cherry-Garrard’s account folding panoramas (one with map inset). Jacket spines Garrard who pulled the entire story of the main were printed, though the “polar” binding proved toned, panels a little soiled, some nicks, chips and tears party together. He was uniquely suited to do so. fragile and copies were soon bound up in cloth. (verso with old tape repairs to closed-tears), lower third of spine of vol. I darkened, spine of vol. II foxed and label He was a member of the main party for the expedi- This copy, in entirely original condition, retaining lightly creased. A very good copy. tion’s entire duration, had access to unpublished the spare spine-labels in addition to the jackets, is sources, and was the only member of the Winter particularly desirable. first edition, both volumes in the extremely Journey to survive the expedition. Most of all, he rare dust jackets. Cherry-Garrard’s account of the Books on Ice 6.12; Howgego III S14; Renard, 305; Rosove had the sensibilities and extraordinary literary 71.A1; Spence 277; Taurus 84. Terra Nova expedition of 1910–13 “has often been genius necessary to cope with the complex and referred to as the finest polar book ever written. £15,000 [127000] tragic subject of the Polar Journey” (Rosove). Scott’s diary left many facets of the expedition and

All items are fully described and photographed at peterharrington.co.uk 13 24 CHURCHILL, Winston S. Collection of his works, all in first editions. 1898–1961 33 works bound in 46 volumes. Uniformly bound in later 20th-century red half morocco by Bayntun, twin blue morocco labels to spines with date lettered in gilt at foot, marbled endpapers, top edges gilt. With portraits, photographic reproductions, maps and charts, some folding. Faint uneven discolouration to spines, very minor imperfections to a few pages, else a near-fine set. first british editions, first impressions, of all of Churchill’s major works, in attractive matching bindings by Bayntun of Bath. Churchill was a prolific writer in the fields of history, biography and politics, alongside forays into essays and fiction, with several volumes of his collected speeches also published. He received the Nobel Prize for Literature in 1953 “for his mastery of historical and biographical description as well as for bril- liant oratory in defending exalted human values”. Collections of Churchill’s first editions in uniform bindings are scarce in commerce. Cohen A1.1a; C72a; A2.1.b; A3.1.a; A4.1.a; A8.1.a; C219; A17.1; A27.1; A29.1.a; A69.2(I)d, A69.2(II).a, A69.2(III–1[–2]).a, A69.2(IV).b, A69.2(V).a; A91.1c; A95.1.a; A242.1.a; A97.2.(I- -IV).a; A105.1.a; A107.1; A111.1.a; A142.1.a; A172.1.b; A183.1a; A194.1.a; A214.1.a; A223.1.b; A227.2.a; A240.4[(I).b](II-VI).a; A241.1; A246.1; A255.1; A264.1; A267.1(I-IV).a; A272.1.a; A273. £30,000 [127143]

25 CHURCHILL, Winston S. The World Crisis. 1911–1914; 1915; 1916–1918; The Aftermath; The Eastern Front. London: Thornton Butter- worth, 1923–31 5 works in 6 volumes, octavo. Original blue cloth, titles to spines gilt and front covers blind. Illustrated throughout with maps and charts (many folding). Spine ends and tips a little rubbed, faint tape residue to front free endpaper of vols. II and V, a few endpapers lightly toned, occasional mild foxing or marginal mark, but overall quite clean internally. A very good set in bright cloth. first editions, first impressions; volumes III and V presentation copies from Churchill to Douglas McGarel Hogg, each inscribed on the blank before the half-title, respectively: “To Doug- las McGarel Hogg, from Winston S Churchill 3. 3.

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24 25 26

27”, and “Douglas, from Winston S. C”. Volume brother was married to Churchill’s aunt, Lady spines with single gilt rule at head and tail, raised bands III inscribed on the day of publication, 3 March Fanny Spencer-Churchill (see Gilbert, Volume V, bracketed by rules in blind, the Duke of Marlborough’s 1927; volume V a pre-publication copy, one of Companion Part I, 1979, p. 486 note). arms in gilt to front covers, top edges gilt, others un- those “sent by Churchill to more than 80 friends trimmed, marbled endpapers. Portrait frontispieces, il- The first volume is in the first state, without the lustrated throughout with numerous plates, plans and and colleagues at least four or five days prior to general errata slip, and the incorrect map ref- maps. Light refurbishment to vol. III with colour en- the publication date” (Cohen I, p. 255). Volume V erence on p. 472; the fifth volume is in the first hanced and boards straightened, some marking remain- was published on 7 March and Hogg, then Lord state, without the errata slip. Working with as- ing, some pages unopened, else a near-fine set. Hailsham (created 1928), wrote to Churchill on 4 tonishing speed and energy, Churchill produced first edition, signed limited issue, num- March: “My dear Winston, Ever so many thanks to this mammoth history of the First World War in ber 135 of 155 copies signed by the author. Peter you for sending me your book, and for writing my the aftermath of electoral defeat. John Buchan Clarke has recently described Marlborough as “a name in it. I do appreciate receiving it from you considered these volumes “the best thing anyone monument to its author’s historical commitment, very much; I have been following the excerpts in has done in contemporary history since Claren- insight – and fortitude” (Mr. Churchill’s Profession, ‘The Times’, but it is quite another thing to have don” (Cohen A69). p. 174), but it is probably Fred Woods’s summary the complete volume . . . I am very proud to know Cohen A69.2(I).a; A69.2(II).a; A69.2(III–1 & 2).a; A69.2(IV).a; which best captures the spirit of the work: “Marl- that I can claim you as a colleague and (I hope) A69.2(V).a. borough is huge . . . heavily documented, compre- a friend” (Gilbert, Volume V, Companion Part I, £12,500 [124884] hensive. No future historian can hope to avoid 1979, p. 1435). indebtedness, and no unprofessional reader can A fine provenance: Douglas McGarel Hogg, first fail to be moved by the grandeur of the vision, the 26 Viscount Hailsham (1872–1950), lawyer and Con- language and the myth. Sonority piles on sonority, servative politician. Gilbert notes that Hogg’s CHURCHILL, Winston S. Marlborough: His vista succeeds vista, magnificence follows magnif- brother, Ian, was a friend of Churchill’s at Sand- Life and Times. London: George G. Harrap & Co. icence” (Artillery of Words, pp. 120–21). hurst and both men served in the 4th Queen’s Own Ltd, 1933–8 Cohen A97.1.a. Hussars. Churchill had a familial connection with Hogg’s wife, Elizabeth Brown, through her first 4 volumes, large octavo. Original orange Niger goat- £15,000 [125817] skin by Leighton-Straker for the publishers, gilt lettered husband Archibald John Marjoribanks, whose

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27 and his influence was wide: he “offered no plan, COBBETT, William. Rural Rides in the Coun- but owed his popularity to his stinging pen and trenchant criticism. He was an ardent agrarian ties of Surrey, Kent, Sussex, Hampshire, reformer, a burning opponent of industrialism, Wiltshire, Gloucestershire, Herefordshire, a keen social critic and a writer of the best prose Worcestershire, Somersetshire, Oxfordshire, in the English language” (see Gregg, A Social and Berkshire, Essex, Suffolk, Norfolk, and Hert- Economic history of Britain, p. 281). fordshire: With Economical and Political Ob- Printing and the Mind of Man 294. servations relative to matters applicable to, £1,250 [124549] and illustrated by, the State of those Counties respectively. London: William Cobbett, 1830 First Edinburgh edition, bound in the Cosway style Duodecimo (181 × 112 mm). Original green cloth-backed 28 28 grey boards, printed paper label. Engraved map, 12 pages of publisher’s advertisements at rear. Spine ends slightly (COSWAY-STYLE BINDING.) BURNS, Rob- green and mauve onlays, each device with quotations bumped, a few patches of abrasion to covers, binding a ert. Poems, Chiefly in the Scottish Dialect. from the poet around it; brown morocco doublures and little tight, some light foxing and occasional small blem- Edinburgh: printed for the Author, and sold by Wil- purple silk endpapers, the front doublure with a hand- ishes to contents. An excellent copy. liam Creech, 1787 painted miniature after the Nasmyth portrait set in a gold first edition in book form of this masterpiece frame within a gold-tooled and jewelled oval containing of description and political journalism, deserv- Octavo (211 × 126 mm). Lavishly bound in purple crushed six amethysts, turn-ins with selections from the poet’s edly the best known of Cobbett’s works. The Rural morocco Cosway-style binding by Sangorski & Sutcliffe; verses lettered in gilt; edges gilt. Housed in a custom red spine richly gilt with massed leaf sprays between raised Rides were originally a series of letters which be- morocco flat back box. Engraved frontispiece portrait by bands, lettered in gilt in second compartment and dated gan in the Political Register, the weekly periodical John Beugo after Alexander Nasmyth, with tissue guard. at foot; covers tooled all over with gilt flower and leaf A near-fine copy, the contents occasionally foxed with a Cobbett established in 1802 and conducted until tools, the larger flowers with white and yellow onlays, a few faint marks, discreet professional repairs to small his death in 1835. Cobbett wanted to maintain large circular device in centre with, on the front, Burns’s closed tears at fore edge of A1, 2Y2, and 2Y3, some mark- Britain’s original state of agrarian equilibrium monogram, and on the back a cluster of thistles with

16 Summer Miscellany: Peter Harrington 29 (COSWAY-STYLE BINDING.) TWAIN, Mark. The Adventures of Tom Sawyer. London: Chat- to and Windus, 1876 Octavo (186 × 135 mm). Cosway-style binding of 20th- century red morocco by Bayntun (Riviere) of Bath, raised bands to spine, compartments lettered and elaborately tooled in gilt, sides with gilt single-line border enclosing a panel with scrolling foliate corner-pieces, broad gilt turn-ins, red moiré silk doublures and endpapers, edges gilt, red silk page markers. With original cloth covers bound in at rear. Housed in a custom fleece-lined, red cloth slipcase. A touch of foxing in places. A very handsome copy. first edition, in an appealing cosway-style binding, published on 16 June 1876 and preceding the American edition published in December of that year. The binding incorporates a fine portrait of the author under glass by Stanley Hardy of Bayntun. 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 Miss Currie (real name Caroline Bil- lin 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. However examples such as this continued to be produced by her successors. BAL 3367. £10,000 [127023]

29 ing to the “e” of “Poems” on p. 9, tiny hole to fore edge “Roxburgh” in the list of subscribers on p. xxxvii, margin of Ll1, else a crisp, wide-margined copy. and the correct printing of the Scots word “skink- first edinburgh edition, the second overall, ing” (meaning watery) on p. 263, later misprinted finely bound in the Cosway manner, with the inset as “stinking”. This edition includes contains 22 miniature portrait on the inside of the front cover. new pieces, including “To a Haggis”, and the first Preceded only by the rare Kilmarnock edition of appearance in print of “Death and Doctor Horn- 1786, this second edition was published in an edi- book”, which had been omitted from the Kilmar- tion of approximately 3,250 copies on 17 April 1787. nock edition. Two printers were used, resulting in variations in Egerer 2; Lamont 2; Rothschild 556. some sheets of the edition. This copy has the first £7,500 [125489] state points: the misprint “Duke of Boxburgh” for

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Winning Sikhism “an assured place in the history on the Sikhs, which “won for Sikhism an assured he acted as an additional aide-de-camp at the battle of mankind” place in the history of mankind”. of Sobraon. For his services he was promoted captain by brevet in December 1845, and at the conclu- 30 Although a critical and popular success, this book brought a highly successful military career to a sion of the war appointed by Hardinge to the lucra- CUNNINGHAM, Joseph Davey. A History premature end. Cunningham passed through Ad- tive position of political agent to Bhopal. of the Sikhs, from the Origin of the Nation discombe and Chatham attracting high praise at In the comparative leisure afforded by this post- to the Battles of the Sutlej. Second Edition. both establishments, passing out of the former ing he wrote the present work, which assured his With the Author’s Last Corrections and Addi- with the prize for mathematics and the sword for name as a historian but led to his fall from grace tions. London: John Murray, 1853 good conduct. On reaching India he was appoint- with his superiors. His assertion that Lal Singh ed to the staff of General Macleod, then chief en- and Tej Singh had been bribed during the First Octavo (213 × 133 mm). Near-contemporary brown hard- gineer in the Bengal presidency. In 1837 he became Sikh War was challenged by Hardinge and Sir grained morocco “extra gilt”, title direct to spine, low, flat bands with dotted roll, gilt, compartments gilt with assistant to Sir Claud Wade, political agent on the Henry Lawrence; in 1850 he was removed from his foliate tools within double fillet panel, similar decora- Sikh frontier, a position he continued to hold un- agency and returned to regimental duty. Within a tion to the boards, floral roll to the edges and turn-ins, der Wade’s successors. During his time in the area year he had died at Umballa aged only 39. all edges gilt, pale yellowish white surface-paper endpa- he developed a profound knowledge of the man- The present edition contains an introductory ad- pers. Map frontispiece, coloured in outline, similar fold- ners and customs of the Sikh people which placed vertisement by his brother Peter, who saw the edi- ing map, folding genealogical table. A little rubbed at ex- him in great demand at the time of the outbreak of tion through the press, which contains what could tremities, spine slightly sunned and dulled, front hinge the First Sikh War. cracked to the cords, but tight, toning to the text-block, a be seen as a fitting epitaph for the author: “The au- very good copy in a very handsome period binding. He served on the staffs of Napier, Gough and finally thor fell victim to the truth related in this book. He Sir Harry Smith, seeing action at Buddawal and Ali- wrote History in advance of his time, and suffered First published 1849, this edition has the final au- wal. When Smith joined the main army he was at- for it; but posterity will, I feel assured, do justice thorial revisions: a work described by Khurana as tached to the staff of Sir Henry Hardinge, to whom to his memory”. the “high-water mark” of British historiography

18 Summer Miscellany: Peter Harrington 31 32 33 provenance: Lieutenant Colonel Dirom Grey first edition, first printing, with the five- in the original grey cloth slipcase. Illustrated by Quentin Crawford (1857–1942; his ownership inscription line colophon on the last page. Described as “rude, Blake. Tiny mark to head of spine; a near-fine copy. dated 24 November 1893 at head of title). Crawford, naughty, anti-adult, creepy, and sometimes cruel” first us edition, signed limited issue, num- of the Indian Medical Service, served on the hospi- (ODNB), it was adapted into a film of the same ber 123 of 300 copies signed by the author and il- tal ships Gleanart and Syria during the First World name in 1996, which was nominated for the Acad- lustrator. First published earlier the same year in War. He was the author of a number of books on emy Award for Best Musical the following year the UK, Dahl’s fantastical tale was expanded from medical matters, particularly pertaining to India, £3,000 [117153] a short story in his 1975 book Danny, the Champion including The History of the Indian Medical Service 1600– of the World. 1913 (London: Thacker, 1914). Bequeathed by him to £1,950 [125123] the Royal Empire Society, with their neat stamp on 32 the title page and book plate noting that the book DAHL, Roald. The BFG. New York: Farrar, was given to the library by “the executors of the late Straus and Giroux, 1982 33 Col. D. G. Crawford, January, 1943”. DAHL, Roald. Matilda. London: Jonathan Cape, Octavo. Original red cloth, spine lettered in gilt, gilt vi- See Khurana, British Historiography on the Sikh Power in the gnette to front cover, grey marbled endpapers. Housed 1988 Punjab, in particular chapter 9, “The Culmination”. Octavo. Original red boards, spine lettered in gilt. With £2,250 [124583] the dust jacket. Numerous illustrations in text by Blake. A few very small dark spots to top edge of text block, oth- 31 erwise a fine copy. DAHL, Roald. James and the Giant Peach. A first edition, first impression. Matilda won the Children’s Book Award in the year of its publi- children’s story. Illustrated by Nancy Ekholm cation. It formed the basis for both the 1996 film Burkert. New York: Alfred A. Knopf, 1961 directed by Danny DeVito and the successful stage Quarto. Original red cloth, spine lettered in gilt, front musical which premiered at the RSC’s Courtyard cover with design copied from the frontispiece blocked Theatre in Stratford-upon-Avon in November 2010. in blind, green endpapers. With the pictorial dust jacket. £600 [125197] Colour frontispiece, 4 colour plates, 1 tinted plate, 19 illustrations to text, of which 10 are tinted. An excellent copy in the bright jacket with a few nicks and a little rubbing to extremities. 32

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34 dicated by the dedications of the three volumes of blank, binder’s ticket to rear pastedown. Spine faded, cloth somewhat rubbed, tips worn, hinges cracked but DANTE ALIGHIERI. La Divina Commedia. his edition of the Divine Comedy. Each is dedicated to a different aristocratic woman; the first be- holding, edges foxed. A good copy. Illustrata di note da varj comentatori scelte ing to the Countess Lonsdale, the second to the first edition, first issue (with vertical dot- ed abbreviate da Romualdo Zotti; [together Countess of Dartmouth, and the third to a Mrs and-line cloth and adverts dated December 1861), with:] Canzoni e Sonetti, per la prima volta Pilkington. In his preface in vol. 1, he likewise of Darwin’s first book after the Origin of Species. di note illustrati con una dissertazione sulla “emphasises his aim of giving clear linguistic This was the first of the volumes of supporting evi- Divina Commedia scritta da Mr. Merian, dell’ guidance and ‘very concise’ (brevissima) historical dence, attributing the evolution of the symbiosis Accademic di Berlino. London: Dai Torchj di R. and mythological information” (Havely, p. 138). between flowers and insects to natural selection. Zotti, 1808-9 The second edition, published 1819–20, compris- Freeman estimates the number of copies printed es three volumes rather than four, and does not to be no more than 2,000 and probably less. It is 4 volumes, duodecimo in half sheets (161 × 105 mm). include the Canzoni or Sonetti. the only Murray Darwin between 1859 and 1910 not Contemporary light green vellum with yapp edges, com- bound in green cloth. partments to spines in gilt, red morocco labels, double £1,350 [124978] rule in blind to covers, marbled endpapers and edges, Freeman 800. pink silk page markers. Engraved frontispiece portrait of 35 £3,750 [125367] Dante in vol. 1. Boards slightly bowed and a little soiled, small abrasion to head of rear yapp edge of vol. 4, top DARWIN, Charles. On the various contriv- edges dust toned, occasional pale foxing, short closed ances by which British and Foreign Orchids “The best photographs of me have been taken by Mr tear to fore edge of leaf z2 of vol. 1. A very good, fresh set are fertilised by insects, and on the good ef- Rejlander” – signed photograph of Charles Darwin in a lovely, bright binding. fects of intercrossing. With illustrations. Lon- 36 first zotti edition. Romualdo Zotti (d. c.1819) don: John Murray, 1862 was an Italian expatriate who acted as a teacher DARWIN, Charles. Photographic portrait, of Italian for young noblewomen as well as be- Octavo in twelves. Original purple cloth, spine lettered signed. [London: Oscar Gustav Rejlander, nega- ing a printer, producing highly popular guides to and decorated in gilt, boards panelled in blind, gilt or- tive, spring 1871] chid to centre of front cover, brown coated endpapers, French and Italian grammar as well as editions of Albumen print, mounted on original plain card, size of Italian poets such as Petrarch. Zotti’s focus upon Freeman’s variant a, with 32 pages of inserted advertisements dated December 1861. Folding plate, 33 wood- image 89 × 57 mm, overall 104 × 65 mm. A little faded, the education of the English upper classes is in- cuts in the text. Pencilled ownership inscription to first some minor surface marking, tape remnants at head and

20 Summer Miscellany: Peter Harrington 35 tail of mount. Presented in a frame with conservation mount and UV preventive glass. Photograph of Darwin by Oscar Gustav Rejlander, signed on the mount (“Charles Darwin”), showing him seated half-length facing to his right, with his hands clasped in front of him. Darwin came across the photographs of O. G. Rejlander — now widely regarded as “the father of art photography” – when perusing a shop window in the spring of 1871. He was at the time searching for suitable means of illustrating his third major work on evolution, The Expression of the Emotions in Man and Animals (1872). Struck by the naturalism of Re- jlander’s work, Darwin commissioned from him a set of photographs, writing to another would-be illustrator: “I have found a photographer in Lon- don. Rejlander, who for years has had a passion for photographing all sorts of chance expressions exhibited on various occasions, especially by chil- 36 dren, and taken instantaneously” (to James Crich- ton-Browne, 7 April [1871], Cambridge University was several times with Mr Rejlander, who was as- of me have been taken by Mr Rejlander” (Darwin Darwin Correspondence Project). Rejlander was sisting me on a scientific subject, &, who took so Correspondence Project). to produce 19 of the 30 photographs for the book, much trouble for my sake that I gladly complied posing in many of them himself. Later carbon prints were taken from the original with his request to take several photos: of me, negative a decade later, but this is an earlier albu- This striking portrait dates from this time. On 23 and these I imagine he intends to sell to any pur- men print, likely produced at the time. April 1871, Darwin wrote to the photographers chasers”; adding in another letter to an unidenti- Elliot & Fry: “I am bound to tell you that I lately fied editor on 12 October: “The best photographs £20,000 [125463]

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The most famous account of drug addiction in the English language 37 liam S. Burroughs, 1960–1997, ed. Sylvère Lotringer, Small oblong octavo. Original boards, silver crepe paper 2001, p. 507). “Throughout the nineteenth century spine, brown patterned paper sides with Desmond fac- [DE QUINCEY, Thomas.] Confessions of an simile signature blind stamped to front, gilt patterned English Opium-Eater. London: Printed for Taylor the work was viewed as having medical authority as a case history, and De Quincey was widely read endpapers. Photographic nude portrait frontispiece of and Hessey, 1822 Desmond by C. Oertel, vignette illustrative initials and in British and American medical circles” (ODNB). terminals incorporating nude figures, eight printed Duodecimo (168 × 95 mm). Contemporary half calf by It also laid the intellectual foundation for most of dance notation cards held in rear pocket. Paper lightly R. Bailey & Co. of Wotton-under-Edge, Gloucestershire the modern drug literature of Cocteau, Burroughs, chipped to spine, light rubbing to corrners, some mild (with his ticket), spine lettered in gilt with gilt orna- and other Beats, and was a landmark text in the ments to compartments, marbled sides. Half-title pre- development of confessional autobiography. sent, bound without the terminal advertisement leaf. A little rubbing to extremities, spine discreetly repaired. A Moss Side Library Collection 354; Norman 619; For R. very attractive, clean copy. Bailey, see Ramsden, Bookbinders of the United Kingdom (Outside London) 1780–1840, p. 32. first edition in book form of the author’s iconic first book, scarce in a contemporary binding and £2,750 [127256] retaining the half-title. First published in the Lon- don Magazine, September–October 1821, Confessions 38 was a groundbreaking and influential text. Wil- DESMOND, Olga. Rhythmographik (Tan- liam Burroughs described it as “the first, and still znotenschrift) als Grundlage zum Selbst- the best, book about drug addiction . . . no other author has given such a completely analytical de- studium des Tanzes. Bearbeitet von Fritz scription of what it is like to be a junky from the first Böhme. Mit acht tafeln. Leipzig: Druck und Ver- use to the effects of withdrawal” (“Trip to Hell and lag von Breitkopf & Härtel, 1919 Back” in Burroughs Live: The Collected Interviews of Wil- 38

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38 38 39 DICKENS, Charles. The Posthumous Papers spotting within, but generally excellent condition for outcry following a 1909 appearance in the Winter- of the Pickwick Club. London: Chapman and this scarce survival. garten secured her succès de scandale. Cosmetic prod- Hall, 1837 first edition, number 72 of 150 deluxe copies on ucts bore her name, and she took numerous nude Octavo. Original purple fine-diaper cloth, covers handmade paper, this copy signed by Desmond af- dance tours around Germany. During the war years stamped in blind, blind-stamped spine lettered in gilt, ter the preface. Berlin dancer and model Olga Des- she branched out into film and theatrical perfor- pale yellow coated endpapers. Engraved frontispiece, mond (1890–1964) shot to fame when she took her mances, but afterwards devoted herself primarily to vignette title page, and 41 plates by Robert Seymour Schönheitsabende (“Beauty-Evenings”), in which she teaching dance, as represented by this handsomely and Hablot Knight Browne (“Nemo” and “Phiz”). Spine and her troupe struck classical poses in the nude or produced publication on dance notation. Hertha sunned, cloth faded, spine with a couple of nicks and wearing only body paint, to the Russian stage in St Feist (1896–1990) was one of Desmond’s most no- one small chip at foot, few short splits to rear joint, tips Petersburg. Met with public outrage and accused of table students. This copy has a contemporary ink worn, generally clean and fresh internally, the plates in good condition without foxing or oxidisation, early in- “seduction”, Desmond defended her performances ownership stamp of a “Margot Niendorf, Dipl.- scription carefully cleaned from head of half-title, plate to the press: “Call it daring or bold, or however you Gymnastiklebrerin, Burg b. M., Bahnhofstr. 25”, facing p. 89 with tear from foot up to page number neatly want . . . but this requires art, and it is my only de- perhaps one of her students, with a photographic closed, plate facing p. 94 with tiny tear in fore edge simi- ity, before whom I bow and for which I am prepared postcard laid in showing four young female dancers larly closed, very good overall. posing in a dance frieze, captioned on the rear in to make all possible sacrifices. I decided to break first edition in book form, early states of manuscript and dated 1929. the centuries-old heavy chains, created by people most plates, with page numbers and no caption, themselves. When I go out on stage completely na- The works is very scarce indeed, with OCLC show- but with Phiz plates replacing the two Buss plates ked, I am not ashamed, I am not embarrassed, being 14 copies (none mentioning the deluxe issue, and with the second state frontispiece and Weller cause I come out before the public just as I am, lov- or a signature) in institutions worldwide, and title page. In later issues the plates are entirely re- ing all that is beautiful and graceful.” Nonetheless none recorded at auction. etched and do not contain page locations. the nude show was banned from St Petersburg, and Smith I.3. Desmond returned to Berlin where a similar public £1,750 [124929] £9,750 [125669]

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40 DICKENS, Charles. The Life and Adventures of Nicholas Nickleby. With Illustrations by Phiz. London: Chapman and Hall, 1839 Octavo (216 × 142 mm). Later red calf by Bayntun of Bath, raised bands to spine, red and black morocco labels, compartments richly tooled in gilt with floral devices, French fillet border to covers, floral gilt roll to turn-ins, marbled endpapers, 2 red silk page markers, edges gilt. Engraved portraiture frontispiece, 39 engraved plates by Phiz (one plate, “The ‘breaking up’ at Dothebys Hall” bound out of order to face p. 63). Spine lightly sunned, 41 sharp copy, slight marks to rear cover, else bright, contents fresh. Other volumes: A little wear to tips and spine boards a little bowed, a touch of shelfwear, foxing to pre- DICKENS, Charles. [The Christmas books:] lims, endmatter, and occasionally to plates. A very good ends, couple of hinges cracked but holding, Battle of Life a copy, attractively bound. A Christmas Carol; The Chimes; The Cricket little marked and soiled, overall an excellent set in original cloth. first edition in book form, first issue, on the Hearth; The Battle of Life; The Haunt- with issue points as called for by Smith. This novel ed Man. London: Chapman & Hall; Bradbury & first editions, first printings, of Dickens’s was first published in monthly parts from March Evans, 1843–8 sequence of Christmas books. A Christmas Carol is 1838 to October 1839. Dickens’s third novel “has the first issue, with “Stave I” on the first page of 5 volumes, octavo. Original pinkish-brown and red cloth, text, red and blue title page, green endpapers, and some title to being the funniest novel Dickens ever titles and pictorial design to spines and front boards gilt, wrote; it is perhaps the funniest novel in the Eng- borders to boards blocked in blind, green endpapers to all the first edition textual points. The hand-col- lish language” (Peter Ackroyd, Dickens, pp. 262–3). Christmas Carol, yellow endpapers to other volumes, all oured green endpapers, Dickens’s original choice for his lavish gift book, proved a disappointment, Eckel pp. 64-5; Smith 5. edges gilt. Housed in custom green cloth chemises and a green quarter morocco and cloth slipcase. Christmas as the colour tended to dust off and smudge, so £1,250 [125539] Carol with hand-coloured frontispiece, 3 full-page hand- the endpapers were changed to yellow, not requir- coloured plates, illustrations within the text; other titles ing hand work. Probably in the middle of binding, with frontispiece and engraved title, illustrations in the as demand grew faster than the current endpaper text by Leech, Maclise, Stanfield, Doyle, and Landseer. stock, it was decided to use up the green paper, Gift inscription to front endpapers of Battle of Life and Chimes, trace of bookplate removal to front pastedown and thereafter it was used indiscriminately with of Haunted Man. Christmas Carol: a very nice, unrestored, yellow, but discarded again when the initial sup-

24 Summer Miscellany: Peter Harrington 42 43

42 43 DICKENS, Charles. The Life and Adventures DICKENS, Charles. A Tale of Two Cities. of Martin Chuzzlewit. With Illustrations by With illustrations by H. K. Browne. London: Phiz. London: Chapman and Hall, 1844 Chapman and Hall, 1859 Octavo (222 × 144 mm). Contemporary calf, spine re- Octavo (226 × 150 mm). Contemporary green half mo- backed, raised bands to spine, red and yellow morocco rocco, raised bands to spine, compartments lettered labels, compartments elaborately tooled in gilt, covers in gilt and ruled in blind, triple rule in blind to covers, panelled in gilt, floral gilt edge roll and turn-ins, re- marbled sides and endpapers, top edge gilt. Engraved 41 newed marbled endpapers, speckled edges. Engraved frontispiece, title vignette, and 14 plates. Spine sunned, frontispiece, vignette title page, 38 engraved plates by extending a little onto covers, minor rubbing to ex- H. K. Browne. Minor wear to very tips, small spots of tremities, very small abrasion to foot of front cover, tiny ply of green became exhausted. Primary copies dampstaining to rear cover, pale foxing to plates. A very scratch to head of rear cover, occasional foxing to con- therefore occur with either green or yellow endpa- good copy. tents. A very good copy. pers, with some collectors preferring green as the first edition in book form, first issue, first edition, first issue, with page 213 incor- author’s original prepublication choice. The Chimes with issue points as stated by Smith, first serial- rectly numbered 113 and signature “b” on list of has the first state vignette title page;The Cricket on ised between December 1842 and July 1844. This plates. The novel was originally serialised in the the Hearth has the first state of the advertisement copy has the transposed 100£ title plate, which is weekly journal All the Year Round, from 30 April to leaf; and The Battle of Life has the second variant vi- often suggested as a first issue point. Hatton and 26 November 1859, and was also published in eight gnette title, all as described by Smith. Cleaver long ago dismissed this, however, stating monthly parts between June and December 1859. A Christmas Carol was an instant success, reportedly that “It is merely one of the five cases in Chuzzlewit It was first published in book form on 21 Novem- selling all 6,000 copies of the first edition on the of triplicated steels, one of them reading ‘100£’ ber 1859. first day of publication, and Dickens went on to and the other two ‘£100’ . . . all three of them in Smith I.13. produce a small festive book for each successive use during the issue in parts”. £4,000 [125075] Yuletide. The final book, The Haunted Man, was Smith I, 7; Hatton and Cleaver pp. 183–212. published in 1848, after Dickens postponed the £750 [125543] planned book for Christmas 1847 to focus on com- pleting his novel Dombey and Son. Smith II.4; 5; 6; 8; 9. £17,500 [125927]

All items are fully described and photographed at peterharrington.co.uk 25 45

45 (DULAC, Edmund.) ANDERSEN, Hans Christian. Stories from Hans Andersen. Lon- 44 don: Hodder & Stoughton, 1911 44 Walker to develop a refined type based on those of Quarto. Publisher’s full vellum binding, gilt titles and illustration to the front board and spine, decorative end- (DOVES PRESS.) SHAKESPEARE, William. 15th-century Italian masters Nicholas Jenson and Jacobus Rubeus. paper, top edge gilt, others untrimmed. With 28 mount- The Rape of Lucrece. Hammersmith: The Doves ed colour plates. Internally nice and clean, spine just a Press, 1915 £7,500 [127265] little creased, lacks the original ties, overall a particularly bright set, very good indeed. Octavo. Original limp vellum, title to spine gilt. Housed signed limited edition, number 732 of 750 in a brown morocco-backed slipcase and chemise. Print- ed in red and black on vellum. A fine copy. copies signed by the artist. first doves press edition, one of 10 copies £2,250 [124707] on vellum, from a total print run of 185 copies. The Doves Press was established in 1900 by T. J. 46 Cobden-Sanderson, who left his career as a law- (DULAC, Edmund.) Princess Badoura. A Tale yer to open the Doves Bindery in 1884. He became from the Arabian Nights. Retold by Laurence interested in all aspects of book design, stating Housman. London: Hodder and Stoughton, [1913] in 1892 that “I must, before I die, create the type for today of ‘The Book Beautiful’, and actualize Quarto. Original white cloth, spine and front cover let- it – paper, ink, writing, printing, ornament and tered in gilt and decorated with pictorial design blocked binding”. Though an admirer of William Morris, in gilt and green, pale green endpapers, top edge green. he felt that the Gothic Kelmscott designs were ex- Housed in a custom green quarter morocco and cloth solander box. Colour frontispiece and 9 colour plates cessive. Instead, he worked with the printer Emery 44

26 Summer Miscellany: Peter Harrington 48 48

46 privately by Richard Burton in 1883. Burton had 48 worked with Bhagwan Lal Indraji and other In- (FISH, Anne Harriet.) Rubáiyát of Omar dian scholars to translate the text from the origi- tipped in with captioned tissue guards. Cloth a little nal Sanskrit. The French publisher Isidore Liseux Khayyám. Rendered into English Verse by finger-marked, else bright, a little faint browning to free Edward FitzGerald. With Decorations by endpapers. A near-fine copy. (1835–1894) was known for his editions of erotic works, including Sade’s Justine and Cleland’s Fanny Fish. New York: E. P. Dutton & Company, 1922 signed limited edition, number 116 of 750 Hill. The work is scarce both in commerce, with copies signed by the artist. Large quarto. Original black quarter cloth, spine let- only three auction records traced since 1960, and tered and blocked in gilt, patterned paper-backed sides, £1,750 [125935] in institutions, with OCLC listing nine copies. orange patterned endpapers, top edge trimmed. With £2,500 [124985] the dust jacket. Title page and text printed in orange and 47 black. Colour and gilt frontispiece and 19 plates by Fish, all with tissue guards, black and orange initials through- (EROTICA.) Les Kama Sutra de Vatsyaya- out. Tiny bumping at spine ends, small white mark to na: Manuel d’Érotologie Hindoue Rédigé top edge, a few very minor finger soiling marks. A very en Sanscrit vers le cinquième siècle de l’ère good copy in the dust jacket, spine panel slightly darkened and chipped at ends with single tiny chip near foot, Chrétienne Traduit sur la première version repaired short closed tear at head of front panel, small Anglaise (Bénarès, 1883) Par Isidore Liseux. chips at tips. Paris: pour Isidore Liseux et ses amis, 1885 first u.s. edition with fish’s illustra- Octavo (238 × 157 mm). Near-contemporary tan half tions, first printing. The UK edition was morocco by Henri Joseph Pierson, red and blue morocco published the same year, without known priority. labels, spine richly gilt to compartments, marbled sides Anne Harriet Fish (1890–1914) was one of the most and endpapers, top edge gilt, other’s untrimmed, silk notable female British cartoonists of the 20th cen- page marker, original wrappers preserved. Shelf mark to tury. Her bold Art Deco illustrations provide an in- pastedown. Tiny marks to covers, else a near-fine copy. novative take on the Victorian classic. The book is first edition in french of the kama sutra, highly scarce in the dust jacket. number 67 of 220 copies only, for private distribu- Potter, Bibliography of the Rubáiyát, 118. tion. The text was translated from the first Eng- £2,250 [125313] lish-language edition, which had been published 47

All items are fully described and photographed at peterharrington.co.uk 27 49 FITZGERALD, F. Scott. Tender is the Night. A Romance. Decorations by Edward Shen- ton. New York: Charles Scribner’s Sons, 1934 Octavo. Original green cloth, titles to spine gilt. Housed in a green quarter morocco solander box by the Chelsea Bindery. Cloth a little worn and marked, front free endpaper neatly torn out, almost certainly by the author, text block slightly shaken, rear hinge expertly repaired. A very good copy. first edition, first printing, presentation copy, inscribed by the author in typically overblown style to his sometime-lover, Margaret Case Harriman, on the first blank, “For Marga- ret Harriman, who has inspired all my books this tale of our life together in Switzerland, France & U.S.S.R. from Her Chattel F. Scott Fitzgerald July 1935”, together with a line clipped from a pencilled autograph letter from the author (“you are very lovely”) pasted to the second blank. “In signing letters or inscribing books to women, Fitzgerald used to call himself ‘Your Chattel,’ a curious and seemingly inappropriate phrase that conveyed no less than the truth: that he was a virtual slave to his need to attract nearly every woman he met” (Donaldson, p. 125). Fitzgerald’s use of the phrase “our life in Switzerland, France & U.S.S.R.” is typical of the extravagant and somewhat overwrought expressions of affection he offered to the women he was intimately involved with. Much of Tender is the Night is set in the French Riviera and Switzer- land, but it paralleled his life there with Zelda in the 1920s, and not the brief relationship he shared with Margaret in 1935. At the time this copy was inscribed, Zelda was being held at the Sheppard-Pratt hospital in Bal- timore for psychiatric treatment, and Fitzgerald, reeling from the poor critical reception of Tender is the Night the previous year, increasingly depend- ent on alcohol, and in straitened financial circumstances, went through a period of intense woman- izing in the summer of 1935. “From the evidence of his ledger, with its notes on each month’s activi- ties, it is clear that Fitzgerald devoted much of 1935 to the pursuit of women . . . wherever he went, that summer of 1935, he felt compelled to win the ad- miration of a woman” (Donaldson, p. 127). 49

28 Summer Miscellany: Peter Harrington 49 50

Margaret Harriman, a writer herself, who contrib- than I am, in the same way that Hugh Walpole is his custom, and having made a mistake, tore it out uted to the New York Times and later authored The more ‘established’ than D. H. Lawrence – estab- and inscribed the first blank instead. Vicious Circle, among other books, was one such lished with whom? . . . But it is simply another Bruccoli A15.I.a. Scott Donaldson, Fool for Love: F. Scott liaison. “According to Fitzgerald’s ledger, the two sort of writing. Almost everything I write in novels Fitzgerald, 2001. of them foregathered in New York twice, in late goes, for better or worse, into the subconscious of £32,500 [125792] July 1935 and in December 1936. The 1935 meet- the reader. People have told me years later things ing concluded with Fitzgerald badly hungover and like ‘The Story of Benjamin Button’ in the form nursing a wounded ego from Margaret’s remark of an anecdote, having long forgotten who wrote 50 that novelist Joseph Hergesheimer was ‘more es- it. This is probably the most egotistic thing about FITZGERALD, F. Scott. The Bodley Head tablished’ than he” (Donaldson, p. 141). my writing I’ve ever put into script or even said . . . Scott Fitzgerald. With an Introduction by J. B. In a letter to Margaret after their July meeting, oh, there’s so much to hear you say, no matter how Priestley. London: The Bodley Head, 1958–63 Fitzgerald wrote, “I started to come to New York much I’d be cynical about” (ibid.). 6 volumes, octavo. Recent full green morocco, raised yesterday afternoon, to see you, because I thought Fitzgerald considered incorporating their affair bands, titles and decorations to spines in gilt, single rule you’d think I’d run out on you, instead of on my into The Last Tycoon, with one of his working notes to boards gilt, marbled endpapers, gilt edges. A fine set. own wretched state of mind and health . . . when I reading “‘Put in Margaret Case episode after his first collected edition, first impression. see you again I want everything to be right – even if wife’s death’” (Donaldson, p. 141). Bruccoli AA5. I find you engrossed in a love affair with Geo V. and The front free endpaper was almost certainly torn have no time for me” (Letters, August 1935). out of this copy by Fitzgerald. It is possible that he £2,500 [123396] He went on to address her comment on initially inscribed the front free endpaper, as was Hergesheimer: “Of course he is more established

All items are fully described and photographed at peterharrington.co.uk 29 51 52 53

51 first edition, first impression, of the sev- 54 FLEMING, Ian. Dr No. London: Jonathan Cape, enth book in the James Bond series. FLEMING, Ian. On Her Majesty’s Secret Ser- 1958 Gilbert A7a (1.2). vice. London: Jonathan Cape, 1963 £2,000 [125096] Octavo. Original black boards, spine lettered in silver, Octavo. Original dark brown boards, spine lettered in “Honeychile” silhouette to front board in brown. With silver, ski track design to front board in white. With the the dust jacket. Spine rolled, couple of pale marks to 53 pictorial dust jacket. Spine very gently rolled, spine ends covers, a little foxing to edges. A very good copy in the FLEMING, Ian. Thunderball. London: Jona- lightly bumped, spot of foxing to top edge. A very good jacket, spine panel toned, spine ends and tips rubbed copy in the price-clipped dust jacket, a little rubbing to and nicked, light foxing to rear panel. than Cape, 1961 spine ends and tips, couple of faint marks to front panel first edition, first impression, second Octavo. Original dark brown boards, spine lettered in and small crease to foot of rear panel. state binding (no priority), with the “Honeychile” gilt, skeletal hand motif on front board blocked in blind. silhouette printed on the front board in a dark With the dust jacket. A little foxing to edges, and endpa- reddish-brown, added to bring the book into con- pers, else clean internally. A near-fine copy in the sharp jacket, with just a hint of rubbing to extremities and scat- formity with other titles in the series with designs tering of small pale marks to rear panel. on the front board. This is the sixth Bond novel. first edition, first impression, of the ninth Gilbert A6a (1.3). Bond book. Ian Fleming’s novel Thunderball incor- £2,000 [125095] porated material from an unproduced screenplay he had worked on in 1958 in collaboration with 52 Kevin McClory, Jack Whittingham, and Ivar Bryce, FLEMING, Ian. Goldfinger. London: Jonathan with the result that Fleming found himself in a well-publicised case in the High Court defending Cape, 1959 himself against McClory’s accusations of plagia- Octavo. Original black cloth, skull design blindstamped rism. Fleming and McClory eventually settled out to front cover with gilt “coins” in the eye sockets (Gil- of court. bert’s second state binding, no priority), titles to spine Gilbert A9a (1.1). gilt. With the dust jacket. Spine rolled, slight marks to edges, some marginal marks and spots, short closed tear £1,250 [125090] to p. 28. A very good copy in the bright jacket, with couple of tiny nicks to spine ends, small mark to rear fold. 54

30 Summer Miscellany: Peter Harrington 56

56 (FLEMING, IAN.) GARDNER, John. [A complete set of James Bond novels by John Gard- ner.] Licence Renewed; For Special Services; Icebreaker; Role of Honour; Nobody Lives Forever; No Deal, Mr. Bond; Scorpius; Win, Lose or Die; Licence to Kill; Brokenclaw; The Man from Barbarossa; Death is Forever; Nev- er Send Flowers; SeaFire; GoldenEye; Cold. London: Jonathan Cape and Hodder & Stoughton; Hodder & Stoughton. 1981–96 55 16 works, octavo. Original black cloth, spines lettered in gilt; Win, Lose or Die and Cold: original blue cloth, spines let- first edition, first impression, of the elev- er Bond novels, whereby a device was stamped onto tered in gilt; Brokenclaw: original red cloth, spine lettered enth book in the James Bond series, featuring a the front board. This gun device was abandoned, in gilt. All with the dust jackets. Bookplate to front free reappearance of Blofeld and SPECTRE, linking it however, very early in the binding run for economic endpaper of Icebreaker, gift inscription to front free end- to the plot of Thunderball (1961). It was adapted for reasons. Many of the early issue copies were sent to paper of The Man from Barbarossa, remains of bookplate to film in 1969. Commonwealth countries in order to ensure a syn- front free endpaper of GoldenEye. Slight foxing and toning, loss to top fore-corner of front free paper GoldenEye. A very Gilbert A11a (1.1). chronised release date. “Publication day would be good set in the jackets, spine panels a little sunned. the same throughout the British Commonwealth £750 [125348] and stock would need to arrive in good time to meet first editions, first impressions, of John this date. The books were sent from the UK via con- Gardner’s James Bond novels. Gardner succeeded 55 tainer ship (a ‘slow boat’) as air transport was ex- Kingsley Amis as the author of the James Bond FLEMING, Ian. The Man with the Golden pensive, and those nations furthest afield would be continuation novels and went on to write 14 origi- Gun. London: Jonathan Cape, 1965 sent the earliest available copies (which, of course, nal Bond novels and novelisations of the films meant the ‘Golden Gun’ bindings) at the first op- Licence to Kill (1989) and GoldenEye (1995). Scorpius Octavo. Original black boards, spine lettered in gilt, gun portunity, to ensure a simultaneous publication as (1988) was the first Bond book to not be published design to front board in gilt, green and white endpapers. intended” (Gilbert, p. 418). in the UK by Jonathan Cape – all subsequent book With the dust jacket. Two ownership inscriptions to front books by Gardner were published solely by Hodder free endpaper. Head of spine gently bumped, marks to top It is the final Bond novel to be written by Flem- & Stoughton. edge, slight crease to centre of front cover, lower fore tips ing, who died before making his final revisions, bumped. A very good copy in the jacket, with a little rub- and is also the scarcest issue of any of the James £1,500 [125565] bing to spine ends, tiny crease to head of spine and panels. Bond books. first edition, first impression, first issue, Gilbert A13a (1.1). first state, with the gilt gun design to the front £9,000 [124901] board. The design is in line with the binding of oth-

All items are fully described and photographed at peterharrington.co.uk 31 57 58 59

57 from the brigadier & myself – George MacDonald Milton Friedman [and] Rose Friedman”. Free to FORSTER, E. M. Alexandria: A History and a Fraser. I.O.M. Sept. ‘90”, with Thirlby’s bookplate Choose is the companion book to Friedman’s ten- part PBS series of the same title, which investi- Guide. Alexandria: Whitehead Morris, 1938 gated various regions, historical events, and social Octavo. Original orange boards, spine and front board issues from the perspective that laissez-faire eco- lettered in black, Greek key border to front board. With nomics is the most effective and fair way to man- 8 photographic plates, 3 folding maps, 1 in colour, map age societies. The series and book were a response plate, illustrations throughout. Spine and board edges to John Kenneth Galbraith’s earlier documentary sunned, slight wear to extremities. A very good copy. The Age of Uncertainty, and both proved extremely second edition, signed limited issue, popular, with the book remaining on the best-sell- number 223 of 250 copies signed by the author, er list for five weeks. produced for the Royal Archaeological Society of 58 Alexandria. Forster’s guide to Alexandria was first £1,500 [125232] published in 1922, but “a very large proportion” of on the verso of the front free endpaper. Flashman 60 this was destroyed by fire in the publisher’s ware- is the first of 12 books featuring the eponymous house during the Blitz (Kirkpatrick, p. 39). anti-hero, who Fraser developed from the fictional FRIEDMAN, Milton, & Rose. Tyranny of the Kirkpatrick A8b. school bully in Tom Brown’s School Days. Status Quo. New York, San Diego, & London: £1,500 [125511] £875 [124567] Harcourt Brace Jovanovich, 1984 Octavo. Original quarter blue cloth, red sides, spine let- 58 59 tered in silver. With the dust jacket. A couple of minor ink marks to covers, edges and rear endpaper (matching FRASER, George MacDonald. Flashman. FRIEDMAN, Milton, & Rose. Free to Choose. Milton’s inscription pen), else a very good copy in the From The Flashman Papers 1839–1842. Lon- A Personal Statement. New York & London: dust jacket, with a few nicks and short closed tears, flaps don: Herbert Jenkins, 1969 Harcourt Brace Jovanovich, 1980 lightly creased. Octavo. Original red cloth, spine lettered in silver, map Octavo. Original black quarter cloth, red sides, spine let- first edition, first printing, inscribed by endpapers. With the dust jacket. An excellent copy in the tered in gilt. With the dust jacket. A near-fine copy in the the co-authors: “[Milton Friedman’s hand:] For dust jacket, spine panel a little faded, a few tiny nicks. lightly toned dust jacket. Steve, Milton Friedman [Rose Friedman’s hand:] first edition, first impression, inscribed by first edition, first printing, inscribed by Rose Friedman”. Tyranny of the Status Quo was the the author, “To David Thirlby with every good wish both authors on the title page: “For Michael, second book co-authored by the free-market econ-

32 Summer Miscellany: Peter Harrington 60 61 62 omists Milton and Rose Friedman, following Free to and 3 woodcuts, all by J. J. Lankes. A little browning to first edition, signed limited issue, number Choose in 1980. The book’s central thesis is that gov- first couple of pages, else a fine copy in the glassine 274 of 300 copies signed by the author and specially ernment institutions are highly resilient to reform- jacket, with some loss to head of panels, couple of closed bound. These copies were presented as Christmas ers who seek to reduce its scale and scope, with the tears and tape repairs to verso. gifts by Crosby and his publishers in 1941, with a authors proposing methods of overcoming this. first edition, first printing, limited is- tipped-in limitation page. It features illustrations sue, number 167 of 350 copies signed by the au- £575 [125085] by Rea Irvin, who served as the first art editor of thor, and rare in the glassine. New Hampshire is one The New Yorker. She was noted for developing the of Frost’s most notable books, and won him his magazine’s typeface and creating its “mascot”, the 61 first Pulitzer Prize. It contains poems such as the Eustace Tilley cover portrait. famous “Stopping by Woods on a Snowy Evening” FRIEDMAN, Milton, & Rose. Two Lucky Peo- £475 [125020] ple. Chicago & London: The University of Chicago and “Fire and Ice”. Press, 1998 Crane A6. Octavo. Original red cloth, spine lettered in gilt. With the £3,250 [125222] dust jacket. With numerous photographic illustrations. A near-fine copy, head of spine panel gently creased. 63 first edition, first printing, inscribed GAIGE, Crosby. Cocktail Guide and Ladies’ by the authors on the title page: “For Michael Companion. Richly embellished with draw- Hecht, Milton Friedman [and] Rose Friedman]”. ings almost from life by Rea Irvin. With a Michael Hecht was president of the Universal Au- tograph Collectors Club. foreword in golden prose by Lucius Beebe and a recessional or final insult hurled at the £500 [125233] reader by Lawton Mackall. New York: M. Bar- rows and Company, 1941 62 Octavo. Original red leather, titles to spine and front FROST, Robert. New Hampshire. New York: cover gilt, cocktail motif to cover in gilt. Illustrated title Henry Holt & Company, 1923 page and black and white illustrations to text. Spine very slightly darkened, ends and tips slightly rubbed, a couple Octavo. Original bevelled black cloth, spine and front of light marks to covers, a little offsetting to endpapers. covered lettered in gilt with gilt tree vignette, edges un- A very good copy. trimmed. With the glassine jacket. Woodcut frontispiece 63

All items are fully described and photographed at peterharrington.co.uk 33 64

64 [GAYA, Louis de.] Matrimonial Ceremonies Display’d: . . . Publish’d for the Information 65 and Entertainment of the Ladies and pretty Girls of Great-Britain, not forgetting those of editions over the years, all of which are scarce in Apothecarye of London. London: printed by Dublin and Tipperary. London: W. Reeve, 1748 public institutions and in commerce. Gaya’s text is Adam Islip, Joice Norton, and Richard Whitakers, partly serious and partly tongue in cheek, but this 1633 Duodecimo (166 × 97 mm). Recent sheep, blindstamp edition plays up the salacious aspects of the work, rule border to covers, spine with gilt ornaments to com- renaming Gaya “an old rich bawdy batchelor” and Folio (335 × 220 mm). Mid-20th-century dark red crushed partments, red morocco label. Title page printed in red adding a humorous story, claiming to be autobio- morocco by Henry Young & Sons of Liverpool (signed in and black. Discreet repair to title page, pages toned and gilt at foot of front turn-in), spine gilt-lettered direct, graphical, of a man mistreated by his seven wives. somewhat spotted with a few blemishes. Overall a very sides framed in gilt and blind, marbled endpapers, gilt good copy. ESTC T80565, locating three copies only. edges. Engraved vignette title page by John Payne, 2,766 first edition under this title, originally £975 [125235] woodcut illustrations. A touch of rubbing at ends of written in Italian but first published in French as joints, engraved title mounted on stub and repaired at Les ceremonies nuptiales de toutes les nations in 1680, lower fore-corner, without initial and final blanks, a doz- Still one of the best-known English herbals en leaves with repairs at edge very occasionally touching with Italian and English translations first appear- 65 text, a well-conserved copy in a handsome binding of ing in 1685, the English one as Nuptial Rites. Louis good quality. de Gaya’s account of the plurality of marriage ritu- GERARDE, John. The Herball or Generall first edition of Johnson’s enlarged version of als across the world held a great fascination for its Historie of Plantes. Very much Enlarged and the herbalist’s major work, first published in 1597. audience, with the work undergoing numerous Amended by Thomas Johnson Citizen and

34 Summer Miscellany: Peter Harrington 65 66

Thomas Johnson (c.1595–1644), the London apoth- 66 67 ecary who was already a botanical writer of some GRAVES, Robert. Goliath and David. London: GRAVES, Robert. Treasure Box. London: Chis- note by 1633, sensibly marked his additions and major alterations to the first edition, making it Chiswick Press, [1916] wick Press, [1919] possible to distinguish the revisions from the orig- Octavo, pp. 20. Original plain red wrappers. Wrappers a Octavo, pp. 16. Original blue wrappers, stitched as is- inal. His edition brought a new and more scholarly little creased and faded to edges, a little marginal foxing sued. Vignette title page and one line-drawing by Nancy focus to Gerard’s Herball; it was greatly esteemed, to contents. A near-fine copy of this fragile publication. Nicholson. Short split to foot of spine, wrappers a little was reprinted in 1636, and became more and more first edition, sole impression, inscribed faded at edges, scattered foxing to covers and contents. A very good copy. expensive throughout the following centuries. It is by the author on the verso of the front wrap- extensively illustrated and Johnson drew several of per, “Ian Hope Simpson, Robert Graves, 1925”. first edition, sole impression, inscribed by the the diagrams himself. The woodcuts included in John Barclay (Ian) Hope Simpson (1905–1989) was author on the verso of the front wrapper, “Ian Hope the first edition were printed from wood-blocks the son of Sir John Hope Simpson, British Liberal Simpson, Robert Graves, 1925”. (See previous item.) obtained from Frankfurt which had been used to politician and author of the first global history of This is Graves’s first book of poetry after demobilisa- illustrate the Eicones plantarum of Taberaemmonta- the modern refugee. In the year this work was in- tion following the First World War, and is one of just nus (1590), but Johnson supplemented these with scribed, Robert Graves graduated from St John’s 200 copies printed and privately distributed. superior illustrations from the stock of Antwerp’s College, Oxford. It is possible that, while there, Higginson & Williams A4. famous printer Plantin. his path crossed with Ian Hope Simpson who £3,500 [125375] “Gerard contributed greatly towards the advance- was studying at Worcester College at the time. ment of the knowledge of plants in England, and Ian Hope Simpson went on to become a history in his Herball he described and illustrated several master at Rugby School and deposited the family hundreds of our native flowering plants, including papers at Balliol College shortly before his death. about 182 which were additional to those recorded Two hundred copies of this early privately printed in earlier works” (Henrey, p. 47). work, the author’s second publication, were pro- From the library of Kenneth John Hewett (1919– duced in late 1916 and distributed early in 1917. At 1994), the post-war London dealer in ethnograph- the time of publication Graves was recuperating ic art and antiquities. from bronchitis, and, perhaps as a consequence Henrey 155; Nissen BBI 698; STC 11751. of his weakened state, inscribed very few copies at the time of publication. £3,750 [125719] Higginson & Williams A2. £4,000 [125368] 67

All items are fully described and photographed at peterharrington.co.uk 35 cover, small mark to p. 54, small crease to corner of p. 65, else a near-fine copy in the dust jacket, tiny darkening to spine, couple of small chips on front panel. first edition, first impression, one of 1,200 copies. An exceptional copy, with the dust jacket rarely found in such bright state. Woolmer, 449. £1,750 [125414]

70 [GREENE, Graham.] CRAIGIE, Dorothy, illus. The Little Train. London: Eyre and Spot- tiswoode, 1946 Oblong quarto. Original decorated yellow cloth, titles and train motifs to covers in black, green and red, top edge yellow, map endpapers. With the dust jacket. Illus- trated by Craigie. Boards very gently bowed, slight foxing to endpapers. A very good copy in the toned jacket, very slight chips to tips and spine ends, short closed tear to foot of spine, another to foot of front panel, small chip and slight abrasion to head of front panel. 68 69 first edition, first impression, inscribed 68 plate to the front pastedown. Charles John Morris by the illustrator, “My love to you, Doro- thy Craigie”, on the title page, and in the second GRAVES, Robert. Good-bye To All That. An (1895–1980) was the controller of BBC Radio’s Third Programme from 1953 to 1958, for which Graves was state jacket with reviews on the front flap. This is Autobiography. London: Jonathan Cape, 1929 a guest lecturer. the first of Graham Greene’s four children books, Octavo. Original pink cloth, spine lettered in gilt, which were all illustrated by Craigie. The first two This is the second issue, with the infamous Sas- books, the present work and The Little Fire Engine publisher’s device in blind to rear cover. With the dust soon poem excised and replaced with cancels and jacket. Portrait frontispiece and 7 plates. Spine toned, (1950), were not credited to him until the 1950s. asterisks, and the erratum slip tipped in pp. 398-9. a little wear to ends, cloth a little marked, small spot £1,500 [125171] to top edge. A very good copy in the crisp jacket, spine The story of the suppression of the poem is well panel lightly toned, pencil mark through printed price recorded. The book was initially printed with a on front flap. poem Sassoon had written to Graves as a letter. first edition, first impression, second is- Sassoon was horrified and demanded the recall sue, inscribed by the author on the front free of the edition and the excision of the offending endpaper, “– John Morris – Yours aff[ectionatel] pages. This was done and a second issue produced y Robert Graves Sept 5 1959, with Morris’s book- with asterisks marking where the passages had been. It is rare inscribed. Higginson A32b. £4,750 [125679]

69 GREEN, Henry. Party Going. London: The Ho- garth Press, 1939 Octavo. Original iridescent blue cloth, spine lettered in gilt. With the dust jacket. Couple of small chips to front 68 70

36 Summer Miscellany: Peter Harrington 72

ed to “represent the ideals of Mr Gordon in active form, in the presentation of family films, the pub- 71 lication of family books, and in lectures which will fearlessly attack the social evils of our time, and to form a body of competent censors”. Although 71 dressed women in England”. She supported him mock-moralistic, the John Gordon Society had a (GREENE, Graham.) VON BAYROS, Franz. through his tumultuous affair with Yvonne Cloetta serious message about the threat of censorship and was his neighbour on the Cote D’Azur during The Amorous Drawings of the Marquis von and brought considerable publicity to the contro- his final years. “Out of the blue one evening at the versy surrounding Lolita. Bayros. New York: The Cyntherea Press, 1968 Sutros’ flat in Belgrave Square, Graham Greene Quarto. Original black cloth, tan endpapers. With the said: ‘The only thing I envy John is Gillian.’ His £1,250 [124890] dust jacket. Black and white erotic illustrations through- remark sank in. ‘When I am feeling low I think of out. Spine and edges of front cover faded, light soiling to his words,’ wrote Gillian. ‘Some people thought 72 rear cover, very minor rubbing to tips. A very good, fresh he was my lover, which was untrue. I was not his HAGGARD, H. Rider. King Solomon’s copy in the lightly rubbed dust jacket with very slight type. Ours was a platonic friendship, almost the Mines. London: Cassell & Company, Limited, 1885 creasing to extremities. only one I have had with a heterosexual. When in first edition, first printing, association trouble I always turn to him’” (Nicholas Shake- Octavo (182 × 120 mm). Later 20th-century red morocco copy, inscribed by Graham Greene on the front speare, A talk at the Berkhamsted Festival, 30/9/2013). by Bayntun-Rivière for Sotheran’s, spine lettered in gilt, free endpaper, “For John and Gillian, This prema- single gilt fillet to covers, marbled endpapers, edges John Sutro is known for co-founding the satirical ture Christmas present to celebrate their visit to gilt, original front cover and spine bound in at rear. John Gordon Society with Greene in 1946. This Brighton on Nov. 27 1970 from their old and sin- With folding map as frontispiece. Tiny creasing to a few society was founded as the result of a dispute be- leaves, else a near-fine copy, handsomely bound. cere friend Graham, with love”. John Sutro and his tween Greene and John Gordon, the Editor-in- wife Gillian were perhaps Greene’s closest friends. first edition of the book widely considered to Chief of the Sunday Express. Greene named Vladimir Although Greene and John were contemporaries be the foundation of the “Lost World” science fic- Nabokov’s Lolita in the Sunday Times as one of the at Oxford, they did not become friends until the tion genre. The present copy is the second state best books of 1955. Gordon responded in disgust, 1950s. Greene dedicated A Sense of Reality (1963) to with the misprints corrected and a later issue, with saying that “Without doubt it is the filthiest book I the couple. advertisements dated 5b11.85. have ever read. Sheer unrestrained pornography”. Greene engaged in a separate personal corre- Greene and Sutro decided to found a society in £1,250 [125035] spondence with Gillian, a fashion journalist once the editor’s name and announced in a letter to the described by Nancy Mitford as “one of the ten best Spectator, 10 February 1956, that the society intend-

All items are fully described and photographed at peterharrington.co.uk 37 73 HAGGARD, H. Rider. She. A History of Ad- venture. London: Longman’s, Green, and Co., 1887 Octavo (186 × 128 mm). 20th-century red morocco by Bayntun-Riviere of Bath, raised bands to spine, compartments lettered and ruled in gilt, single gilt rule border to covers, gilt edge roll, turn-ins ruled in gilt, marbled endpapers, edges gilt. With 2 pp. adverts and the original covers bound in at rear. With 2 colour plates, with a tissue guard. A fine, handsomely bound copy. first edition, first issue, of the first book in Haggard’s Ayesha series, which was first published in serialized form in The Graphic magazine between October 1886 and January 1887. Together with King Solomon’s Mines, the works are regarded as his tours de force. £875 [125044]

74 HAGGARD, H. Rider. Allan Quatermain, being an account of his further adventures and discoveries in company with Sir Henry Curtis, Commander John Good, and one Umslopogaas. London: Longmans, Green, and Co., 1887 Octavo (189 × 130 mm). 20th-century red morocco by Bayntun-Riviere of Bath, raised bands to spine, compartments lettered and ruled in gilt, single gilt rule border to covers, gilt edge roll, turn-ins ruled in gilt, marbled endpapers, edges gilt. Engraved portrait frontispiece 75 with tissue guard, 19 engraved plates. A fine copy, handsomely bound. Large folio (415 × 245 mm). Contemporary sprinkled calf, first edition of this sequel to King Solomon’s brown morocco label. Engraved frontispiece and numer- Mines (1885), which had introduced the character ous engraved plates. From the library of Robert Jocelyn, of Allan Quatermain. Earl of Roden, with his bookplate to pastedown, shelf- £875 [125045] marks at head of spine and to pastedown. Supplementa- ry leaves present. Joint ends starting to split, some wear to extremities and covers, front free endpaper creased, 75 very occasional light worming and a few blemishes to HALE, Thomas. A Compleat Body of Hus- contents. A very good copy. bandry. Containing rules for performing, in first edition, issued in 61 numbers from 28 June the most profitable manner, the whole busi- 1755 to 21 August 1756. In size and scope perhaps ness of the farmer, and country gentleman the most ambitious guide to farming of the 18th century, Hale’s posthumous book, gathered from . . . London: Printed for T. Osborne, J. Shipton, J. his papers, was quickly followed by a Dublin edi- Hodges, T. Trye, S. Crowder, & H. Woodgate, 1756 tion the following year and a three-volume second edition the year afterwards. It provides a valuable 75

38 Summer Miscellany: Peter Harrington 76 77 78 snapshot of the methods of British farming in the 77 view clipping, dated 11 January 1956, tipped in to front free endpaper. A couple of faint white marks to foot of middle of the century, and incorporates many of the HAYEK, Friedrich August von. The Road to new discoveries and technologies in agriculture and spine and onto rear cover, minor wear to bottom edge husbandry which had recently been introduced. Serfdom. Chicago: University of Chicago Press, for and spine ends, gentle offsetting, largely due to news- Laissez Faire Books, 1984 paper clipping, to endpapers. A very good, fresh copy in ESTC T30997; Fussell, More Old English Farming Books, p. the jacket with lightly sunned spine, head of rear panel a 37; Goldsmiths’ 9099. Octavo (200 × 130 mm). Original tan skiver, front cover with little faded, minor nicks to extremities. £1,250 [125479] double-line gilt rule borders, spine ruled, stamped and lettered gilt, edges gilt, watered silk endpapers. Upper and first edition, first printing. This uncom- outer edge of front board lightly faded, else a fine copy. mon review copy is from the library of Donald A. Yates, author, literary critic, and professor of 76 special 40th anniversary signed edition; Spanish American Literature at Michigan State (HARRISON, Florence, illus.) ROSSETTI, number 17 of 200 copies only signed by the au- University, with his ownership inscription to the thor, with an additional foreword in which Hayek Christina. Poems. Introduction by Alice Mey- head of the front free endpaper. His review of the discusses how the first publication in 1944 was nell. London: Blackie & Son Limited, [1910] novel, published in the university’s student news- received in Britain and America. Hayek’s classic paper, The Michigan Daily, is tipped in, concludes Quarto. Original white cloth, spine and front cover let- polemic against centralisation and collectivism, tered in gilt and with pictorial decorations, sage green that “Miss Highsmith’s star is on the rise”. among the most influential and popular exposi- endpapers, top edge gilt, others untrimmed. Colour £2,750 [125854] frontispiece and 35 colour plates tipped in with cap- tions of classical liberalism and libertarianism, tioned tissue guards, 34 uncoloured plates, decorative was “far and away the most eloquent and straight- headpieces. Partially removed bookseller’s ticket to front forward statement of his political and economic pastedown. A little foxing to fore edge, small ink mark to outlook that [he] ever achieved” (ODNB). verso of first page. A bright, near-fine copy. £3,750 [125500] first florence harrison edition, first impression. Florence Harrison (1877–1955) was an 78 Australian-born artist known for her rich, art nouveau style, shown here to its best advantage. Har- HIGHSMITH, Patricia. The Talented Mr Rip- rison was a respected artist, who also illustrated ley. New York: Howard-McCann, Inc., 1955 books by William Morris and Alfred Tennyson. Octavo. Original black cloth, spine lettered in green. Sandy Hargrove, The Magical World of Florence Harrison (2012). With the dust jacket. Review copy, with the publisher’s slip dated 30 November 1955 laid in and subsequent re- £1,000 [125930] 78

All items are fully described and photographed at peterharrington.co.uk 39 good copy, with pleasing evidence of contemporary ownership and with the frontispiece, often faded at the head, in a good impression. true first edition of one of the foundation works in the field of political theory, with the winged head ornament on the title page. There are three editions with title-pages bearing 1651 imprints. The second, with a bear ornament, was printed outside England (probably at Amsterdam), and the third, with a triangular type ornament, is now considered to date from c.1695–1702. Leviathan details Hobbes’s notion of the origin of the State as a product of human reason meeting human need, through to its destruction as a consequence of human passions. According to Hobbes, the State, as an aggregate of individual men (so well portrayed in the famous engraved title), should always be tendered the obe- dience of the individual, as any government, in his view, is better than the natural anarchic state. Needless to say, this view elicited a storm of controversy, putting Hobbes at odds with proponents of individual liberties. Through conflict, Leviathan has been the catalyst of much productive thought in succeeding centuries, from Spinoza to the school of Bentham, “who reinstated [Hobbes] in his position as the most original political philosopher of his time” (PMM). This book “produced a fermentation in English thought not surpassed until the advent of Darwinism” (op. cit.). 79 Macdonald & Hargreaves 42; Printing and the Mind of Man 138; Wing H2246; ESTC R17253. 79 creasing in centre of initial pages, final preliminary leaf £27,500 [124776] (The Introduction) tipped onto a stub, tiny paper flaw to HOBBES, Thomas. Leviathan, or the Matter, pp. 47/48 with loss of 2 characters, small burn hole to pp. Forme, & Power of a Common-wealth Eccle- 79/80 touching 2 letters, small hole to pp. 319/320 affect- One of the most splendid editions of Homer ever siastical and Civill. London: for Andrew Crooke, ing 5 characters, and another to pp. 357/358 with loss of 4 delivered to the world at the Green Dragon in St. Paul’s Church-yard, 1651 letters; short split and a small rust hole to folding plate not affecting text, some light foxing and soiling to contents, 80 Folio (276 × 173 mm). Contemporary calf, rebacked to short tear to final binder’s blank repaired. Overall a very HOMER. Iliados, Odysseias [graece]. Glas- style, red morocco spine label, raised bands, covers ruled gow: excudebant Robertus and Andreas Foulis, in blind with floral cornerpieces, renewed flyleaves, original binder’s blanks retained. Ornament of winged head on 1756–8 title page, engraved frontispiece and folding printed table. 2 works in 4 volumes, small folio (300 × 183 mm). Con- With a contemporary gift inscription to original front temporary diced russia, spines richly gilt tooled with binder’s blank: “Johannis Lilly mi finit Ex dono Johannis foliate motifs, black morocco labels, sides with two-line Henshaw Armigiri Ao Dni 1654” with the neat inscription gilt border enclosing a pair of gilt roll tool borders, gilt “Ex dono Johannis Henshaw” underneath, alongside a edge roll, marbled endpapers, edges of Iliad green, edges further small signature; John Lilly’s large ornate signature of Odyssey yellow. With the general title page of 1758. also on the rear binder’s blank. Small ink shelfmark at Joints just starting, slight wear to extremities, occasional head of title page. Extremities refurbished, discreet repair pale foxing. A very attractive set. to head of title page with very minor stain on verso, light 79

40 Summer Miscellany: Peter Harrington 81

81 HOUSMAN, A. E. A Shropshire Lad and Last Poems. Chipping Camden, Gloucestershire: printed at The Alcuin Press, published by The Richards Press

80 Limited, London, 1929 2 volumes in one, octavo. Publisher’s deluxe brown mo- first edition of the foulis press homer, tions of Homer ever delivered to the world . . . its rocco, spine in compartments with raised bands and described by the distinguished scholar Edward accuracy is equal to its magnificence” (A View of the titles direct, top edge gilt. Extremities a little scuffed, some light spotting to edge, but sound and internally Harwood in 1775 as “one of the most splendid edi- Various Editions of the Greek and Roman Classics, p. 4). clean, a very good copy indeed. The text was carefully edited by the Glasgow pro- fessors James Moor and George Muirhead (Moor first alcuin press edition, number 315 of 325 being Robert Foulis’s brother-in-law) and the book sets, this set in the rare publisher’s deluxe single- was printed in a new fount of Greek type, noted volume binding, one of a handful thus. This was the for its beauty and regularity, designed and cut by first edition comprising what were then Housman’s the Glasgow typefounder Alexander Wilson. The complete published works (More Poems being pub- brothers jointly won the silver medal of the Se- lished only after his death in 1936). Almost all sets lect Society of Edinburgh for the best-printed and were issued in two cloth-backed volumes. Housman most correct Greek book in 1756 and 1757. “As the refused the publisher H. P. R. Finberg’s request to eye is the organ of fancy, I read Homer with more issue a deluxe version in a single leather-bound vol- pleasure in the Glasgow edition. Through that fine ume, writing to him on 1 February 1929: “Unless I medium, the poet’s sense appears more beautiful change my mind, A Shropshire Lad and Last Poems will and transparent” (Gibbon, Miscellaneous Works, vol- not be published in one volume during my lifetime.” ume V, p. 585). A particularly prepossessing set of Nonetheless Finberg persevered in secret and, ac- one of the great books of the eighteenth century. cording to Naiditch, at least four copies were thus bound. This copy has a presentation inscription on Gaskell 319; Rothschild 2679. the front free endpaper, “Laurence Gallichan, 1929, £7,000 [125209] H.P.”, most likely by Finberg himself. £1,500 [124832] 80

All items are fully described and photographed at peterharrington.co.uk 41 82, 83, 84, 85

82 remained devoted to him her entire life. Hughes Octavo. Original boards, title to spine and front cover in blue. With the dust jacket. Illustrations by Robert Na- HUGHES, Ted. Wodwo. London: Faber and described this work, a collection of poems, short stories and a radio play, “as a single adventure, ‘a dler. Tips a touch rubbed, endpapers slightly foxed. A Faber, 1967 descent into destruction’” (cited in ODNB). very good copy indeed in the bright jacket with a couple of nicks to head of spine and a little creasing and rubbing Octavo. Original red quarter cloth, spine lettered in gilt, Sagar & Tabor A12. to extremities. grey cloth sides. With the dust jacket. A very good copy in the dust jacket, spine panel faded, rear cover very £2,000 [125852] first u.s. edition, dedication copy, inscribed slightly soiled, tiny chips at extremities. by the author to his son Nicholas, “For Nicky love first edition, first impression, presenta- 83 from Dad”. Hughes dedicated the book to his three children, Frieda, Nicholas, and Shura. It was pub- tion copy, inscribed by the author to his sister Ol- HUGHES, Ted. The Iron Man. A Story in Five wyn Hughes on the front free endpaper: “To Olwyn lished earlier the same year in the UK as The Iron Nights. Illustrated by George Adamson. Lon- Man, but the title was altered for the US market to with love from Ted 21st April 1967”. The inscription don: Faber and Faber, 1968 precedes by a month the official publication of the avoid confusion with the Marvel Comics character. book, on 18 May 1967. Sagar and Tabor cite another Octavo. Original pictorial boards. With the dust jacket. Sagar & Tabor A17b. copy inscribed to Hughes’s brother Gerald on 27 Illustrations throughout. Spine ends a little chipped, £3,750 [125870] April. Hughes was very close to his sister Olwyn. else a very good copy in the dust jacket, spine panel very lightly sunned, a few short closed tears, one repaired After Plath’s suicide in 1963 Olwyn helped to bring with tape on verso, some cockling, flaps creased and a 85 up their children, became her brother’s literary little discoloured, rear flap fold slightly stripped margin- agent, established the Rainbow Press with Ted in ally affecting text. HUGHES, Ted. Prometheus on His Crag. 21 1971 to produce fine press editions of his works, and Poems with a Drawing by Leonard Baskin. first edition, first impression. Perhaps his best known novel, Hughes’s children’s book was London: The Rainbow Press, 1973 adapted into an animated film in 1999. Octavo. Original purple crushed morocco by Zaehn- Sagar & Tabor A17. sdorf, spine lettered in gilt, top edge gilt, others untrimmed. Housed in the original grey cloth slipcase. En- £875 [125944] graved frontispiece signed in pencil by Leonard Baskin. A fine copy. 84 first edition, signed limited issue, number HUGHES, Ted. The Iron Giant. A Story in 25 of 160 copies signed by the author and artist. This copy is from the library of Frieda Hughes, daughter 82 Five Nights. New York: Harper & Row, 1968

42 Summer Miscellany: Peter Harrington 86, 87, 88, 89 of Ted Hughes and Sylvia Plath, though unmarked Octavo. Original blue calf by Gray of Cambridge, spine papers. Housed in the original speckled cream card slip- as such. lettered in gilt, patterned endpapers, top edge gilt, oth- case. A fine copy. ers untrimmed. With the original blue cloth slipcase. Sagar & Tabor A39. first edition, signed limited issue, presen- Frontispiece drawing by Leonard Baskin. Spine slightly tation copy, inscribed by the author to his sister £750 [125737] faded, a near-fine copy. on the half-title, “For Olwyn, with love, Ted Christ- first edition, signed limited issue, number mas 1991”, together with a large original ornate 86 166 of 200 copies signed by the author. From the pen-and-ink drawing by him of a fantastical gar- HUGHES, Ted. Earth-Moon. Illustrated by library of Frieda Hughes, daughter of Ted Hughes den. Number XI of 30 copies, signed and reserved and Sylvia Plath, though unmarked as such. the author. London: Rainbow Press, 1976 by the author. (See item 82 for Olwyn Hughes.) Sagar & Tabor A59. From the library of Frieda Hughes, daughter of Ted Square octavo. Original blue calf by David & Hodges, Hughes and Sylvia Plath, though unmarked as such. spine lettered in silver, pictorial decoration to front cov- £350 [125762] er in silver, top edge silver. Housed in the original blue Sagar & Tabor A98. paper-covered slipcase. Title page printed in blue and 88 £1,000 [125774] black, illustrations printed in blue. Very slight creasing to foot of covers, a near-fine copy. HUGHES, Ted. Rain-Charm for the Duchy 89 first edition, signed limited issue, number and Other Laureate Poems. London: Faber and 38 of 226 copies signed by the author, of which 200 Faber, 1992 HUGHES, Ted. Birthday Letters. London: copies were for public sale. This copy is from the Quarto. Original dark blue cloth-backed pale blue Faber and Faber, 1998 library of Frieda Hughes, daughter of Ted Hughes boards, spine lettered in gilt, pale green speckled end- Octavo. Original dark blue cloth-backed blue boards, and Sylvia Plath, with her ownership inscription spine lettered in gilt on black background, yellow end- on the front free endpaper. papers. A fine copy. Sagar & Tabor 48. first edition, first impression, signed £500 [125849] limited issue, number 0 of 5 “Binder’s copies”, signed by the author. Birthday Letters was Hughes’s 87 controversial collection of poems about his relationship with his deceased first wife, the poet Syl- HUGHES, Ted. Adam and the Sacred Nine. via Plath. It was also his final work, first published London: The Rainbow Press, 1978 only months before his death in October 1998. 88 £800 [125242]

All items are fully described and photographed at peterharrington.co.uk 43 90

The roll-call of Irish volunteers interned in len by 37 Irish Volunteers who had been involved Reading Gaol to some degree in the Easter Rising, the majority transferred from Frongoch Internment Camp. The 90 Irish prisoners were interned under the terms of (IRISH INDEPENDENCE.) Easter Rising in- 1914 Defence of the Realm Act and housed in E 90 ternees autograph album. Knutsford & Reading: Wing which, until 1915, had been a women’s wing. 1916 Reading was already notorious for its treatment of the Irish author, Oscar Wilde. In 1895 he had been Landscape quarto album (151 × 179 mm), 43 leaves. sentenced to two years with hard labour, and de- Original green pebble-grain cloth, front cover lettered in gilt, green floral endpapers, gilt edges. In a custom made scribed his “foul and dark latrine” of a cell in The green morocco-backed slipcase and chemise. Front in- Ballad of Reading Gaol (1898). The authorities per- 90 ner hinge cracked but holding, lacking front free endpa- haps had this in mind when they transferred the per, some light soiling, very good. Irish detainees there. unique, unrecorded autograph album The writings include personal sentiments, tradi- containing 52 signed inscriptions in English and tional song lyrics, original patriotic verse, and even Irish by Irish participants in the Easter Rising. one fully coloured humorous illustration. The sig- During the First World War, Reading prison was natories include several important members of the 90 designated a place of internment, i.e. detention Irish independence movement, first among them without trial. In July 1916 the prison population of Arthur Griffith (1871–1922), founder and later lead- mostly interned German sympathisers was swol- er of the political party Sinn Féin, de facto second 90

44 Summer Miscellany: Peter Harrington President of the Irish Republic, and chairman of the Irish delegation at the negotiations in London that produced the Anglo-Irish Treaty of 1921. Other signers include Seán T. Ó Ceallaigh, second Presi- dent of Ireland; Tomás Mac Curtain, Lord Mayor of Cork; Darrell Figgis, poet, playwright, and editor of The Republic, one of the Sinn Féin newspapers suppressed in 1919, who wrote about his time at Reading in A Chronicle of Jail (1917), though he had not participated in the Rising; Ernest Blythe, Min- ister for Finance and Senator, another non-partici- pant (being already in prison at the time) who was later managing director of the Abbey Theatre; and Lieutenant General J. J. O’Connell, commander of the Volunteers and a leading figure in the Irish resistance for decades. Still others include Joseph MacBride, whose brother Major John MacBride had been executed by firing squad; P. J. Doris of Westport, founder, with his brother William, of the Mayo News; and Liam Tobin, who worked in Mi- chael Collins’s intelligence branch during the War of Independence and was later a leading instigator in the Army Mutiny of 1924, superintendent of the Oireachtas 1940–59. 91 Some of the inscriptions note that the signer had previously been at Frongoch and other places of their lives to free Ireland from British rule, and 1934”. The dating of the inscription is significant, internment. The earliest inscriptions are written constitute a vivid and historically important sur- as Isherwood and Spender briefly fell out in 1932, at Knutsford, Cheshire; presumably the album’s vival of the Easter Rising, now the most famous the year that this book, Isherwood’s second novel, original owner had been transferred from there event in Irish history. was published. As a result of the contretemps, to Reading. The inscriptions are variously dated, £25,000 [125339] Spender withdrew his intended dedication to Ish- the latest group being signed at Reading on 22 De- erwood from his work Poems (1933). The dedication was reinstated for the second edition of 1934. cember 1916, two days before the prison governor 91 informed the Irish contingent that they were being Perhaps Isherwood’s inscription in the present repatriated. ISHERWOOD, Christopher. The Memorial. work, dated the same year, is a sign of improved relations between the pair. The Easter Rising was the most consequential in Portrait of a Family. London: Leonard & Virginia a long sequence of rebellions attempting to free Woolf at the Hogarth Press, 1932 Isherwood’s reference to “Kleistrasse” is the street Ireland from British rule. The uprising began on Octavo. Original pink and white cloth, spine lettered in in Berlin where Isherwood took a temporary room Easter Monday, 24 April 1916, when approximately blue, top edge blue. With the dust jacket designed by following his return from a holiday with Spender, 2,000 Irish Volunteers occupied sites across Dub- John Banting. Spine very gently rolled and toned, cloth W. H. Auden, and Walter Wolff to Insel Reugen in lin, including the General Post Office, where a otherwise bright, light marks to top edge, very occasion- the summer of 1931. Spender returned to Berlin provisional Irish republic was declared. Almost al faint foxing to contents. A very good copy in the jacket, shortly afterwards but Isherwood refused to allow 20,000 British soldiers were dispatched through- spine a little toned, slight nicks to extremities. him to move into the same apartment, saying that out the city, suppressing the uprising within a first edition, first impression, first state “I think it is better we don’t all live right on top of week. More than 3,500 people were arrested in the binding, canonical presentation copy, inscribed each other, don’t you?” (as quoted in Peter Parker, aftermath, 90 of whom were sentenced to death by by the author to Stephen Spender on the front free Isherwood, p. 223). courts martial (although all but 15 were spared). endpaper, “To Stephen, with love from Christo- Woolmer 294. pher. In memory of our lunches in the Kleistrasse The 52 inscriptions in this volume indicate the un- £6,750 [125925] and our evenings at Baabe railway station – March daunted spirit of the Irish Volunteers who risked

All items are fully described and photographed at peterharrington.co.uk 45 in the Cornhill Magazine between June and July 1878 (with two unauthorised periodical appearances before this), was an immediate success. It was published in book form in the US in November 1878, and sold 20,000 copies in just a few weeks. “At the time of its publication and for several decades afterward, Daisy Miller remained both more popular and more controversial than any other of James’s novels and stories” (Kafalenos, p. 87). Edel & Laurence A8b. Emma Kafalenos, Narrative Causali- ties, 2006. £7,500 [125130]

Samuel Johnson’s first appearance in print 93 (JOHNSON, Samuel.) A Miscellany of Poems by Several Hands. Publish’d by J. Husbands, A. M. Fellow of Pembroke-College, Oxon. Ox- ford: Printed by Leon. Lichfield, 1731 Octavo in half sheets (205 × 121 mm). Contemporary panelled calf, sometime recornered and rebacked with origi- 92 nal spine laid down, red speckled edges. 19th-century en- 93 graved armorial bookplate of W. J. Humfrys (a Hereford 92 solicitor). Spine showing some craquelure, sides rubbed, had taken a month or even two. But he wrote half title page a little dusty, leaves Q4, S1-4 and T3-4 trimmed of them in one afternoon, according to [his former JAMES, Henry. Daisy Miller: A Study. An In- by the binder (shaving a few headlines), scattered foxing, schoolmate] Edmund Hector, and finished the yet still an appealing copy, clean and sound. ternational Episode. Four Meetings. London: poem the following morning” (Samuel Johnson, Macmillan and Co., 1879 first and sole edition, celebrated for including 1984, pp. 91–3). Samuel Johnson’s first appearance in print and the 2 vols, octavo. Original blue sand-grain cloth, titles to Johnson’s translation was included in this collec- mention of him in the preface as “a Commoner of spines in gilt, rules to front covers in black, rear cov- tion, edited by a young Pembroke tutor, John Hus- Pembroke-College in Oxford”. Johnson spent only ers blindstamped, brown coated endpapers, top and bands, just over a year after Johnson left Oxford. fore edges untrimmed. Housed in a blue cloth flat-back 13 months at Pembroke (October 1728–December “The list of subscribers included almost half of all box by the Chelsea Bindery. With 40 pp. publisher’s 1729), forced to leave through financial constraints. the members of Pembroke College who were pre- catalogue dated November 1878 at the end of volume II. His stay may have been short but the nineteen-year sent at the time Johnson was there. But Johnson’s Spines rolled and faded, covers still bright, a little wear old Johnson made a strong impression on his fa- own name is not among them, in this book that to spine ends and tips, tiny split to cloth on front joint, therly tutor William Jorden. The distinguished bi- front hinge of vol. I starting but quite sound, internally contains the first surviving publication of any of ographer Walter Jackson Bate relates that “within a clean. A very good copy in original cloth. his works. He may not even have known that the few weeks Jorden, by now quite aware of his pupil’s book was appearing. Or, if he did, he could have first uk edition of one of James’s scarcest and talents, suggested that he translate, as a Christmas hardly wished to be reminded – at that time – of most desirable titles, one of 500 copies. The first exercise, Alexander Pope’s poem Messiah (1712) the year at Oxford. That year and all it meant, or two impressions are indistinguishable: it was first into Latin verse . . . The premise of Pope’s Mes- could mean, was by then hopelessly finished; his published on 15 February 1879 in a print run of siah is the medieval belief that Virgil’s Fourth Eclogue, ties with it had been cut” (ibid.). 250 copies, with a second impression of 250 cop- which predicts the birth of a child who will bring a ies following in March, lacking any imprint to golden age, is a prophecy of Christ . . . [Johnson] Chapman and Hazen p. 123; Courtney & Nichol Smith p. distinguish it from the first issue. Rare, with just plunged into the translation with extraordinary 1; Rothschild 1429. two copies traced at auction since 1975, of which speed. These 119 lines [pp. 111–117] of Latin verse £3,500 [125411] one was in cloth. The novella, previously serialised would have been an impressive performance if they

46 Summer Miscellany: Peter Harrington 94 95 96

94 95 4 volumes, octavo (220 × 141 mm). Contemporary blue morocco by Rivière & Son, raised bands to spines, JONES, David. In Parenthesis. London: Faber & KAFKA, Franz. Die Verwandlung. Leipzig: compartments lettered and tooled with elaborate art- Faber Limited, 1937 Kurt Wolff Verlag, 1915 nouveau style floral decoration in gilt, turn-ins tooled in gilt, top edges gilt, others untrimmed. Printed in blue Octavo. Original beige cloth, title gilt to spine on a grey Octavo. Original cream paper wrappers printed in red and black. Portrait frontispieces with tissue guards, ground. With the dust jacket. Two illustrated plates (one and black with an illustration by Ottomar Starke, edges frontispiece to third volume printed on blue paper, with as frontispiece) after etching by Jones, and a map plate, uncut. Extremities gently rubbed and creased, spine 7 further plates, of which 2 are folded, and 2 illustrations each with tissue guard. The cloth bright, and only faint browned and ends chipped, front hinge fixed with slight in the text. Bookplate of Clive Behrens (1871–1935) to spotting to endpapers and around the few plates, a near adhesion in the gutter and paper remnant from adhesion front pastedowns, subsequent light offsetting to front fine copy with the notably bright dust jacket bearing only a to inner flap verso, wrappers toned with some staining, free endpaper rectos. Spines consistently faded to dark few minor chips and small closed tears to the extremities, contents clean, overall a very good copy. green, very slight rubbing to tips, a few faint marks to and faint toning to the margins of the white rear panel. first edition, first printing. The first of Kaf- covers, a little foxing to edges and a few pages, contents first edition, first impression, of David ka’s masterpieces was issued both in boards and, generally clean. A beautifully bound set. Jones’s epic poetic memoir, tackling the trauma as here, in wrappers. Sales were unimpressive; af- A handsomely bound set of Keats, demonstrating of his trench experiences in the First World War ter a year or so the numerous unsold copies were Rivière and Son’s impressive craftsmanship. This after his breakdown from shell-shock in 1932. In stamped on the title pages with the official stamp set is the expanded reissue of Harry Buxton For- Parenthesis won Jones the Hawthornden Prize and of the German censors. This copy has no stamp to man’s comprehensive 1883 edition of Keats’s works. the praise of such writers as W. H. Auden, who the title page and is therefore of the original issue. The publisher’s advertisement notes that this reis- considered it “a masterpiece” in which Jones did Dietz 26. sue contains “everything of Keats’s which has come “for the British and Germans what Homer did for £6,500 [124502] to the surface since 1883, and that this edition, the Greeks and the Trojans”, and of T. S. Eliot, who besides a great mass of material that is not in any declared it was “a work of genius” in the preface to other, embodies all that is elsewhere in print”. his 1961 Faber reissue. 96 £4,500 [127029] £3,250 [124934] KEATS, John. The Poetical Works and Other Writings. Edited with notes and appendices by H. Buxton Forman. Reissue with additions and corrections. London: Reese & Turner, 1889

All items are fully described and photographed at peterharrington.co.uk 47 97

97 (KENT, Rockwell.) MELVILLE, Herman. Moby Dick or The Whale. New York: Random House, 1930 Octavo. Finely bound by the Chelsea Bindery in full black morocco, lettered and decorated in silver after the original Rockwell Kent designed binding, pictorial block of a whale to the spine. Illustrated by Rockwell Kent with woodcuts throughout the text, with full-page plates, chapter head and tailpieces, other smaller cuts in the text. A fine copy. first rockwell kent trade edition, first printing. First published the same year by the Lakeside Press of Chicago in a three-volume limited edition, this trade edition proved immensely popular. It has been credited with contributing greatly to the rediscovery of the novel as a classic.

£1,375 [124925] 98

98 well-preserved jacket, exceptionally crisp and fresh, with rubbing, revealing the white paper beneath. This KEROUAC, Jack. On the Road. New York: The the merest hint of rubbing to extremities, and the vulner- classic text of Beat literature was Kerouac’s second Viking Press, 1957 able spine panel notably bright and entirely unfaded. A book, propelling him from an obscure author to superb copy. “King of the Beats” overnight. Octavo. Original black cloth, titles to spine and front first edition, first printing, rare in such £10,000 [125701] cover in white, top edge red. With the dust jacket. nice condition, with the black background of the Housed in a black quarter morocco solander box by the Chelsea Bindery. From the library of Virginia bibliophile jacket free from the rubbing to which it is so liable. and historian Christopher Clark Geest, with his book- The jacket, printed in black onto light paper stock, plate to the front pastedown. A fine copy in the unusually is usually encountered with unsightly creasing and

48 Summer Miscellany: Peter Harrington 99 100 101

99 100 101 KEYNES, John Maynard. A Treatise on Prob- KEYNES, John Maynard. The General Theo- KINGLAKE, Alexander William. The Inva- ability. London: Macmillan, 1921 ry of Employment Interest and Money. Lon- sion of the Crimea: Its Origin, and an Ac- Octavo. Original publisher’s cloth, spine ruled and let- don: Macmillan and Co, Limited, 1936 count of its Progress down to the Death of tered in gilt. Later ownership inscription on pastedown. Octavo. Original blue cloth, spine lettered and double- Lord Raglan. Edinburgh and London: William Spine lightly marked, extremities a little worn, rear hinge ruled in gilt, ruling continued to covers in blind. With Blackwood and Sons, 1863–87 cracked and discreetly glued, else a very good copy. ownership signature and stamp on front free endpaper. 8 volumes, octavo (218 × 138 mm). Later red half mo- Very minor fading to spine and bumping at ends, single first edition, first impression, of this rocco, matching cloth boards by Morrell, title gilt direct mark to fore edge, else a near-fine copy. mathematical-philosophical work, the subject to spines, single fillet panel to the compartments, single of Keynes’s fellowship dissertation, in which he first edition, first impression. “The world- gilt rule to spine and corner edges, top edge gilt, marbled sought to establish a mathematical basis for prob- wide slump after 1929 prompted Keynes to at- endpapers, red silk page-markers. With numerous maps ability theory as Russell and Whitehead had done tempt an explanation of, and new methods for and plans, half-titles bound in. A little light shelfwear, for symbolic logic. Russell wrote of this work “the controlling, the vagaries of the trade-cycle . . . in pale, largely marginal browning, a very good set. mathematical calculus is astonishingly powerful, his General Theory, he subjected the definitions and first editions of the last four volumes; the first considering the very restricted premises which theories of the classical school of economics to a three volumes third editions, published the same form its foundation . . . the book as a whole is one penetrating scrutiny and found them seriously in- year as the first; volume IV the second. Kinglake which it is impossible to praise too highly” (quot- adequate and inaccurate” (PMM). His conclusion, was in the Crimea in 1854, “witnessed the battle of ed in DSB). The work contains a useful bibliogra- namely that “the regulation of the trade-cycle – the Alma from close hand, dined that night with phy of some 600 works on probability. that is to say the control of booms and slumps, Lord Raglan . . . helped the wounded, sketched and Moggridge A3.1. the level of employment, the wage-scale and the recorded the scenes in his diary. Kinglake rode with flow of investment – must be the responsibility of the allies towards Sevastopol and watched them take £800 [124615] governments”, permanently altered the terms of up siege positions on upland to the south. From economic debate and considerations of the role there, he saw the charges of the Heavy and Light Bri- of government in managing the economy (or not). gades on 25 October near Balaklava, though soon af- Loosely inserted is a card from 1989 on the poten- terwards he was invalided back to England” (ODNB). tial value of the book. He was entrusted with the task of writing a history of Moggridge A10.1; Printing and the Mind of Man 423. the campaign by Lord Raglan’s widow who had sent him all the papers in her possession. £1,250 [125338] £1,250 [125546]

All items are fully described and photographed at peterharrington.co.uk 49 103

103 LENNON, John. In His Own Write. London: Jonathan Cape, 1964 Octavo. Original blue laminated boards, spine and front board lettered in light blue. Without a dust jacket, as issued. Illustrations by Lennon. Spine a touch faded and slightly rolled, else bright and sharp. A near-fine copy. first edition, first impression, signed by the author on the front free endpaper, and very uncommon thus. This was Lennon’s first book, and also the first solo project by a member of the Beatles. £7,500 [127019]

102 104 102 first edition, first printing, first issue LENNON, John. A Spaniard in the Works. LEE, Harper. To Kill a Mockingbird. Philadel- jacket, with the Truman Capote blurb printed in London: Jonathan Cape, 1965 green to the front flap and the Jonathan Daniels phia: J. B. Lippincott Company, 1960 Octavo. Original pictorial laminated boards, front cover blurb on the rear flap. To Kill a Mockingbird became and spine lettered in white on pink ground. Without a Octavo. Original green cloth-backed brown boards, an immediate bestseller and won the 1961 Pulitzer dust jacket, as issued. Laminate at joints lifting slightly, spine lettered in brown. With the dust jacket. Housed Prize for Fiction. It is “an authentic and nostalgic as invariably happens, tiny scratch to front cover, two in a custom green quarter morocco flat-back box. Own- story which in rare fashion at once puts together tiny spots of foxing to edges, else a fine, bright copy. ership signature to front free endpaper and dedication the tenderness and the tragedy of the South. They page, both dated 1960. A fine copy in the notably well- first edition, first impression, signed by are the inseparable ingredients of a region much preserved dust jacket, extremities a little rubbed and the author on the front free endpaper, and nicked with a tiny ink mark to bottom edge of rear panel, reported but seldom so well understood” (Jona- scarce thus. Lennon’s second book, A Spaniard in else bright and clean. than Daniels). the Works, is a collection of nonsensical stories £15,000 [127323]

50 Summer Miscellany: Peter Harrington 104 and drawings much like his first book, In His Own Write (1964). £6,500 [127022]

105 LENNON, John, & Yoko Ono, Bob Gruen. 106 Sometime in New York City. Guildford: Genesis Folio. Original black leather-backed silkscreened alu- endpapers, gilt edges. Housed in a dark blue leather Publications Limited in association with the estate of minium boards, spine lettered in silver, edges silver. entry slipcase. With colour frontispieces and black and John Lennon, 1995 With the original slipcase and housed in a silkscreened white illustrations by Pauline Baynes. A fine set. solander box with metal title-plate to the lid. Illustrated first editions, first impressions. A com- throughout with photographs by Bob Gruen on 200gsm plete set of the much acclaimed Narnia series. matt art paper with trace overlays. A fine copy. “These books . . . are often discussed by critics as signed limited edition, number 284 of 2,500 Christian allegories or ‘philosophical fairy tales’ copies signed by Ono and Gruen, of a total edition (Bingham, 357). They remain classics of children’s of 3,500. literature and have been televised on a number £750 [125314] of occasions, while The Last Battle won the Carn- egie medal. Set in the imaginary land of Narnia, 106 where animals speak and magic is everywhere, they describe the adventures of the children lucky LEWIS, C. S. [The Chronicles of Narnia:] The enough to discover the entrance . . . Though the Lion, the Witch and The Wardrobe; Prince elements of Christian allegory are undeniable, Caspian; The Voyage of the Dawn Treader; Lewis disliked stories with morals, and the chroni- The Silver Chair; The Horse and His Boy; The cles remain a favourite among children. They have Magician’s Nephew; The Last Battle. London: inspired similar works of fantasy, such as Susan Geoffrey Bles [and] The Bodley Head, 1950–56 Cooper’s The Dark is Rising sequence (1965–77) and Madeleine L’Engle’s A Wrinkle in Time (1962)” 7 volumes, octavo. Finely bound by the Chelsea Bindery (ODNB). in full dark blue morocco, titles and decoration to spines 105 gilt, rule to boards gilt, inner dentelles gilt, marbled £11,500 [124708]

All items are fully described and photographed at peterharrington.co.uk 51 “I know them to be the best of men” 107 LINCOLN, Abraham. Autograph endorsement as President during the Civil War. Wash- ington DC: 1864 Endorsement, one page octavo (245 × 195 mm, no watermarks); submission slip (125 × 197 mm, no watermarks); photogravure portrait of Lincoln from the photograph by Alexander Gardner (157 × 114 mm). Presented in a brown calfskin wallet folder (177 × 132 mm) with display panels, pale brown moiré silk lining. Endorsement professionally restored along midway lateral crease (not affecting Lincoln’s signature) and vertically along another fold, some general light creasing and light signs of handling. Overall in very good condition. Lincoln endorses Union Army appointments recommended by Missouri senator John Brooks Henderson (1826–1913), his letter of recommendation also signed by Henderson, who played a key role in the passing of the Thirteenth Amendment, passed by the House on 31 January 1865, which abolished slavery and involuntary servitude. The submission slip to the Secretary of War is in Lincoln’s hand, dated 26 January 1864, with official annotations in blue pencil and red ink. The letter recommends appointments for four Missouri men: Thomas E. Williams and Philander Draper for paymaster of volunteers with rank of major, and Richard H. Melton and F. M. Shelton for assistant quartermaster. Missouri was a slave state at the outbreak of the Civil War and John Brooks Henderson, an ardent Democrat, was conservative on the issue 107 of slavery. “He was a states-rights Democrat, or at least so considered himself, but when the important committees including finance, foreign hesitated to differ with his party” (Dictionary of issue was drawn in 1861, he strongly opposed the relations, and Indian affairs, and was responsible American Biography). secession of Missouri and was a Union delegate for much of the financial legislation of the war. . . . Carl Sandburg, in his magisterial biography of to the convention and one of the most influential He was friendly to Lincoln’s plan for compensated Lincoln, notes that during the rambling Senate forces in preserving the state of the Union . . . The emancipation and voted for the resolution Chamber speech by the “worn and sick” vice- fall of Sumter and the call for troops changed his indorsing it. At Lincoln’s request he went to president Andrew Johnson, on 4 March 1865 (before opinion as to coercion [of the seceded states], and Missouri to urge the policy, later introducing Lincoln’s second inauguration), “at Lincoln’s side he raised a brigade of militia of which he became a bill to carry it in to effect there . . . In 1864 he sat Senator Henderson of Missouri, who noticed brigadier-general. He saw no active service and on introduced the Thirteenth Amendment despite his Lincoln’s head drooping in humiliation” and that Jan. 17, 1862, was appointed United States senator belief that it meant his political death . . . Although “Senator Henderson offered his arm to Lincoln for to replace Trusten Polk. The following year he was Henderson was a man of warm and affectionate taking their place in the march to the inaugural elected for a full term. In the Senate . . . he quickly nature, he had a gusty temper not infrequently platform outside”. became prominent. He served on a number of aroused. In politics he was courageous and never £6,500 [125710]

52 Summer Miscellany: Peter Harrington 108 110

108 Home and Astonishing Adventures in For- first edition, first printing, of the first title in LINDBERGH, Charles. “We”. The Famous eign Parts. Illustrated by the Author. New the Doctor Dolittle series. Though born in England, York: Frederick A. Stoke Co., 1920 Lofting settled in Connecticut and had his first book Flier’s Own Story of His Life and His Trans- published in New York. The book is attractively illus- atlantic flight, together with his views on the Octavo. Finely bound by the Chelsea Bindery in bright trated with his own naïve pen-and-ink drawings. future of Aviation. With an introduction by blue morocco, titles and decoration to spine gilt, raised £1,500 [127454] Myron T. Herrick. New York and London: G. P. bands, twin rule to turn-ins, original endpapers bound in at front, blue white and red patterned endpapers, gilt 110 Putnam’s Sons, 1927 edges. Colour frontispiece, calligraphic title and 32 il- Large octavo. Original japon-backed pink paper boards, lustrations by the author, of which 11 are full-page, 2 of LINDSAY, Norman. Water Colour Book. gilt titles to front cover and spine, pictorial pastedowns, these printed on plate paper. Small neat ownership sig- With an appreciation of the medium by Nor- edges untrimmed. With the original glassine dust jacket nature to half-title, an excellent copy in a fine binding. man Lindsay and a biographical survey of the and blue box. Frontispiece with tissue guard, 51 black artist’s life and work by Godfrey Blunden. and white plates. A fine copy, in the glassine jacket with a chip to head of rear panel and onto spine, slight nicks Sydney: The Springwood Press, 1939 to extremities, and couple of tiny marks to front panel. Quarto. Original cream silk, spine lettered in gilt, em- author’s autograph edition, number 512 of bossed design of a woman to front cover. With the 1,000 copies signed by the author and on behalf original glassine jacket. Housed in the original purple of the publishers. Lindbergh’s autobiography pro- slipcase. Tipped-in colour frontispiece and 17 tipped- in colour plates. Bookseller’s ticket to front pastedown. vides a well-illustrated account of the life of one A little offsetting to free endpapers and title page, else of the century’s greatest adventurers, the first man a fine copy in the well-preserved glassine jacket, with to complete a solo non-stop transatlantic flight. small portion of loss to head of rear panel, and original Loosely inserted in this copy are two printed slips slipcase, with tape repairs to edges. by the publisher and a greeting card with Lind- first edition, deluxe signed limited is- bergh’s portrait pasted to it. sue, number 65 of 120 copies signed by the artist. £2,750 [126928] Best-known for his sometimes-controversial nude paintings, Norman Lindsay (1879–1969) is widely 109 regarded as one of Australia’s greatest artists. LOFTING, Hugh. The Story of Doctor Dolit- £2,250 [125013] tle. Being the History of His Regular Life at 109

All items are fully described and photographed at peterharrington.co.uk 53 “Have just read Blood Meridian. A beautiful terri- ble splendid book. You must have made a com- pact with the Judge Hisself to write such a book. I envy you your powers, salute your achievement, and dread not a little for the safety of your soul” (quoted in Crews, p. 51). Inscribed copies of McCarthy’s books are very rare, and to encounter a copy inscribed to a fellow author is extremely unusual. McCarthy was well-known for his “general disdain for the literary world as well as the professional and social circles that writers of his caliber often inhabit” (Hage, p. 20), making this association, linking two of the major literary figures of the Southwest, an exceptional one. The author’s “long history of shunning the literary world extends to other writers, and McCarthy seems to prefer the company of scientists and researchers. The one exception was his long friendship with nature writer and novelist Edward Abbey . . . While Abbey and McCarthy share little in common stylistically, their general distrust of authority . . . and almost religious rev- erence for the natural world seemed to provide a powerful bond. Shortly before Abbey’s death, the two men con- cocted (though reportedly never acted on) a plan to secretly reintroduce Mexican Grey Wolves into their former range in the American Southwest” (Spurgeon, p. 14). In a letter written two weeks after Abbey’s death, McCarthy noted of his friend, “I think he came across in his writing as something of a curmudgeon but he was a kind and a generous man – qualities, sad to say, not common to writers” (in Crews, p. 50). This is one of the free copies given to the author, 111 with the publisher’s flaw of three leaves pasted together at the rear. It is accompanied by photo- Presentation copy to Edward Abbey jacket, 10 mm short closed tear to top of front joint, flaps copies of five autograph letters from McCarthy to lightly toned. Abbey between 1986 and 1988. 111 first edition, first printing, presenta- Cant, John, Cormac McCarthy and the Myth of American Ex- McCARTHY, Cormac. Blood Meridian or The tion copy, inscribed by the author to his close ceptionalism (2008); Crews, Michael, Books Are Made Out of Evening Redness in The West. New York: Ran- personal friend, the writer and radical environ- Books: A Guide to Cormac McCarthy’s Literary Influences (2017); Hage, Erik, Cormac McCarthy: A Literary Companion (2010); dom House, 1985 mentalist Edward Abbey (1927–1989) on the half- Spurgeon, Sarah (ed.) Cormac McCarthy: All the Pretty Hors- title, “For Ed, With all best wishes, Your friend Octavo. Original red cloth-backed red boards, spine let- es, No Country for Old Men, The Road (2011). Cormac”. Blood Meridian, McCarthy’s fifth book tered in gilt. With the dust jacket. A little foxing to top £18,500 [124987] edges of text block, three pages glued to rear pastedown and widely recognised as his masterpiece, was (publisher’s flaw), else a near-fine copy in the bright his first major literary success. Abbey wrote to congratulate him in a note dated 15 June 1986,

54 Summer Miscellany: Peter Harrington 112 113 114

112 tels, Acquerelles et Dessins, which was published the McCULLERS, Carson. The Heart is a Lonely same year. Hunter. Boston: Houghton, Mifflin and Company, £750 [124932] 1940 114 Octavo. Original oatmeal cloth, titles to spine and front 114 in red. With the dust jacket. A fine copy in the unusually (MATISSE, Henri.) JOYCE, James. Ulysses. bright jacket with very slightly faded spine panel and ex- With an introduction by Stuart Gilbert. New tremities a little rubbed and nicked. York: The Limited Editions Club, 1935 first edition, first printing, first state jacket, with the issue points: dated 1940 on the title Folio. Original brown cloth decorated in gilt from a design by Le Roy Anderson, top edge speckled brown, page and colophon, and with Summer’s Lease adver- others untrimmed. In the publisher’s tan card slipcase, tised on the rear flap of the dust jacket. titled on spine. With 21 monochrome illustrations on a £2,750 [125708] variety of coloured paper of different sizes by Henri Ma- tisse, depicting the Calypso, Aeolus, Cyclops, Nausicaa, Circe, and Ithaca episodes. A fine copy in the original 113 slipcase that is a little worn and marked. (MANET, Edouard.) ROUART, Denis, & First illustrated edition, number 1,103 of 1,500 cop- Daniel Wildenstein. Edouard Manet: Cata- ies only, signed by Matisse and specially bound. logue raisonné. Tome I: Peintures. Paris: La The text of this edition is based on the second Biblothèque des Arts, 1975 impression of the Odyssey Press edition (1933), “generally considered to be the most accurate and Folio. Original red cloth, spine and front cover lettered authoritative text” (Slocum & Cahoon, p. 30). Stu- in gilt. With the dust jacket. Portraiture frontispiece, 5 art Gilbert, who contributed the introduction to colour plates, black and white reproductions of Manet’s work throughout. Bookseller’s ticket to front free endpa- this edition, revised the text for the Odyssey Press per. A near-fine copy. edition at Joyce’s request. first edition, first impression. This is Slocum & Cahoon A22. the first of two catalogues raisonnées on Manet by £6,000 [125703] Rouart and Wildenstein, the second being Pas- 114

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

115 (MILLIGAN, Spike; Harry Secombe; Eric Sykes.) FARNES, Norma (ed.) The Goons. The story. London: Virgin, 1997 Quarto. Original black cloth, spine lettered in silver. With the dust jacket. Illustrated throughout with drawings and photographs. A fine copy. first edition, first impression, signed by Lorraine Chase, Burt Kwok, Paul Merton, Vicki 116 Michelle, Tom O’Connor, Harry Secombe, Chris Smith, Mollie Sugden, Eric Sykes, and Norman Wisdom on the title page, who were all present Limited edition of 20 on vellum signed by Milne germarked, small spot to front cover, contents clean and at Camden Palace on 17 September 2000 for the and Shepard bright. A lovely copy. unveiling of a plaque to commemorate “The Last 116 signed extra limited edition, number 5 of 20 Goon Show of All”, which was recorded at Cam- large-paper copies printed on Japanese vellum and den Palace on 30 April 1972. MILNE, A. A. Now We Are Six. With Decora- signed by the author and illustrator; the most ex- tions by Ernest H. Shepard. London: Methuen clusive and luxurious format in which Milne’s Pooh £750 [125279] & Co., Ltd, 1927 books were issued. Published on 13 October 1927, it took only two months for Now We Are Six to eclipse Octavo. Original full vellum with yapp edges, gilt lettered the sales records of the previous two books. front cover, untrimmed and partly unopened. Housed in a custom yellow cloth slipcase. Illustrated throughout Thwaite, A. A. Milne: His Life (1990). by Ernest H. Shepard. Vellum very faintly soiled and fin- £22,500 [125692]

56 Summer Miscellany: Peter Harrington 117 118

117 copies printed on handmade paper and signed by label pasted to the rear free endpaper. Spine very slightly both the author and artist. faded, a few light marks to covers, contents clean and MILNE, A. A. The House at Pooh Corner. bright. A near-fine copy. Thwaite, A. A. Milne: His Life (1990). With Decorations by Ernest H. Shepard. Lon- first chiswick press edition, using William don: Methuen & Co. Ltd, 1928 £6,500 [125923] Morris’s Golden Type from the Kelmscott Press. Quarto. Original blue cloth-backed white boards, print- Morris’s translation of the Volsunga Saga was first ed paper label to front board, edges untrimmed, couple 118 published in 1870, and printed by the Kelmscott of leaves unopened. With the dust jacket. Housed in a MORRIS, William, & Eirikr Magnusson Press in 1898 after Morris’s death, with illustra- custom blue cloth chemise and blue quarter morocco (trans.) Volsunga Saga: The Story of the tions by Edward Burne-Jones. The translation was and cloth slipcase. Illustrated throughout by E. H. Shep- Volsungs and Niblungs, with Certain Songs influential in promoting knowledge of the Norse ard. Light foxing to boards and fore edge, small repair legends in Britain, and Tolkien cited the work as to fore-corner of rear board, contents clean and bright, from the Elder Edda. Translated from the Ice- rear hinge cracked but holding. A very good copy in the a considerable influence on him. The latter work, landic. [Bound with, as issued:] Three North- Three Northern Love Stories, was first published in jacket, just a little marked and faintly soiled, nicks or ern Love Stories and Other Tales. Translated small closed tears to spine ends and tips. 1875, and was here reprinted for the first time. from the Icelandic. London: Printed at the Chis- signed limited edition, this copy addition- £1,250 [125837] wick Press for Longmans, Green and Co., 1901 ally inscribed by the author on the title page, “For Louis Grabosky, A. A. Milne”, and with the book- Quarto (262 × 205 mm). Late 20th-century sheep, spine plate of Louis B. Grabosky, a book collector, to the lettered in gilt direct with gilt floral ornaments to com- front pastedown. Number 311 of 350 large paper partments, covers panelled in gilt and blind, gilt turn- ins, marbled endpapers. With segment of original spine

All items are fully described and photographed at peterharrington.co.uk 57 119

vehicle became noticeable [and the speed limit for motor cars was severely restricted] . . . Such was the unsympathetic environment for the first Brit- ish motor cars and it is not surprising that their ‘operators’ found it irksome and even intolerable. Their views, and those of the motor manufacturers, were forcibly and effectively expressed by the newly formed Motor Car Club and the Self-pro- pelled Traffic Association; sympathetic motorist MPs also pressed hard in parliament. The result was what has been called ‘the Motorists’ Magna Carta’ – the Locomotives on Highways Act, 1896 – which increased maximum permissible speeds to 14 mph . . . However the Automobile Club and the Association of Motor Manufacturers and Trades (formed in 1902) were not deterred from campaigning for the abolition of speed limits and 119 other restraints” (T. C. Willett, Criminal on the Road: A Study of Serious Motoring Offences and Those Who Commit Them, 2001, Chapter 3). “Many misconceptions are prevalent with Quarto, 28 pp. Original blue printed wrappers, wire- respect to the capabilities, speed, and economic stitched as issued. A couple of small marks to front cov- The upshot of this sedulous campaigning, encap- er, light vertical crease where folded, old stain to fore- sulated in the present Blue Book, was the passing importance of the motor vehicle” edge of back cover (showing in margin of a few leaves), of the Motor Car Act 1903, which received royal as- 119 light rust-staining from staples, touch of foxing, yet this sent on 14 August. The Act introduced motor vehi- remains a remarkably well preserved copy. (MOTORING; BLUE BOOK.) The Law as to cle registration, driver licensing and increased the first and sole edition of this very scarce and Motor Vehicles: What it is and What it should speed limit to 20 mph. With amendments, the Act significant Blue Book, not on Copac or OCLC. formed the basis for United Kingdom motoring be. Important Speeches by the Right Hon. law until the Road Traffic Act 1930. Henry Chaplin, M.P. . . . and the Right Hon. “In 1884 Daimler built his first vehicle driven by a petrol internal combustion engine, and Benz fol- £2,250 [125384] the Earl of Onslow, G.C.M.G., (His Majesty’s lowed a year or so later with the invention of the Under Secretary of State for the Colonies). motor tricycle. So the ‘motorist’ or ‘automobilist’ And other papers. London: Published and circu- came into the picture [of highway legislation] for lated by the Committee of the Automobile Club of the first time . . . and the accounts of parliamen- Great Britain and Ireland, 1903 tary proceedings since 1896 leave no doubt that this was a cold war of no mean intensity. During the 1890s social antagonism towards the motor

58 Summer Miscellany: Peter Harrington 120 121 122

120 Spanish general Alava felt it too pro-French, and a various eminent persons (to whom he evidently NABOKOV, Vladimir. Lolita. London: Weiden- British officer in India demanded satisfaction on had sent copies) including: Cardinal Newman, Al- his return for a ‘most unfounded calumny’ about fred Tennyson (secretarial), Queen Victoria (from feld and Nicolson, 1959 his conduct at Barossa” (ODNB). As a result most Colonel Ponsonby), The King of the Belgians (via Octavo. Original black cloth, spine lettered in silver, top volumes are prefixed with “justificatory pieces” in the Prime Minister), and George R. Sims, along- edge pink. With the dust jacket. Spine lightly rolled, edg- answer to Napier’s critics. His controversy with Be- side several other members of the aristocracy and es slightly foxed, else a very copy in the dust jacket, spine resford over Albuera was particularly rancourous. clergy. Laid-in is Gaspey’s invitation card to the panel lightly faded and creased at foot with a few marks Perhaps judgement is best left to the acknowledged 1883 Christmas Eve service at the Chapel Royal. of abrasion, tiny soiling to rear panel, couple of marks of master chronicler of the conflict, Sir Charles Oman, foxing on verso. While most of the letters offer perfunctory thanks, who described Napier’s work as “magnificent (if Newman’s letter, penned from The Oratory 14 Janu- first uk edition, first impression. Nabok- somewhat prejudiced and biased)”. ary 1881, constitutes a much more thoughtful and ov’s masterpiece was originally published in Paris readerly response: “I did not like to acknowledge in 1955. £1,250 [125535] the kind present of your volume of Poetry, till I had £500 [124993] 122 read a sufficient portion of it; which now I have done with much pleasure. The religious tone of 121 (NEWMAN, John Henry, Cardinal.) GASPEY, your poems is admirable – which is so great a desid- William. Landmarks of Paradise. London: NAPIER, William Francis Patrick. History eratum at this day – nor less distinguished are they George Routledge & Sons, and G, & T. Coward, Car- by ease, naturalness, and fluency of versification. of the War in the Peninsula and in the South lisle, 1878 Very truly yours, John. H. Card. Newman”. of France, from the year 1807 to the Year 1814 The author William Gaspey (1812–1886), born . . . London: Thomas & William Boone, 1835–40 Octavo (206 × 133 mm). Finely bound in near-contemporary purple morocco, spine gilt-tooled in compart- to London journalist Thomas Gaspey, settled in 6 volumes, octavo (223 × 135 mm). Contemporary black ments with title direct, sides bordered with gilt rolls and Blackburn and contributed articles and poetry to quarter morocco, probably French, marbled boards and elaborate tooled cornerpieces, turn-ins gilt-rolled, gilt- the local press, with some poems set to music and endpapers, title gilt direct to the spines, flat bands with patterned endpapers, all edges gilt. Several autograph let- performed in Blackburn churches. He later moved triple fillet gilt, panels in blind to the compartments.With ters signed, many with their envelopes, tipped in to blank to Keswick, in the Lake District. He published a 55 engraved battle plans. Just a little rubbed, some light leaves bound in at the rear. Some light abrasions to front small few other collections of poetry (Remanets, browning and scattered foxing, but overall very good. board, occasional light spotting within, but generally in excellent condition, and the letters very well preserved. 1865, and A Dish of Trifle, 1869), as well as several First editions of the last three volumes; the first guide books. All are rare, with this title showing three volumes are third editions. Napier’s work first edition of this rare collection of religious only in the British Library. certainly divided opinion. “Soult considered it poems, this being the author’s own copy with 24 ‘perfect’, Sir Robert Peel ‘eloquent and faithful’, the autograph letters bound in, addressed to him from £1,950 [124908]

All items are fully described and photographed at peterharrington.co.uk 59 photographer A. A. Turner), but these are smaller in size than this cabinet photograph. This has a pleasingly exact note of provenance, having been garnered by the noted American autograph hunter Charles Elmer Rice (1862–1939), whose autograph inscription appears on the verso of the mount and below the image on the album leaf: “Signed for me on May 15th 1903 – on my 2nd visit to her, in her home No 10, South Street, Park Lane, London – just after her 84th birthday anniversary – She died Aug 13th, 1910 – in her 92nd year, Chas. E. Rice”. Dr Rice, of Alliance, Ohio, amassed an impressive collection of autographs and manuscripts, auctioned in 1917 by Henkels of Philadelphia. It comprised a “full set of the presidents of the United States, cabinet officers, presidents of the Senate and speakers of the House, signers of the Declaration of independence, members of the Continental congress, signers of the Constitution, Supreme court of the United States, governors of the states, Confederate government, and Hartford convention etc., etc.” He also donated an important group of papers, now the Charles Elmer Rice Collection, to the Ohio Historical Society. This portrait, the likeness chosen to appear on 123 the 1975 Bank of England £10 note, is the best known and most widely circulated image of Flor- 123 124 ence Nightingale. The head-and-shoulders and full-length versions, both of which are held by the (NIELSEN, Kay.) ANDERSEN, Hans Chris- NIGHTINGALE, Florence. Signed cabinet National Portrait Gallery, are the more familiar re- tian. Fairy Tales. London: Hodder and Stoughton, photograph. London: London Stereoscopic Com- productions, rather than this three-quarter length [1924] pany, [c.1900] image. It was originally taken in around 1856 by Quarto. Original vellum, spine and front cover lettered Original albumen print mounted on grey heavy card William Edward Kilburn (1818–1891), shortly af- and elaborately blocked in gilt, top edge gilt, others stock studio mount printed in dark grey, tipped to a ter the conclusion of the Crimean War. “William untrimmed. Colour frontispiece and 11 colour plates, cream-coloured textured paper album leaf (image: 147 Kilburn opened his portrait studio on London’s tipped-in as issued, with captioned tissue-guards, × 101 mm; mount: 166 × 107 mm; album leaf 254 × 201 Regent Street in 1846. He was commissioned to full-page illustrations, decorations and initial letters mm). Remains of album leaf on verso of mount (where make daguerreotype portraits of the Royal Family throughout from line drawings by Kay Nielsen. Covers a lifted), otherwise in very good condition. between 1846 and 1852, and was awarded a prize little bowed, else a near-fine copy. A superb large format signed photograph, one medal for his photographs at the 1851 Great Exhi- signed limited edition, number 78 of 500 (and perhaps the largest) of only very few exam- bition” (National Portrait Gallery). copies signed by the illustrator. The present work ples of a signed photographic portrait of Florence This exceptional artefact, zealously collected and gathers classic stories by Hans Christian Anders- Nightingale to have appeared on the market, auc- with an uncommonly detailed provenance, attests en, including the Snow Queen and the Tinder Box, tion records recording no examples. There are to this remarkable woman’s enduring renown. She all of which provide good subject matter for Kay signed cartes-de-visite at the Florence Nightingale was “a Victorian figure but, on the other hand, Nielsen, one of the greatest illustrators of his time. Museum in London (dated 1861, photographer strangely contemporary… [She] remains an enig- Variant cover designs are known, without priority. H. Lenthal) and Columbia University (dated 1867, matic figure. Her sense of being ‘in office’ and ‘out £3,750 [125428] of office’ reflects the frustration of a woman who

60 Summer Miscellany: Peter Harrington 124 sensed power but who, in the circumstances of the in a modern age reflect a complex character whose time, could use it only obliquely, and then chiefly complexity grows with time and with the changing by persuading men to act for her. Her remarkable role of women in public life” (ODNB). practical ability, her intense religiosity, her illness- £35,000 [125693] es, and her image of herself as a medieval recluse 124

All items are fully described and photographed at peterharrington.co.uk 61 125

125 ORWELL, George. Down and Out in Paris and London. London: Victor Gollancz Ltd, 1933 Octavo. Original black cloth, title to spine in green. Housed in a black quarter morocco solander box by the Chelsea Bindery. Spine a little sunned and rolled, top edge and fore-corners with small nicks, some minor marks to cloth, a little spotting to edges, endpapers, and margins. Sound and presentable, a good copy. first edition, first impression, inscribed by the author in the month of publication, “Best Wishes – Eric Blair, 29.1.33”, on the front free endpaper. Down and Out in Paris and London, Orwell’s first full length book, was published on 9 January 1933 in an edition of 1,500 copies. Signed or inscribed copies are very scarce indeed, and the two that we have handled, each inscribed to a personal acquaintance, were similarly presented 125 using his real name. It was only during the proof

62 Summer Miscellany: Peter Harrington 126 127 stages of this book’s publication that the author Quarto. Original grey cloth, spine and front cover let- 127 tered and decorated in blue, illustrated endpapers, top finally settled upon the nom de plume that would see PARETO, Vilfredo. Manuale di economia him through his career. The copy presented by Or- edge blue. With the dust jacket. Colour frontispiece and well, using his pseudonym, to the British Museum 15 colour plates tipped in with tissue guards, illustra- politica con una introduzione alla scienza so- tions in the text. Spine ends lightly bumped, a very good, (now British Library) in December 1934 shows ciale. Milan: Società editrice libraria, 1906 square copy in a nice example of the jacket, spine a little the same distinctive orthography, with the month rubbed, ends and tips little chipped. Small octavo. Original red cloth, spine and front board written over the year as a quasi-fraction. lettered gilt, patterned endpapers, red edges. Small dent first edition, first impression, in the very to front board, spine lightly faded; a very good copy. Down and Out in Paris and London, a two part mem- scarce jacket. Notably, the collection includes Tolk- oir of the author’s life among the poor and desti- ien’s poem “Goblin Feet”, his first to have been first edition of Pareto’s masterpiece, one of tute in and around the two cities, was praised by printed in book form (in Oxford Poetry 1915), and pub- the most important contributions to economics Compton Mackenzie as an “immensely interesting lished here for the first time with an illustration. in the 20th century, published as volume 13 of the book . . . a genuine human document, which at the series Piccola Biblioteca Scientifica. It is in the Manuale This work collects the work of numerous writers, same time is written with so much artistic force di Economia Politica that Pareto’s changed position including Matthew Arnold, William Davenant, that, in spite of the squalor and degradation thus in regard to economic theory and politics is most Walter de la Mare, Florence Harrison, Robert Her- unfolded, the result is curiously beautiful”. completely stated. The Manuale “is better con- rick, James Hogg, Tom Hood, Gerard Manley Hop- Fenwick A.1a. ceived and, more important, much better thought kins, Ben Jonson, John Keats, Andrew Lang, Fiona through than the Cours d’Economie Politique (1896– £30,000 [126632] Macleod, Andrew Marvell, John Milton, Christina 7). It is basically a work of synthesis in which Pa- Rossetti, Walter Scott, William Shakespeare, Rob- reto presented a general theory of economic equi- 126 ert Southey, Robert Louis Stevenson, Alfred Ten- librium which is considerably more refined than nyson, and W. B. Yeats. OWEN, Dora (ed.) The Book of Fairy Poetry. Walras’s” (IESS). Hammond B1. Illustrated by Warwick Goble. London: Long- Mattioli 2724; Roll, p. 408ff; Schumpeter, p. 859ff; Sraffa mans, Green and Co., 1920 £1,500 [125931] 4514. £2,750 [125201]

All items are fully described and photographed at peterharrington.co.uk 63 Baku in 1876, which, in 1879, turned into a shareholding company headquartered in St Petersburg. The company explored oilfields along the Caspian Sea, and the three brothers became hugely rich. When Alfred established the Nobel Prizes in 1901, roughly 12 per cent of the prize money was drawn from his shares in the Baku petroleum company. In 1888 it was the obituary in a French newspaper intended for Alfred’s brother Ludvig, but mistak- enly naming Alfred and condemning him as “le marchand de la mort” for his invention of dyna- mite, that persuaded him to devise a more altru- istic legacy. “Azerbaijan first caught the eye of the Nobel brothers in 1873, when the Russian government offered free competition for plots of land there. Robert Nobel, a chemist with experience selling

128

128 Octavo (238 × 168 mm). Wire-stitched in original stiff coated printed paper wrappers, title to front panel. Pho- PEAKE, Mervyn. [The Gormenghast trilo- togravure portrait frontispiece of Ludvig Nobel, 31 pages gy:] Titus Groan, Gormenghast; Titus Alone. of text, folding lithograph map of the Absheron pen- London: Eyre and Spottiswoode, 1946–59 insula and Baku, 20 tables and charts of oil extraction and distribution, 25 photogravure images of Baku, oil 3 volumes, octavo. Original red cloth, spines lettered in derricks and the petroleum industry and a folding litho- gilt. With the Peake designed dust jackets. Housed in graph map of Russia and Siberia showing the locations a custom quarter brown morocco solander box by the of Nobel Frères’ depots and establishments. Ink stamp Chelsea Bindery. Occasional foxing to edges, very good of “A. Hiorth, Christiana”, an oil import company found- copies indeed in bright cloth, the jackets mildly toned ed by Norwegian industrial pioneer Adam Hiorth, to and lightly rubbed with a few nicks or spots, vol. I slight- title page. Wrappers somewhat rubbed, spine cracked, ly faded. A very attractive set. repaired, and with a small piece missing at the tail, front first editions, first impressions, of Peake’s panel a little chipped, mild damp-stain in the tail margin masterpiece. of the first 30 pages or so, remains very good. £3,000 [124710] Rare 1900 report issued by the Nobel Brothers’ Oil Production Association. OCLC locates just four copies, three in Paris and one in Japan. The Nobels in Baku The most famous of the Nobel brothers is now Al- 129 fred, founder of the Nobel Prizes, but Alfred was (PETROLEUM PRODUCTION IN AZERBAI- the third of the brothers who survived childhood. JAN; NOBEL BROTHERS.) Société anonyme The Nobel Brothers Petroleum Company was an pour l’exploitation du naphte Nobel Frères à oil-producing company that had its origins in a distillery, founded by Robert and Ludvig Nobel in St-Petersbourg. Fondée en 1879. St Petersburg: Imprimerie Trenké et Fusnot, 1900

64 Summer Miscellany: Peter Harrington American petroleum products in Finland, saw an opportunity. He and his brothers, Ludvig and Alfred, already knew about the discovery of oil in Pennsylvania. In fact, Ludvig later went on to invent a type of refinery that was much more so- phisticated than those created by the American oil companies. In 1879, the three brothers created a shareholding company and became the main owners. In 1882, Ludvig invited more technical staff to Baku from Finland, Sweden, Norway and Germany, and founded a colony that he called Villa Petrolea, located in what was then called – and still is – the “Black City” district of Baku. Oil products from their venture were distributed all over Russia by train and by ship to Central Asia and Europe” (Brita Asbrink, The Nobels in Baku). £1,250 [125380]

130 130

130 Moore, Howard Nemerov, Frederic Prokosch, (POETRY ANTHOLOGY.) THOMAS, Dy- Muriel Rukeyser, Delmore Schwartz, Winfield Townley Scott, Karl Shapiro, Theodore Spencer, lan; W. H. Auden; Archibald Macleish; Louis Stephen Spender, Wallace Stevens, Dylan Thom- Macneice; Marianne Moore; Frederic Proko- as, Robert Penn Warren, and Oscar Williams. sch; Stephen Spender; Wallace Stevens, et Only the Belfast-born poet W. R. Rogers is absent al. New Poems 1942. An Anthology of British from the signatories, perhaps because he was at and American Verse, edited by Oscar Wil- the time troubled by his wife’s emerging schizo- liams. Mount Vernon, NY: Peter Pauper Press, 1942 phrenia. Dylan Thomas’s illustrative signature, in purple ink becoming wings and lightning bolts, is Octavo (225 × 145 mm). Finely bound by Asprey in full particularly notable. Five of his poems, including green morocco, spine gilt in compartments with raised bands and titles direct, sides bordered with gilt roll, “And Death Shall Have No Dominion”, are repre- contributors’ names gilt to front board, turn-ins hand- sented, with the other poets contributing up to somely gilt, white moiré silk doublures, all edges gilt. 8 six poems each. Thirty-three copies were retained pages of poets’ portraits in black and white. Fine. by each of the contributors, and 26 additional let- first edition, signed limited issue, one tered copies were issued for sale, all in publisher’s of 59 copies signed by the contributing poets, cloth and boards. This copy, here presented in a namely: Conrad Aiken, Kenneth Allott, W. H. very handsome Asprey binding, is out of series. Auden, George Barker, John Peale Bishop, R. P. This was the second in a series of wartime poetry Blackmur, Hugh Chisholm, Gene Derwood, Rich- anthologies selected by Oscar Williams (1900– ard Eberhart, William Empson, Jean Garrigue, 1964), following New Poems 1940, but is the only Horace Gregory, Alfred Hayes, Ruth Herschberg- one for which a signed limited issue was produced. er, Randall Jarrell, Robinson Jeffers, C. Day Lewis, £7,500 [125112] 129 Archibald Macleish, Louis Macneice, Marianne

All items are fully described and photographed at peterharrington.co.uk 65 131 132 133

131 132 Small blemish to single leaf, spine faded and with minor fraying and chipping at tips, a very good copy. POPPER, Karl. The Open Society and Its En- POTTER, Beatrix. The Tailor of Gloucester. emies. Volume I: The Spell of Plato. Volume London: Frederick Warne and Co., 1903 first edition, deluxe issue in flower patterned cloth. A later deluxe edition was issued in II: The High Tide of Prophecy: Hegel, Marx, Sextodecimo. Original red boards, titles to front board a gilt decorated cloth with gold titles. and the Aftermath. London: George Routledge & and spine in white, pictorial label with illustration to Linder p. 423; Quinby 5. Sons, Ltd, 1945 front board, pictorial endpapers. Frontispiece and 26 colour illustrations by the author. Contemporary gift £2,000 [125111] 2 volumes, octavo. Original black cloth, spines lettered inscription to half-title. Spine faded, extremities a little in gilt. Covers lightly rubbed, spine ends and corners rubbed, frontispiece tipped back in. A very good copy. bumped, upper outer corner of the first few leaves of vol. 134 first trade edition, first impression, with II turned down; one or two pencil side rules; a very good POTTER, Beatrix. The Tale of Benjamin Bun- copy. a single-page pictorial endpaper occurring four times, which was replaced with double-page end- ny. London: Frederick Warne and Co. Ltd, [c.1941] first edition, first impression, of the au- papers in later impressions. 11 of the illustrations thor’s influential first book. “The Open Society was, Sextodecimo. Original tan paper-covered boards, spine are repeated from the privately printed edition and and front cover lettered in green, pictorial label to front deservedly, a great success; and so was its author. 16 are entirely new for this edition. This trade edi- board, illustrated endpapers. Frontispiece and 26 colour It appeared in November 1945, and Popper arrived tion was published in October 1903. illustrations by the author. Spine ever-so-slightly rolled the following January [from New Zealand] to find and faintly browned, negligible rubbing to top edge. A himself a rising star in the British philosophical £1,500 [124971] very good, bright copy. firmament . . . The ‘open society’ had obvious af- finities with what John Stuart Mill had argued for Deluxe issue in On Liberty: a society in which argument was the 133 norm, where moral, political, scientific, and religious doctrines were constantly questioned and POTTER, Beatrix. The Tale of Squirrel Nut- revised. What was unusual about The Open Society kin. London and New York: Frederick Warne & Co., and its Enemies was not only its sustained assault on 1903 the enemies of the open society but its concentra- Sextodecimo. Original flower patterned cloth, titles to tion on the way in which their philosophical errors front board gilt on a white ground, pictorial endpapers. became politically dangerous” (ODNB). Frontispiece and 26 illustrations in colour by the author.

£1,500 [125002] 134

66 Summer Miscellany: Peter Harrington 134 135 136 inscribed by the author on the half-title, Sextodecimo. Original red boards, spine and front board inscribed by the author on the half-title, “Beatrix Potter, Christmas 1941”. Though un- lettered in white, pictorial label to front board, pictorial “Beatrix Potter, Ap. 8 1942”. (See item 134 for prove- marked as such, this copy was originally owned by endpapers. Frontispiece, 17 colour plates, outline illus- nance.) This is a later printing of the book originally Margaret Coward, a child who lived at Broomriggs trations in the text by the author. Spine slightly faded, published in 1930, in large format, and issued here tiny spot of wear to foot of spine, minor foxing to fore Cottage in Near Sawrey, less than a mile from the edge. A very good, bright copy. in small format to match the rest of the Peter Rabbit author’s Lake District home, Hill Top Farm. Potter series. Though this was the last of the series, it is bought the working farm in 1905 and lived there inscribed by the author on the half-title, one of Potter’s earliest stories, written in 1883. “Beatrix Potter, Christmas 1941”. (See previous until her death in 1943, just a couple of years after £2,000 [124772] this copy was inscribed. Over the years, Potter gave item for provenance.) The character of John Joiner, many of her books to the villagers and their chil- the terrier who removes the floorboard to release dren. This is a later printing of the fourth book in Tom, was based on young John Taylor, a Sawrey the Peter Rabbit series, originally published in 1904. carpenter and the son of the village shopkeepers. £2,000 [124767] This is a later printing of the title first published in 1908 in a large format as The Roly-Poly Pudding. In 1926 Frederick Warne decided to publish it in the 135 small format consistent with other books in the POTTER, Beatrix. The Tale of Samuel Whisk- same series, and the title was changed to The Tale ers. Or, The Roly-Poly Pudding. London: Fred- of Samuel Whiskers. erick Warne & Co. Ltd, [c.1941] £2,000 [124768]

136 POTTER, Beatrix. The Tale of Little Pig Rob- inson. London: Frederick Warne & Co. Ltd, [c.1942] Sextodecimo. Original cream boards, spine and front cover lettered in burgundy, pictorial label with illustration to front board, pictorial endpapers. Frontispiece, 5 colour plates, and illustrations in the text by the author. Tiny touch of wear to very head of faintly browned spine. 135 A very good, bright copy. 136

All items are fully described and photographed at peterharrington.co.uk 67 137 138 139

137 best children’s novels of the 20th century. The Am- volume Victoria from Birth to Bridal appeared. The PRATCHETT, Terry. The Carpet People. Ger- ber Spyglass won the 2001 Whitbread Book of the book presented Victoria in a very favourable light, Year award, being the first children’s book to do but the queen herself was critical, disputing many rards Cross: Colin Smythe Ltd, 1971 so, while the trilogy as a whole came third in the matters of fact with an emphatic ‘not true’ in the Octavo. Original mottled green cloth, spine lettered in BBC’s Big Read survey of 2003. margin. Allegedly, most of the edition, although gilt. With the dust jacket. Housed in a black slipcase. Il- £3,250 [124753] already on sale, was subsequently pulped; copies lustrated by the author. Spine ends very slightly creased, of the work are certainly very rare” (ODNB). It is small shallow bump to base of front cover, otherwise a certainly thinly represented in British and Irish near-fine copy. 139 institutional libraries, Copac citing only BL, Ox- first edition, first impression, of Pratchett’s (QUEEN VICTORIA.) [STRICKLAND, Ag- ford, Cambridge, Scotland, St Andrews (Victoria’s first book. nes.] Queen Victoria from her Birth to her annotated copy is in the Royal Collection); OCLC £650 [124680] Bridal. London: Henry Colburn, 1840 adds only six more in international holdings. Duodecimo (188 × 110 mm). Contemporary purplish £1,500 [125410] 138 calf, decorative gilt spines, dark green and pale brown PULLMAN, Philip. His Dark Materials. morocco twin labels, sides with two-line gilt border 140 enclosing a dotted blind roll tool, marbled edges and Northern Lights; The Amber Spyglass; The endpapers, burgundy silk page marker. Stipple-engraved (RACKHAM, Arthur.) GRAHAME, Ken- Subtle Knife. London: Scholastic, 1995–1997– portrait frontispieces (of Victoria and Albert) and ti- neth. The Wind in the Willows. With an In- 2000 tle vignettes (the coronation and the wedding). Spines troduction by A. A. Milne. New York: The Lim- sunned (extending to heads of sides), some light abra- ited Editions Club, 1940 3 works, octavo. Northern Lights: original purple cloth, sions, touch of foxing to titles. An attractive set. spine lettered in gilt; The Amber Spyglass: original black Quarto. Original yellow quarter cloth, spine lettered in cloth, spine and front cover lettered in gilt, orange end- first edition. “When the queen became engaged in 1840, Colburn commissioned [Strick- gilt, patterned paper-backed sides, top edge gilt, others papers; The Subtle Knife: original green cloth, spine let- untrimmed. With the publisher’s green card slipcase, land] to write an account of Victoria’s life from tered in gilt, gilt knife design to front cover. With the spine lettered in gilt. Colour frontispiece and 15 colour dust jackets. Housed in a custom black leather entry her birth to her wedding, offering to provide press plates by Rackham mounted on heavy off-white paper. slipcase. A fine set in the bright dust jackets. cuttings and other materials himself. Agnes ac- Tiny darkening to spine, light wear to slipcase extremi- first editions, first impressions, signed cepted, and both she and Colburn networked ties with a single mark to its spine, else a near-fine copy. by the author on the title pages of The Amber vigorously to obtain a ticket for her to the queen’s first rackham edition, number 669 of 2,020 Spyglass and The Subtle Knife. Pullman’s epic tril- wedding, which was gained only the evening be- numbered copies signed by the designer Bruce ogy of fantasy novels is recognised as one of the fore the ceremony. Shortly afterwards, the two-

68 Summer Miscellany: Peter Harrington 140 141

Quarto. Original dark grey cloth, titles and decoration to in the jacket with mildly toned spine, spine ends and tips spine and front cover gilt, top edge dark grey, pictorial lightly chipped, a little rubbing to extremities. endpapers. With the dust jacket. Together with an auto- first trade edition, first impression, graph letter signed: single folded sheet, on Rackham’s signed by rackham on the half-title, together headed paper (Stilegate, Limpsfield, Surrey), and in the original postmarked envelope (Ness House, The Green, with an autograph letter signed from Rackham 140 Ealing, W5). Colour frontispiece and 11 colour plates dated 25 August 1936. In it, Rackham undertakes with captioned tissue guards, black and white illustra- to sign the book in exchange for a 5/- fee, and Rogers. Perhaps the most attractive of all the editions in the text, by Rackham. A little rubbing to spine writes “I’m very interested that you should like the tions of Grahame’s classic, the production merges ends and tips, very faint foxing to edges, near-fine copy ‘Poe’ the best. I always like to think my latest is my the typography and design of Bruce Rogers with best, but am quite sure that I am no judge of my the artwork of Arthur Rackham, both leading fig- own work”. ures in their respective fields. This was the final Latimore & Haskell pp. 72–3; Riall p. 189. book Rackham illustrated, as he died shortly be- £2,250 [124709] fore publication. Riall p. 197–8. £950 [125304]

A five bob signature 141 (RACKHAM, Arthur.) POE, Edgar Allan. Tales of Mystery and Imagination. London: George G. Harrap & Co Ltd, 1935 141 141

All items are fully described and photographed at peterharrington.co.uk 69 142 143

142 143 and the Deathly Hallows, published by Bloomsbury (ROBINSON, W. Heath.) SHAKESPEARE, ROWLING, J. K. Complete set of the Harry on 21 July 2007. William. Twelfth Night or What You Will. Potter collector’s edition deluxe. London: Errington A.1(d); 2(e); 7(c); 9(b); 12(c); 13(b); 14(aaa). London: Hodder & Stoughton, [1908] Bloomsbury, 1999–2007 £2,500 [125252] Tall quarto. Original full vellum, spine and front cover 7 volumes, large octavo. Original red, blue, green, pur- lettered and decorated in gilt, grey endpapers, top edge ple, dark red, blue and grey cloth with pictorial onlays, ti- 144 gilt, others untrimmed. Colour frontispiece and 39 col- tles to front covers in gilt, spines lettered in gilt, all edges ROWLING, J. K. Harry Potter and the Goblet our plates tipped in with captioned tissue guards. Book- gilt. No dust jackets issued. Last four volumes in original of Fire. London: Bloomsbury, 2000 plate to front pastedown, original yellow silk ties laid in cellophane wrap. A fine set. at front. Front board slightly bowed, a little pale foxing first deluxe editions, first impressions. Octavo. Original pictorial boards, titles to spine and to edges and a couple of pages of contents. A very fresh, The deluxe editions were created for the gift mar- front cover in blue and black. With the dust jacket. A fine near-fine copy. copy in the dust jacket. ket. The first three titles were almost certainly is- first robinson edition, signed limited issued in this format on 27 September 1999, a couple first edition, first impression, presenta- sue, number 11 of 350 copies signed by the artist. of months after the first publication of Prisoner of tion copy, inscribed by the author on the title Robinson’s “atmospheric watercolours” for this Azkaban. Thereafter, Bloomsbury issued deluxe page in pink ink: “to Ele with many thanks for work were exhibited at the Brook Street Gallery in editions simultaneously with the trade editions working so hard on Harry’s behalf! J. K. Rowl- 1908 to great acclaim (ODNB). for the rest of the series, ending with Harry Potter ing”. The recipient was a commissioning editor £1,500 [125918] at Bloomsbury and worked with Rowling on the

70 Summer Miscellany: Peter Harrington 144

Harry Potter series, as well as assisting with some 145 marketing for the series. She also commissioned [ROWLING, J. K.] GALBRAITH, Robert. the first children’s books by Neil Gaiman and went on to become an author herself, with her debut The Cuckoo’s Calling. London: Sphere, 2013 novel, Boy 87, published in 2018. Octavo. Original dark blue cloth, spine lettered in gilt. This is a nice association and inscription: Rowling With the dust jacket. A near-fine copy in the dust jacket, with tiny creasing at head of spine panel. did a signing tour for the Goblet of Fire and the vast majority of autographed copies were just signed. first edition, first impression. The first Inscribed copies are surprisingly rare, particularly printing of the first edition ran to at least 1,500 cop- with such a personal connection. ies, with a cover which features a quote from Val Errington A9(a). McDermid, while the back cover has quotes from Mark Billingham and Alex Gray. The copyright page £4,500 [124782] does not have a number line but simply states “First published in Great Britain in 2013 by Sphere”. £800 [125177]

145

All items are fully described and photographed at peterharrington.co.uk 71 Numerous plates by Thomas Lupton, J. C. Armytage, R. P. Cuff and others after Ruskin, illustrations in the text. Without first half-title, apparently as issued. Recent bookplates of H. T. H. Taylor. Skilfully refurbished, a hint of foxing to some plates, a very good set in the publisher’s deluxe binding. first edition, deluxe issue, of Ruskin’s magnum opus, one of the key texts of the aesthetic movement. Ruskin’s The Stones of Venice and The Seven Lamps of Architecture “with their obsession with the function and aesthetics of architecture, over and beyond its history and practice . . . proved a revo- lutionary success” (PMM). “The importance of The Stones of Venice lies . . . in its celebration of the Byzan- tine and the Gothic, which had an immediate effect on Victorian architects, who began to introduce Ro- manesque forms and Venetian and Veronese colour and sculptural features into their designs” (ODNB). 147 In the most famous chapter, “The nature of Goth- ic”, which was twice reprinted in his lifetime (first Second American edition, Norton issue, signed by for the inauguration of the London Working Men’s the author on the half-title. The work was origi- College in 1854, and second by William Morris in 146 nally given as lectures in Trinity College in Janu- 1892), “Ruskin argued that under conditions of ary to March 1914, re-given in Boston in March to industrialization and the division of labour, social April 1914, before being published in book form 146 disharmony and industrial unrest were bound to in Britain and America in 1914. In the work Rus- RUSKIN, John. The Stones of Venice. London: occur, because the previously expressive craftsman sell seeks to counter idealist epistemology, and – Ruskin’s ideal working man – had been reduced to Smith, Elder and Co., 1851–3 defends his empiricist approach to the field. The the condition of a machine” (ibid.). second American edition was split between the 3 volumes, octavo (256 × 171 mm). Original dark brown The leather binding on this copy is most unusu- publishers Norton and Open Court. The success morocco, spines lettered in gilt, designs to head of spine al, not previously seen by us. Although the thin and central panel of covers blocked in gilt, embossed in of the work led Russell to write to Norton, saying blind in lower half of spine and in wide frame on cov- panel at the foot of the spine does not carry the that “I am pleased and surprised that the External ers, marbled endpapers, gilt edges, brown silk markers. publisher’s imprint, it is clearly a publisher’s de- World has done so well. Apparently it exists, since luxe binding, using the same blocks and lettering cheques come out of it” (cited in Blackwell & Ruja, as the regular trade edition, with the winged lion vol. I, p. 41). of St Mark at the head of the spine and the same Blackwell & Ruja A12.3b. bottle-shaped design on the covers. £1,250 [125521] Printing and the Mind of Man 315 (note). £6,000 [126919] 148 147 RUSSELL, Bertrand. History of Western Phi- RUSSELL, Bertrand. Our Knowledge of the losophy and its connection with political and External World. New York: W. W. Norton & Com- social circumstances from the earliest times pany, Inc., 1929 to the present day. London: George Allen and Un- win Ltd, 1946 Octavo. Original black cloth, red paper labels to spine and front cover. Spine a little faded and bumped at ends, Octavo. Original grey cloth, spine lettered in yellow on a a few marks to covers, else a very good copy. brown background. With the dust jacket. Partially erased ownership inscription to head of front free endpaper. 146 Edges of covers and spine ends very slightly browned,

72 Summer Miscellany: Peter Harrington 150

148 149 Octavo. Original blue cloth, spine and front cover lettered in gilt, pictorial endpapers, top edge blue, others untrimmed, a few pages unopened. With the dust jacket. foxing to edges of text block. A very good copy in the first edition, first impression, inscribed With 12 plates by Bernard Lamotte. Spine very gently slightly nicked jacket, a few short closed tears, foxing to by the author on the day of publication, “Hamo rolled, spine ends lightly creased, else a near-fine copy in rear panel. from Dadie, Dec: 1st ‘25”, on the front free end- the slightly rubbed jacket, spine panel faded with a cou- first uk edition, first impression. Russell’s paper. One of just 300 copies, this was the first ple of small marks, head of spine panel a little chipped, a compendious account of the history of philoso- published work of George “Dadie” Rylands (1902– few nicks and short closed tears. phy, from the Orphism of ancient Greece to the 1999), who was best-known for his acting, theatre first edition in english, first printing, logical positivism of the author’s present day, was directing, and Shakespearean scholarship. It is signed by the author on the half-title and in- a triumph of his populist craft and is perhaps his possible that the recipient was the pioneering art- scribed by the illustrator Bernard Lamotte on the most famous book. Written during the Second ist and sculptor Sir William “Hamo” Thornycroft. same page, “a le Huédé, avec toute mon amitié, World War, Russell’s project was in part conceived Rylands was a protégé of Lytton Strachey at Cam- Bernard Lamotte 1942”. The recipient was Hervé to explain to his audience the exact nature of the bridge, and part of the “Second Generation” Le Huédé, captain of the French luxury liner Nor- “civilisation” for which they were fighting. Ap- Bloomsbury set, dedicating this work to Virginia mandie, which made its final voyage across the propriately, the dust jackets were printed on the Woolf. The Woolfs employed him for a short pe- Atlantic in August 1939 and was stranded in New backs of surplus Second World War maps, this one riod at the Hogarth Press the year before this work York at the outbreak of war in September. Le showing a part of Poland. Simon & Schuster pub- was published, while he waited for his fellow- Huédé was promoted when the original captain lished the first US edition in the preceding year. ship at King’s College, Cambridge to be awarded. Stephen Payen returned to France, and he served Blackwell & Ruja A79.2a. There, in 1928, he hosted the luncheon party that aboard the docked ship until it was requisitioned partly inspired Woolf to write A Room of One’s Own. by the US government in 1941. Saint-Exupéry and £575 [125060] Lamotte met in art school in France, and during Woolmer 75. the early 1940s spent a great deal of time together 149 £1,250 [125047] at Lamotte’s New York studio, Le Bocal (The Fish- bowl). It was here that Saint-Exupéry did much of RYLANDS, George. Russet and Taffeta. Lon- his work for The Little Prince while Lamotte com- don: Printed & published by Leonard and Virginia 150 pleted the illustrations for this volume. Le Bocal Woolf at The Hogarth Press, 1925 SAINT-EXUPÉRY, Antoine de. Flight to Ar- was the social hub for a large group of French ex- Quarto, 8pp. Original brown and black marbled wrap- ras. Translated from the French by Lewis Gal- patriates, artists, and celebrities, and it is likely pers, cream label printed in black to front cover. Spine antière. Illustrated by Bernard Lamotte. New that the stranded captain spent time there. partly split at head, couple of shallow chips to head York: Reynal & Hitchcock, 1942 £2,950 [126754] of front wrapper and foot of rear wrapper, tips a little rubbed and creased, contents clean. A very nice copy.

All items are fully described and photographed at peterharrington.co.uk 73 151

151 SAINT-EXUPÉRY, Antoine de. The Little Prince. New York: Reynal & Hitchcock, 1943 Quarto. Finely bound by the Chelsea Bindery in terra- cotta morocco, titles to spine in black, two raised bands, pictorial block of The Little Prince to front board in black, twin rule to turn-ins in black, dark green endpapers, gilt edges. With colour illustrations by the author. A fine copy. first edition, first printing. The original manuscript was in the author’s native French, but it was both written and published in America, with the English and French editions appearing in April 1943, likely simultaneously. £2,750 [125184]

152 SALINGER, J. D. The Catcher in the Rye. Bos- ton: Little, Brown and Company, 1951 Octavo. Original black cloth, spine lettered in gilt. With the dust jacket. Housed in a custom red flat-backed folding cloth. A little foxing to top edge, else fine. A superb copy in the fresh and sharp jacket, with just a hint of toning to spine and tiny spot of rubbing to head of spine. first edition, first printing. Rare in such beautiful condition, with the eye-catching Mi- chael Mitchell jacket exceptionally well-preserved. £17,500 [125334] 152

74 Summer Miscellany: Peter Harrington 153

153 SASSOON, Siegfried. Four Poems. Dream- ers; Does It Matter?; Base Details; Glory of Women. Cambridge: Reprinted from The Cam- bridge Magazine by R. I. Severs, January 1918 Octavo, pp. 4. Original wrappers, lettered in black. Housed in a custom blue solander case. Wrappers a little toned, otherwise a near-fine copy. Scarce offprint of four of Sassoon’s anti-war poems, first published the previous year in The Cam- 154 bridge Magazine. This pamphlet was issued as part of a series of offprints from the magazine, ar- 154 ranged by Sassoon’s friend and one of his principal contacts at the magazine, A. T. Bartholomew, SCHULZ, Charles M. & Lee Mendelson. a librarian at Cambridge. The exact print run is Charlie Brown & Charlie Schultz. In celebra- unknown, but it was certainly a small one: from tion of the 20th Anniversary of Peanuts. New notes made by Bartholomew, “it seems probable York: The World Publishing Company, 1970 that around 200 or 250 copies of each reprint were Quarto. Original yellow cloth, decoration and titles to made” (Keynes, p. 35). front cover and spine in brown, red endpapers. With the Keynes A16; see also C49, C54, C55, C60. dust jacket. With black and white illustrations throughout. A very good copy in the price-clipped dust jacket, £500 [124942] very faint stain at head, a few small marks. first edition, first printing, of this biography of Charles M. Schulz and the history of the Peanuts gang. With a large original signed drawing by Charles Schulz of Snoopy on the front free endpaper.

£2,250 [126862] 154

All items are fully described and photographed at peterharrington.co.uk 75 155 155

155 hand on the front blank, “Thomas Moore from and it is described in detail in Scott’s “Essay on (SCOTT, Sir Walter.) BOWER, John. De- his affectionate friend Walter Scott, Melrose Ab- Border Antiquities” (1814). bey, 31 October 1825”, with Moore’s ownership scription of the Abbeys of Melrose, and Old Lockhart quotes Scott’s appreciation of Moore’s inscription below and his bookplate to the front Melrose, with their traditions. The Second character shortly after his 1825 visit: “We had in- pastedown. The presentation was made on the deed met in public twenty years ago. There is a Edition, improved. Edinburgh: for the author, by occasion of Moore’s “long meditated expedition manly frankness, with perfect ease and good- J. Orphoot, 1822 to Scotland”, a visit to Abbotsford described in breeding, about him which is delightful. Not Octavo (210 × 132 mm). Attractively bound in contempo- some detail in John Gibson Lockhart’s Memoirs of the least touch of the poet or the pedant . . . His rary green polished calf, sides with a wide border of an the Life of Scott, an account based on Moore’s own countenance is plain, but the expression so very outer decorative in gilt enclosing three gilt rules and a diary. Moore told Lockhart how at Melrose, with animated, especially in speaking or singing, that blind dogtooth roll, spine gilt, low raised bands, brown the assistance of the abbey sexton John Bower, “a it is far more interesting than the finest features endpapers, gilt turn-ins and edges. Folding etched fron- shrewd, sturdy-mannered original”, Scott showed could have rendered it. I was aware Byron had tispiece of Melrose Abbey. Later collector’s leather book him round the ruins of the abbey. It was also dur- often spoken, both in private society and in his label of Harold Murdock. Slight wear to front joint in two ing this visit that Scott, much to Moore’s surprise, places, else very good. Journal, of Moore and myself, in the same breath, openly referred to himself as the author of the Wa- and with the same sort of regard; so I was curious Presentation copy from the dedicatee Sir Wal- verley novels. to see what there could be in common betwixt us, ter Scott to Thomas Moore, inscribed in Scott’s Although Bower is the nominal author, the book Moore having lived so much in the gay world, I is dedicated to Scott. It was Scott who coordi- in the country, and with people of business, and nated the restoration of Melrose Abbey in 1822. sometimes with politicians; Moore a scholar, I Bower devotes two pages of the book to a de- none; he a musician and artist, I without knowl- scription of Abbotsford, where Scott had lived edge of a note; he a democrat, I an aristocrat – with in daily sight of the abbey for twenty years. The many other points of difference; besides his being abbey features in many of Scott’s works, most fa- an Irishman, I a Scotchman, and both tolerably na- mously The Lay of the Last Minstrel (1805). The reli- tional. Yet there is a point of resemblance, and a gious house of Kennaquhair in The Monastery and strong one. We are both good-humoured fellows, 155 The Abbot (both 1820) is also based on the abbey, who rather seek to enjoy what is going forward

76 Summer Miscellany: Peter Harrington 156 SERJEANT, R. B., & Ronald Lewcock (eds.) San’â’: An Arabian Islamic City. London: The World of Islam Festival Trust, 1983 Quarto, original green boards, title gilt to the spine, in the dust jacket, in matching green slipcase, gilt. 42 colour plates, one double-page, double-page coloured plan, profusely illustrated in black and white. Slipcase very slightly rubbed, jacket a touch yellowed with a few minor bubbles and a small triangular chip from the tail of the spine, a very good copy. first edition, number 52 of 2,000 copies. The work of a team of internationally respected ex- perts in a wide range of disciplines, this is a case- study of major scholastic importance in which the society – along with the complex religious, legal 156 and mercantile setting – long history, crafts, arts, 157 and religious and vernacular architecture of this than to maintain our dignity as Lions . . . He also traditional Islamic city of north Yemen are ex- enjoys the mot pour rire, and so do I . . . It would be haustively described and analysed. A model study, a delightful addition to life, if T.M. had a cottage both in the breadth and depth of its approach and within two miles of one. We went to the theatre in terms of production. together, and the house being luckily a good one, With the bookplate of Mahmud Ali Ghul, profes- received T.M. with rapture. I could have hugged sor of Arabic and Semitic Languages, American them, for it paid back the debt of the kind recep- University of Beirut to the front pastedown, and a tion I met with in Ireland” (Memoirs, vol. I, p. 578). loosely inserted compliments slip from the Mid- In 1827 Moore discovered that Scott’s nine-volume dle East Centre, University of Cambridge, present- Life of Napoleon and Moore’s Epicurean, a prose tale ing the book to him on behalf of Prof. Serjeant. based on the unpublished poem “Alciphron”, were £575 [125549] to be published the same day. In Moore’s recollec- tion, “I found my little cock boat (the “Epicurean”) 157 would be run down by the launch of the great war- ship (Napoleon)” (BM Satires), and arranged to have SHAKESPEARE, William. Romeo and Juliet. his book published the day before Scott’s. Their Paris: Société des Beaux Arts, [c.1895] temporary rivalry was satirized in a contempo- Quarto (262 × 192 mm). Finely bound in near-contemporary print, offered with the book, showing slender rary green crushed morocco, spine lettered in gilt, spine Moore brandishing his slim volume against Scott’s and covers with intricate gilt floral design with white and nine-volume lump, yet still weighing heavier in the red morocco onlays, elaborate gilt turn-ins, red crushed “Balance of Public Favor”. morocco pastedowns with gilt flower centrepieces incorporating white and green morocco onlays, red watered 157 £6,250 [125496] silk endpapers, red silk pagemarker. With monochrome and coloured illustrations by Jacques Clément Wagrez and Louis Titz, with tissue guards. Bookplate of John R. ly bound, printed and illustrated copy of Shake- Schofield to initial blank. Morocco almost entirely faded speare’s classic, and a striking example of deluxe to brown, minor fraying to edges of front silk endpaper, book production and binding at the turn of the tiny creasing to a few tissue-guards, else a near-fine copy. 20th century. limited edition, number 14 of 75 copies only, £2,950 [125310] printed on japon with wide margins. An exquisite-

All items are fully described and photographed at peterharrington.co.uk 77 158

158 Holst. Mid–20th-century ownership inscription to front but the 1831 edition is her final text revision. The endpapers. Bound without series half-title or advertise- SHELLEY, Mary W. Frankenstein: or, The frontispiece is the first book illustration showing ments. Light rubbing to extremities, contents clean and Frankenstein and the Creature. Modern Prometheus. Revised, corrected, bright, joints and hinges intact. An excellent copy. and illustrated with a new introduction, by The novel was issued in Bentley’s Standard Nov- first illustrated edition, the third overall, els Series with one half of Friedrich Schiller’s The the author; [bound with:] SCHILLER, Jo- and the final definitive text. The third edition was Ghost Seer, the second part of which was issued in hannes. The Ghost Seer; [and:] BROWN, the first truly popular edition of the novel. In it another volume with Charles Brockden Brown’s Charles Brockden. Edgar Huntly; or, The Mary Shelley incorporated most of the changes “Edgar Huntly”. Normally the two volumes have Sleep Walker. London: Henry Colburn and Rich- introduced by William Godwin into the 1823 sec- been separated by time and Frankenstein enters the ard Bentley, 1831 ond edition, as well as numerous other revisions, market with only one half of The Ghost Seer; this including an entirely new chapter, and the famous present copy has both volumes, and it is welcome 3 works in 2 volumes, octavo (168 × 103 mm). Mid–19th- “Introduction” in which she elaborates the tale to have Schiller’s story non-truncated. century brown half morocco, spines lettered in gilt, of the novel’s genesis at the nocturnal storytell- Sadleir 3734a; Wolff 6280a. marbled sides and endpapers, top edges gilt. Engraved ing session with Shelley, Byron and Polidori at the frontispieces and illustrated title pages by Theodor von Villa Diodati. Mary lived for twenty more years, £9,500 [127432]

78 Summer Miscellany: Peter Harrington 159 160

159 Ashton Marshall (1843–1922) was a contributor to Sixth edition of Wealth of Nations, seventh edition (SHELLEY, Mary W.) MARSHALL, Florence Grove’s Dictionary and the author of a biography of Theory of Moral Sentiments. This handsome set, of Handel and two operettas, The Masked Shepherd bringing together Smith’s two most important Ashton. The Life & Letters of Mary Woll- (1879) and the fairy operetta Prince Sprite (1897). works, has a pleasing provenance, with the book- stonecraft Shelley. London: Richard Bentley & £500 [125006] plates of the leading German Neo-Kantian philos- Son, 1889 opher Heinrich Rickert (1863–1936). 2 volumes, octavo (213 × 134 mm). Contemporary calf by 160 The Wealth of Nations, the foundation text of Clas- Bickers, decorative gilt spines, red and green morocco sical Economics, had first been published in 1776. twin labels, sides with two-line gilt border and corner SMITH, Adam. An Inquiry into the Nature The third edition of 1784 split the work from two rosettes, marbled edges and endpapers. Photogravure and Causes of the Wealth of Nations; [togeth- volumes to three, and extensively revised the text. portrait frontispieces (Mary Shelley and E. J. Trelawny), er with] The Theory of Moral Sentiments. folding facsimile plate; title pages printed in red and This new format and text was maintained with lit- black. Contemporary ownership inscription to prelimi- London: A. Strahan & T. Cadell [and] W. Beech & J. tle alteration through the fourth, fifth, and present nary blanks. Covers patchily sunned and partially damp- Bell & Co., Edinburgh, 1791–2 sixth editions. The Theory of Moral Sentiments, first stained, head of spine vol. I slightly rubbed, lower joint published in 1759, had established Smith’s repu- vol. II partially split, prelims foxed, yet a very good copy, Together 5 volumes, octavo (211 × 125 mm). Near-uni- tation on both Britain and the continent. He had handsomely bound. formly bound in contemporary tree calf, red, green and black morocco labels to spines lettered in gilt, spines extensively revised the work for the sixth edition, first edition. Although Marshall had been co- numbered in gilt in roman numerals for Wealth of Na- splitting the work from one volume to two, partly missioned by Sir Percy and Lady Shelley and sup- tions and Arabic numerals for Theory of Modern Sentiments, to allow the refreshment of copyright to his pub- plied with various manuscript materials, including spines gilt to compartments with variant ornaments be- lisher, in which he were successful. The present a number of unpublished letters, she, like all bi- tween the works, yellow endpapers. Very minor rubbing seventh edition maintains the revised text, with a ographers until the 20th century, was not allowed to extremities and covers, very light abrasion to a few few minor revisions. labels. Wealth of Nations bound without half-titles. Occa- unfettered access. Lady Shelley “withheld Mary Tribe, Critical Bibliography of Adam Smith, 41 & 44. sional minor foxing, a few pages lightly creased, vol. I of Shelley’s original letters and journals . . . and cen- Moral Sentiments with short closed tear and light abrasion £6,500 [125037] sored the . . . biography” (Emily W. Sunstein, Mary to front endpaper and with a minor paper fault to p. 273. Shelley: Romance and Reality, 1989, p. 7). Florence Overall a highly attractive set.

All items are fully described and photographed at peterharrington.co.uk 79 ing in exhaustive details the particulars of the accounts of company directors such as Huguenot financier Sir Theodore Janssen (who had been director of the Bank of England three times), Rus- sia merchant William Astell, and John Blunt, one of the principal architects of the scheme. Also issued separately, they are more commonly found as such in institutions, ESTC locating just seven complete two-volume sets in the UK, 17 more in North America, and none elsewhere. “In December 1720 both Houses of Parliament called for a series of accounts from the unhappy South Sea Company, designed to elucidate its overt and covert actions in executing its scheme . . . [and] on 23 and 28 January 1721 two Bills about the directors received the royal assent. The first restrained them from leav- ing the realm for one year, and required them to draw up inventories of their estates and present them to Parliament. The second disabled them for life from being directors or voters of the Bank of England and the East India and South Sea companies . . . The 161 inventories published in 1721 show that they had 162 contributed to the land boom. Of the 31 directors and governors 16, besides the cashier Knight and 161 162 his deputy Surman, had bought land in 24 counties, (SOUTH SEA COMPANY.) The Particulars often at extravagant prices . . . Payment, moreover, (STEADMAN, Ralph.) CARROLL, Lewis. and Inventories of the Estates of the late Sub- was sometimes partly made in overvalued South Sea Alice in Wonderland. Illustrated by Ralph Governor, Deputy-Governor, and Directors stock and in South Sea bonds” (Dickson, The Financial Steadman. London: Dennis Dobson, 1967 Revolution in England). of the South-Sea Company: And of Robert Folio. Original white leather, spine and front board let- Surman late Deputy-Cashier, and of John The two volumes contain inventories of the estates tered in black, grey endpapers. With the dust jacket. Black Grigsby late Accomptant of the said Compa- of Sir John Fellowes, Charles Joye, William Astell, and white illustrations throughout by Ralph Steadman. ny. Together with the Abstracts of the same. Sir Lambert Blackwell, Sir John Blunt, Sir Robert A touch of shelfwear, tiny puncture to foot of front board joint, small mark to top edge. A near-fine copy in jacket Volume I [–Volume II]. London: printed for Jacob Chaplin, Sir William Chapman, Robert Chester, Stephen Child, Peter Delaporte, Francis Eyles, with a couple of faint scratches to panels, very light fading Tonson, Bernard Lintot, and William Taylor, 1721 James Edmundson, Edward Gibbon, John Gore, Sir to front panel, slight creasing and nicks to top edge, very short closed tear to head of front panel, corresponding 2 volumes in 1, folio (320 × 203 mm). Modern red half William Hamond, Francis Hawes, Richard Horsey, tiny puncture mark to foot of front panel fold. morocco, black morocco spine label, raised bands bor- Richard Houlditch, Sir Theodore Janssen, Sir Jacob dered with blind double fillet, grey cloth boards edged Jacobson, Arthur Ingram, Sir John Lambert, Sir first steadman edition, first impression, with gilt scrollwork, edges sprinkled red. Engraved title Harcourt Master, William Morley, Ambrose Page, inscribed by the illustrator to reginald pages, head- and tailpieces. Embossed ownership stamp bosanquet, “Good evening – here is the news. It of William Thomas Morgan to title leaf of first work. Con- Col. Hugh Raymond, Samuel Reade, Jun., Thomas Reynolds, Jacob Sawbridge, William Tillard, John has just been announced that the world has gone tents lightly tanned and occasionally foxed, else a well- mad! Ralph Steadman for Reginald Bosanquet 21 preserved set. Turner, Robert Surman and John Grigsby. May 71”, on the half-title. “Reggie” Bosanquet (1932– ESTC T43706; Goldsmiths’ 6029; Hanson 3031; John A scarce collection of over 30 very detailed estate 1984) was a raffish British journalist and broadcaster, inventories produced during the intense scrutiny Carter Brown Catalogue 310; Kress 3415. See P. G. M. Dickson, The Financial Revolution in England: A Study in the best known as an anchor of News at Ten from 1967 to of the South Sea Company and its employees in Development of Public Credit, 1688–1756 (Macmillan & Co, 1979. His colleague Anna Ford recalled in 2007: “Reg- the aftermath of the Bubble. Printed by order of Ltd, 1967). gie was a dear. I mean, you wouldn’t have chosen a the House of Commons, each inventory has a man who had epilepsy, was an alcoholic, had had a separate title leaf, pagination, and register, print- £3,750 [125826]

80 Summer Miscellany: Peter Harrington 164 165 stroke and wore a toupee to read the news, but the 163 first steadman edition, first impression, combination was absolute magic.” (STEADMAN, Ralph.) CARROLL, Lewis. inscribed by the illustrator to Reginald £750 [125237] Bosanquet, “To the Deedle, from the Aschdorcan, Through the Looking-Glass & What Alice for Doddlebury, by Zolate Stoodleinan”, with orig- Found There. Illustrated by Ralph Steadman. inal drawings by Steadman across the double- London: MacGibbon & Kee, 1972 sheet title page. (See item 162 for the recipient.) Folio. Original black cloth, spine lettered in white, deco- £1,000 [125236] rated black endpapers. With the dust jacket. Head of spine bumped, rear board a little bowed. A very good, fresh copy in the jacket with minor nicks and creasing to extremities. 165 first steadman edition, first impression, STEADMAN, Ralph. Sigmund Freud. New inscribed by the illustrator to Reginald York: Paddington Press Ltd, 1979 Bosanquet, “From Ralph Steadman, 13.XI.MCM- Quarto. Original buff boards, spine lettered in red, red LXXII”, with an original ink drawing of Bosan- endpapers, edges sprinkled brown. With the dust jacket. quet’s profile on a two shilling coin. This edi- Illustrated throughout by Ralph Steadman. Very faint tion was published to celebrate the centenary of water marks to foot of front board and rear board, an- Through the Looking-Glass’s first publication in 1872. other to head of rear board, a couple of light marks to top (See previous item for note on the recipient.) edge. A very good, fresh copy in the lightly soiled jacket with short closed tear to head of front flap joint, water £750 [125239] mark and minor rippling to head of rear panel and rear flap, corresponding marks to jacket verso. 164 first edition, first printing, inscribed by (STEADMAN, Ralph.) CARROLL, Lewis. The the author to Reginald Bosanquet, “Mother Hunting of the Snark. An agony in eight fits. love from Ralph Steadman to Dear Reggie 24.9.79”, Illustrated with innumerable lines by Ralph and with an original drawing of a thought bubble from Sigmund Freud saying, “Too much sex – not Steadman. London: Michael Dempsey, 1975 enough mother love – that’s his problem! Send Quarto. Original grey boards, spine lettered in black. him to me!”(See item 162 for the recipient.) With the dust jacket. Cover edges very lightly toned, a very good, fresh copy in the jacket, fading to front cover £750 [125223] 163 and spine.

All items are fully described and photographed at peterharrington.co.uk 81 166 167 168

166 Steinbeck and Ricketts. Small pencil mark to head of 168 front free endpaper. Negligible rubbing to extremities, STEINBECK, John. Of Mice and Men. New small mark to foot of front cover, a couple of bumps to STEINBECK, John. East of Eden. New York: York: Covici Friede, 1937 bottom edge of book block; a near-fine copy in the jacket The Viking Press, 1952 with faded spine, faint soiling to covers, spine ends and Octavo. Original buff cloth, titles to spine and front Octavo. Original green cloth, spine lettered in black on tips a little chipped and nicked. board reverse printed on brown ground with black rules, brown ground, front cover lettered in dark green. With top edge blue. With the pictorial dust jacket. Bookseller’s first edition thus, first printing, presen- the pictorial dust jacket. Bookseller’s ticket to rear past- ticket to front pastedown. A fine copy in the sharp and tation copy, inscribed by the author on the half- edown. A very good copy in the dust jacket, very slightly bright jacket, spine just faintly toned, tips nicked, a little title, “For Eugene Vinaver in vehement gratitude toned, tiny nicking and creasing to extremities. rubbing to extremities. from John Steinbeck”. The recipient was a close first edition, first printing. first edition, first printing. One of 2,500 friend, literary critic, and professor of French lan- Goldstone & Payne A32b. copies printed, this is an exceptionally nice copy. guage and literature at the University of Manches- It has the issue points as called for: the words “and ter. Vinaver’s decades-long friendship with Stein- £975 [125074] only moved because the heavy hands were pendu- beck had a lasting influence on the author, not least la” (p. 9, l. 20–1) and the bullet to the pagination of due to Vinaver’s extensive knowledge of Malory’s 169 p. 88, which were removed from subsequent print- Morte D’Arthur, which Steinbeck relied on to carry STEVENSON, R. L. Strange Case of Dr. Jekyll ings, as was the dyed top edge. out his research for The Acts of King Arthur and His and Mr. Hyde. London: Longmans, Green, and Noble Knights (1976). Elaine Steinbeck described his Goldstone & Payne A7a. Co., 1886 and John’s first meeting in person, in 1957, as “abso- £3,500 [125800] lute magic. They just adored each other” (Benson, Octavo. Original white wrappers, printed in red and p. 817). A wonderful and intimate association be- blue. Housed in the custom green cloth chemise and 167 tween Steinbeck and his scholarly mentor. green half morocco slipcase. Ownership inscription to front wrapper. Foot of spine panel coming away from STEINBECK, John. The Log from the Sea of The Sea of Cortez was originally published in 1941; text block, wrappers partially separating from joints, Cortez. The narrative portion of the book, Sea this edition contains the first appearance of text block still sound, covers slightly soiled, tips a little of Cortez, here reissued with a profile “About “About Ed Ricketts”. creased and folded, minor paper repair to gutter of title Ed Ricketts”. New York: Viking Press, 1951 Jackson Benson, John Steinbeck, Writer: A Biography, (1990); page, lacking final blank, contents clean. A very good Goldstone and Payne A15c. copy of this fragile publication. Octavo. Original dark red cloth, spine and front cover first uk edition, in early-state wrappers with lettered in gilt, red and white map endpapers, top edge £3,750 [126888] red. With the dust jacket. Photographic portraits of the inked manuscript correction to the date on the front wrapper, following the US edition by

82 Summer Miscellany: Peter Harrington 169 170 171 four days. Longmans had intended to publish “John Northcott from Bram Stoker, 17.7.02”. An ap- Duodecimo (140 × 74 mm). Contemporary red morocco, in December 1885, but delayed publication until pealing provenance: John Northcott (d. 1905) was spine richly and prettily gilt tooled with scrolls and foliate January, as they feared the book would be over- the highly regarded music and drama critic for motifs, covers with gilt French fillet border enclosing a looked by readers during the Christmas rush. The The Daily Chronicle, described by a contemporary as French fillet panel with foliate corner pieces, gilt edge roll and turn-ins, marbled endpapers, edges gilt. Title page wrappered issue appeared a week before the case- “one of the most sound critics of that time” (Major printed in red and black, with Elzevir’s armillary sphere bound issue in pink cloth. This copy is fraudulent- Fitzroy Gardner, More Reminiscences of an Old Bohemi- device. A finely printed pocket edition presented here in a ly signed as “R. L. Stevenson” by notorious forger an, 1926, p. 111) and by The Musical Times as “much lovely period binding. Eugene Field II, son of American writer Eugene respected and honest” (Vol. 46, 1905, p. 545). He first elzevir edition, with the “Printer to the Field I (1850–1895), on the half-title, with the simi- also appears in Stoker’s memoir of Sir Henry Ir- Reader” in the second state, opening “Gl’amatori larly forged ownership inscription of his father on ving, listed among the guests at one of the many della lingua Toscana”. From the library of Lytton the title page. Eugene Field II made a living selling celebratory banquets thrown in Irving’s honour Strachey, with his bookplate designed by Dora off inscribed books from his father’s library. When (see Personal Reminiscences of Henry Irving, 1906, p. Carrington, and book label of Roger Senhouse, he had sold all the authentically inscribed books, 317). The Green Room Book for 1906 also notes that the “handsome young Old Etonian” with whom he began to supply the inscriptions himself. he was “one of the original members” of the Sav- Strachey had a relationship. Strachey employed £4,000 [126178] age Club, of which Irving was a founder member Boccaccio as a character in an unpublished im- and first treasurer; Stoker himself is noted as hav- aginary conversation entitled “Boccaccio and ing been present at Savage Club dinners. 170 General Lee”, in which “Boccaccio’s enjoyment of The Mystery of the Sea was originally published in sensual and domestic pleasures contrasts sharply STOKER, Bram. The Mystery of the Sea. Lon- the US earlier in the same year. with Lee’s sober embrace of the fulfillment of don: William Heinemann, 1902 Dalby 13c. duty” (Avery, pp. 165–9). Octavo. Original black cloth, spine and front board let- £3,750 [125940] Brunet I, 1002 (“Édition belle et correcte”); Willems, tered in gilt, decoration to front cover in green and gilt, Elzevir, 1349; Todd Avery, Unpublished Works of Lytton Stra- publisher’s device to rear cover in blind. Partially erased chey: Early Papers, 2011, pp. 165–9; Michael Holroyd, Lytton pencil ownership inscription to front free endpaper. 171 Strachey By Himself, 1971. Spine gently rolled, extremities a little rubbed, front hinge (STRACHEY, Lytton.) BOCCACCIO, Gio- cracked but holding, light foxing to endpapers. A very £2,750 [125393] good, uncommonly bright copy, entirely unrestored. vanni. Il Decameron. Sì come lo diedero alle stampe gli SSri Giunti l’Anno 1527. Amsterdam: first uk edition, first impression, presentation copy, inscribed by the author on the [Elzevir], 1665 front free endpaper in the month of publication:

All items are fully described and photographed at peterharrington.co.uk 83 173 (THATCHER, Margaret.) Orange kimono. Bright orange floral-patterned silk kimono, encased in orange cloth and white paper with string ties and Japa- nese calligraphic lettering, 2 medallions with purple cords. Housed in original green and blue cardboard box within a wooden box, with a warehouse sticker from storage following Thatcher’s death. In superb condition. A kimono owned by Margaret Thatcher, with the same provenance as the previous item. This kimono is handmade, using the Kaga-Yuzen style of dyeing silk. A label on the sleeve records its purchase in 1991 from the Nihonbashi Mitsuko- shi department store. The kimono is believed to have been made by Hata Tokio. An accompanying printed inscription on white card mount provides a description in Japanese. The description calls the design “Heart” and states that it has taken three craftsmen two and a half months to produce this particular kimono. They have used three distinct dyeing techniques. Mak- inori is a difficult method, requiring great dextre- rity to sprinkle hard and tiny paste in an even pattern. Yuzen is a traditional Japanese dyeing skill. The third technique produces bright colour due to good water quality. £8,750 [123511]

172

172 ceived it as a gift from an admirer. It is likely that she acquired it in early September 1991, during her (THATCHER, Margaret.) Blue kimono. 173 visit to Japan when she made three public speech- Light-blue floral-patterned silk kimono, encased in es. The kimono was manufactured by a team of white paper with Japanese calligraphic lettering. Housed craftsmen for the Chiho (Shinsei) Company, in the in large cardboard box imprinted with Japanese letter- hand-painted Kyo-Yuzen style. Handmade kimo- ing, with a warehouse sticker from storage following nos of this high quality command prices in thou- Thatcher’s death. In superb condition. sands of pounds. Whether it was a gift or a pur- A kimono owned by Margaret Thatcher, retained chase, it was certainly a lavish one. Traditionally by her among her private possessions in her final worn by both sexes, today kimono are most often home in Chester Square, and subsequently ac- worn by women, particularly on special occasions. quired from her estate. We cannot confirm whether Thatcher purchased the kimono herself or re- £8,750 [123510] 173

84 Summer Miscellany: Peter Harrington 175

first edition, first impression, of the author’s scarce early book, inscribed by Mabel and 174 Lilian Quiller-Couch on the front free endpaper: “From M & L Quiller-Couch with love and every good wish”, with the pencilled date “Xmas 1904”. 174 and retained the original box. The photograph Mabel and Lilian were the younger sisters of (THATCHER, Margaret.) Photograph of was taken on Thatcher’s 70th birthday party at Arthur Quiller-Couch, the literary critic, novel- Claridge’s in October 1995, with the Queen in at- Margaret Thatcher with the Queen. 1995 ist, and editor of the monumental Oxford Book of tendance. The attendance of the Queen at a politi- English Verse 1250–1900, and are notable for their Colour photograph mounted on white paper within cian’s birthday party is a rare occurrence, and was jointly edited anthology of children’s verse pub- black heavy-grain morocco frame by Smythson. Housed a mark of respect by the monarch to her longest lished in 1911. in original blue box by Smythson. Image size: 19 × 28 cm; serving Prime Minister, perhaps calculated to dis- frame size: 28 × 33.5 cm. Box lightly marked, else in ex- pel rumours that the two women had a poor rela- Rose Acre Papers is Thomas’s third book and consists cellent condition. tionship. The outfit Thatcher is wearing, a black of a collection of four untitled essays written dur- A photograph of Margaret Thatcher and the Queen cocktail suit by Tomasz Starzewski, was auctioned ing the author’s time at Rose Acre Cottage in Bear- standing with Denis Thatcher and Prince Philip, at Christie’s for £27,500 in 2015. sted, Kent, between October 1901 and July 1903. from Thatcher’s personal belongings from her The book was ostensibly reprinted by Duckworth home in Chester Square. Thatcher had the pho- £1,750 [124503] under the same name in 1910, but only the last tograph placed in a frame by Smythson of Bond two essays of this collection were retained, with Street, the purveyors of luxury leather goods, 175 the majority of the book reprinting essays from THOMAS, Edward. Rose Acre Papers. Lon- Thomas’s second book, Horae Solitariae. However don: The Lanthorn Press, 1904 this fragile first edition of Thomas’s third book is notably scarce, and we can trace only one copy to Octavo. Original blue quarter cloth, brown paper boards, have appeared at auction in the past 10 years. Of black titles on paper label to spine. Advertisements on the institutions, OCLC and COPAC list only 17 that one leaf at rear. Spine slightly faded and rolled with rub- currently hold copies, most of which are concen- bing to ends and extremities, boards very slightly bowed, trated in the US. hinges starting to crack but holding, spine label toned, fore-edge of one page torn with loss. Otherwise inter- Eckert, p. 192. nally clean, sound, and free from all but the very lightest £2,000 [125084] of spotting. Overall a very good copy. 174

All items are fully described and photographed at peterharrington.co.uk 85 176 177

176 5 volumes, small octavo (160 × 105 mm). Original green our time; and is a book with which, both for its facts printed wrappers. Housed in a cream cloth chemise THOMAS, Edward. In Pursuit of Spring. Lon- and its speculations, all who would understand, or and matching slipcase. Engraved folding map to rear who are called upon to exercise influence over their don: Thomas Nelson and Sons, April 1914 of volume 1. Early gift inscription to half-title of volume age, are bound to be familiar. It will contribute to 1. Wrappers a little soiled, chipped, and creased, with Octavo. Original blue cloth, titles to spine and front gilt, some staining to front wrapper of volume 5, contents oc- give to the political speculations of our time a new illustrated endpapers, top edge gilt. With the dust jacket casionally spotted and foxed, else a very good set. character.” It ran to thirteen editions by 1850 and and illustrated plate after Ernest Hazlehurst pasted to each of its parts was translated into English in the second complete brussels edition, in the front cover. Plates after drawings by Ernest Hazlehurst. same year it was first published. Mill’s farsighted- Contemporary bookseller’s ticket of W. H. Smith & Son scarce and appealing original wrappers, to rear pastedown. Spine and extremities very slightly of de Tocqueville’s magnum opus. The first ap- rubbed, jacket spine a little toned with some loss to ends pearances of De la démocratie en Amérique in Brus- and tape repairs to verso. A very good copy. sels were published by Louis Hauman in the same first edition, first impression, with the rare years as the first editions (Paris: Charles Gosselin, dust jacket, of Thomas’s last and greatest work of 1835 & 1840). Meline also published a two volume prose, a record of his March 1913 bicycle ride from set in 1840, but this, in five volumes, presented the central London out into the Quantock Hills in work as complete. Somerset. The book is scarce in itself, but the dust Arising out of the tour of America that de Toc- jacket is of considerable rarity, especially to retain queville undertook to examine the penitentiary sys- the illustrated plate pasted to the front cover. The tem, Democracy in America was early recognised not last copy in jacket recorded at auction was in 1983. only as a remarkably insightful study of the origins £1,875 [125174] and nature of American society and consequently her unique institutions, but also as a founding doc- 177 ument of a new form of social and political science. It was justly praised by John Stuart Mill in the London TOCQUEVILLE, Alexis de. De la démocratie Review in such terms as to guarantee its immediate en Amérique. Orné d’une carte d’Amérique. and continued success: “It has at once taken its Brussels: Meline, Cans et Compagnie, 1840 rank among the most remarkable productions of 178

86 Summer Miscellany: Peter Harrington ness in terms of de Tocqueville’s influence is con- firmed in a recent review of an updated translation by Robert P. George, McCormick Professor of Juris- prudence at Princeton, and Director of that university’s James Madison Program in American Ideals and Institutions: “Democracy in America will continue to be read with profit as long as the United States survives as a republic and, indeed, as long as democracy endures.” See En français dans le texte 253. £2,750 [125824]

178 TOCQUEVILLE, Alexis de. On the State of Society in France before the Revolution of 1789; And on the causes which led to that event. London: John Murray, 1856 Octavo (224 × 143 mm). Original blind-stamped brown cloth, spine lettered in gilt, brown endpapers. Housed in 179 a custom red quarter morocco book-form flat-back box. Contemporary ownership inscription, “James Bell, Glas- gow 1856”, in ink to initial blank recto, binder’s ticket closed-tear at fore-edge of front wrapper, scattered fox- A superb association copy: George Herbert Cowling of Edmonds & Remnants to rear pastedown. Extremi- ing. A remarkably well preserved of this fragile volume. (1881–1946), was assistant lecturer at the University ties worn, spine ends crushed and tips bumped, hinges first separate edition, presentation copy, of Leeds in 1920 under Tolkien. In 1925, when Tolk- cracked but firm, else a very good copy. inscribed by the author to his friend and fellow ien was elected to the Rawlinson and Bosworth first edition in english of de Tocqueville’s philologist G. H. Cowling on the front cover, “G. chair of Anglo-Saxon at Oxford, Cowling became L’Ancien Régime et la Révolution, published the same H. C. from J. R. R. T.”, and with neat corrections Reader at Leeds. In 1928 he moved to Australia to year, and considered one of the major early histori- in Tolkien’s hand at pages 6, 20, 32, 36, 38, and 47. take up the chair of English at the University of Mel- cal works on the French Revolution. The transla- Tolkien read his paper, originally entitled Chaucer’s bourne but the families remained in contact and in tor, who also translated De la Démocratie en Amérique, Use of Dialects, on 16 May 1931 at a meeting of the 1938 the Cowlings stayed with Tolkien and his wife was personally acquainted with de Tocqueville. Philological Society in Oxford. Edith at Oxford when on sabbatical leave. Following £750 [125831] Cowling’s death, his wife Muriel kept in touch with the Tolkien family and on a visit in 1955 was given signed copies of The Lord of the Rings. Cowling was Presentation copy from Tolkien to fellow himself a distinguished editor of The Canterbury Tales philologist G. H. Cowling and a biographer of Chaucer (1927). 179 This slim volume is decidedly scarce: among inter- TOLKIEN, J. R. R. Chaucer as a Philologist: national institutional libraries OCLC records only The Reeve’s Tale. Reprinted from The Philo- two copies, at Universität Göttingen and National Library of Australia. Tolkien’s bibliographers only logical Society’s Transactions 1934, pp. 1–70. mention it in a note, commenting “An offprint of Oxford: The Philological Society (Stephen Austin Tolkien’s essay was issued by the Philological So- and Sons, Ltd, Printers, Hertford), 1934 ciety”. The paper was also issued by David Nutt in Octavo. Original pale blue-green wrappers. Housed in 1934 as part of the general Transactions of the Philo- a custom made dark green half morocco solander box logical Society. and slipcase. A little wear to spine, joints partially split, Hammond & Anderson B14 note. wrappers lightly toned and with a few slight stains, short 179 £10,000 [124760]

All items are fully described and photographed at peterharrington.co.uk 87 181

181 TOUSSAINT, Franz. Le Jardin des Caresses. Traduit de l’arabe. Paris: L’Édition d’Art, 1914 Quarto. Original blue wrappers, spine and front cover 180 lettered in blue, front wrapper decorated with elaborate gilt and blue interlacing pattern, top edge trimmed, oth- 180 for the first American edition, and “were in the ers uncut. With the original glassine jacket and housed in the original slipcase. Elaborately decorated half-title American publisher’s hands when Allen & Unwin TOLKIEN, J. R. R. The Hobbit or There and and title page, decorative borders to text, 20 illustrated decided to include them in the second impression. Back Again. London: George Allen & Unwin Ltd, colour plates with captioned tissue guards, all by Léon The original art was called back for reproduction in Carré. Small puncture to rear joint, gutta-percha a little 1937 Britain, then returned across the Atlantic” (Ham- delicate with a few leaves just loosening, else a fine copy, Octavo. Original green cloth, spine and covers blocked mond & Anderson, p. 15). The first edition was in a well-preserved example of the glassine. in dark blue, top edge green, map endpapers printed in published on 21 September 1937 and sold out by first carré edition, number 185 of 500 cop- black and red. With the dust jacket. Colour frontispiece, 15 December. This second impression was hurried ies. This collection of erotic Arabic tales was 4 full-page plates from drawings by the author (3 in col- through the press and ready by 19 December. Of the written in Spain in the 10th century and first our, one monochrome: “Mirkwood”), 8 full-page line 2,300 copies were printed, 423 copies in sheets were drawings. Spine gently rolled, boards a little bowed, con- translated by Toussaint into French in 1911. Carré destroyed during the Blitz, when the binder’s ware- tents clean, a very good copy in bright cloth, in the price- is best-known for his orientalist-style paintings clipped jacket, spine panel toned with shallow chips to house was bombed on 7 November 1940. On that and book illustrations. In addition to this work, ends, partly extending to rear panel with closed tear, tips same day the publishers also suffered substantial he illustrated the 12-volume edition of The Book of chipped at front fold, illustrated panels well-preserved, loss to their warehouse (over one million books), One Thousand and One Nights (1926–32), translated still bright and presenting nicely. forcing the abandonment of the third impression, by J. C. Mardrus. When found, this book is usu- first colour-illustrated edition, preceded which was not published until 1943. ally rebound. only by the first printing, which was uncoloured. Hammond & Anderson A3b. £1,000 [125643] The four colour illustrations were commissioned £12,500 [127317]

88 Summer Miscellany: Peter Harrington and meeting you at the Edinburgh Symposium last November, I venture to send you my translation of part of Lucretius. I have been reading with the greatest interest and pleasure several of your articles in the New Statesman, and was much flattered that in one of them you made an allusion to the title of my play, the Pterodamozels.” Trevelyan has also inserted a whole line in manuscript to the text on page eight. This scarce and handsome Omega Workshop production, printing Trevelyan’s verse translation of Lucretius’s famous exhortation against the fear of death, is particularly poignant in its being published during the First World War. The only other inscribed copy we can trace at auction was inscribed to Gordon Bottomley, selling for £450 hammer in 1994. £1,750 [124828]

The best single account of the Ferranti mark I

182 computer 183 183 182 (TURING, Alan.) Manchester University perbly illustrated, is the best single account of the (TREVELYAN, Robert Calverley, trans.) LU- Computer – Inaugural Conference – July 1951. Ferranti Mark I computer” (Williams & Campbell- Kelly, introduction to Babbage Institute reprint of CRETIUS. On Death. Being a translation of Manchester: Printed by Tillotsons (Bolton) Ltd, 1951 this conference, 1989, p. xiii). book III lines 830 to 1094 of the De Rerum Quarto (280 × 215 mm), 40 pp. Original moderate red- Turing contributes a paper on “Local program- Natura. London: Published by the Omega Work- dish brown textured card wrappers, cord-sewn with ming methods and conventions”, and to three shops Ltd, 1917 matching thread, title gilt to the front panel. Housed in a black cloth box, red title label to spine. Illustrations other discussions: “Comparison of coding on Quarto. Original grey card wrappers sewn at the fold, and diagrams to the text. Wrappers lightly rubbed and a S.E.A.C. AND E.D.S.A.C.”, “The reliability of woodcut title label by Roger Fry to front. Woodcut title little sunned, library label removed from the spine, ink- high-speed digital computing machines”, and page matching front cover. Covers slightly rubbed and stamps of the Institut für Praktische Mathematik, Tech- “General topics”. marked, some spotting within, a very good copy. nische Hochschule, Darmstadt to the title page, marked The list of conference delegates reads like a Who’s first edition, first impression, presenta- as a duplicate, neat red ink ticks next to the titles of the papers in the contents leaf, remains very good. Who of computing pioneers, including Max New- tion copy inscribed by the author, “Professor J. man, E. A. Newman, Cicely M. Popplewell, Mau- first edition of the brochure marking the offi- A. Thomson, from R. C. Trevelyan” on the first rice Wilkes, Mike Woodger, and Bertram Bowden, cial inauguration of the Ferranti Mark I computer. blank and accompanied by a tipped-in autograph later Baron Bowden of Chesterfield. This copy was “The machine had been delivered to the Univer- letter signed from Trevelyan to Thomson dated likely sent to Dr Hans Joachim Dreyer of the Insti- sity in February 1951 and by the time of the con- 24 February 1918, presenting the book: “On the tut für Praktische Mathematik, Darmstadt, one of ference it was at the centre of a flourishing com- strength of having had the pleasure of hearing the delegates, who was responsible for one of West puter laboratory. The Ferranti Mark I was the first Germany’s pioneering computers, Darmstädter commercially manufactured computer in Britain Elektronischer Rechenautomat (DERA), which (and arguably in the world). To commemorate the became operational at Darmstadt in 1957. event Ferranti underwrote the cost of the slim but elegant conference proceedings . . . The Mark I it- Uncommon, with just eight locations on OCLC. self was described by F. C. Williams, and the cor- £5,000 [125004] 182 responding paper in the proceedings, which is su-

All items are fully described and photographed at peterharrington.co.uk 89 184

184 TURNER, Sharon. The History of the Anglo- Saxons. London: Printed for T. Cadell, Jun. and W. Davies; [vol. IV:] Longman, Hurst, Rees, and Orme, 1799–1805 4 volumes, octavo (212 × 131 mm). Contemporary mottled calf, smooth spines divided by gilt triple-rules, gilt centre tools, black morocco labels, marbled edges. Large hand-coloured engraved folding map by Neele, showing “Territory inhabited by the Ancient Saxons north of the Elbe”. Bookplates of United Presbyterian Library, Edin- burgh, neat ink stamp to titles verso, and their gilt stamp at head of spines. Discreet repairs to joints, scattered 185 foxing, pale blue flecking to 2C3-8 vol. IV (perhaps from marbling of edges). A most attractive set. torical thought for the succeeding half-century. It 185 first edition of this ground-breaking work, brought him an immediate and substantial schol- VALENTINO, Rudolph. Signed original pho- “still acknowledged as a turning point in Anglo- arly reputation . . . With only mild exaggeration Saxon studies and a benchmark in historiogra- he reflected in 1820 that when his first volume had tograph in The Sheik. 1921 phy” (Cambridge University Press 2018 edition). been published in 1799 Anglo-Saxon antiquities Original silk matte finish photograph (177 × 127 mm). Articled to an attorney in the Temple at 15 years had been nearly forgotten by the British public, Window mounted in gilt moulded wood frame, glazed old, Turner (1768–1847) carried on the business af- that many major manuscripts were unexamined, with UV preventive acrylic. Slight surface soil, small chip ter his mentor’s death and set up offices near the and that neither their content nor important facts from the border lower right-hand corner, no loss of image, neatly repaired. British Museum, “where he became an energetic were part of general British history” (ibid.). member of a group of gentleman scholars involved Lowndes IX p. 2725 (“a valuable and highly esteemed Half-length full-face bust portrait in costume as in the study of letters and antiquity” (ODNB). His work”). Ahmed Ben Hassan in The Sheik, the rôle which es- History “was to have a powerful influence on his- tablished him as one of the great Hollywood sex £850 [125648]

90 Summer Miscellany: Peter Harrington symbols, the original Latin Lover. Signed “Auguri Sinceri, Rudolph Valentino”. A striking portrait, handsomely presented. £1,500 [125773]

186 VERNE, Jules. The Works. Edited by Charles F. Horne. New York: Vincent Park and Company, 1911 15 volumes, octavo. Recent green morocco, burgundy morocco labels, centre tool to spines gilt separated by raised bands, roll to boards gilt, marbled endpapers, top edges gilt, others untrimmed. Engraved colour portrait of the Prince of Wales to limitation leaf of volume 1, engraved colour, sepia, and black and white frontispieces with captioned tissue guards to each volume, numerous plates to contents. first limited prince edward of wales edition, one of 500 numbered sets, this set 187 188 unnumbered, the limitation page signed by the registrar R. G. Lancaster. Edited by the American scholar Charles F. Horne, this edition includes 36 This copy is from the publisher’s archive, with ephemera relating to performances of Wagner’s stories and short stories, including Twenty Thou- their pencil mark to the front panel of the dust operas in Boston and New York between 1910 and sand Leagues Under the Sea, Center of the Earth, and jacket. 1930, including newspaper clippings and concert Around the World In Eighty Days, as well as the first Not in Mistichelli et al. programmes, the majority being tipped-in with a few laid-in. The libretti are bound in the following edition in English of Verne’s later novel, The Mas- £475 [124795] ter of the World, preceding the first separate English order: and American editions of 1914. a) Das Rheingold. German and English Text and Music 188 £5,000 [125646] of the Leading Motives. Grand Opera Librettos. Boston: WAGNER, Richard. Librettos of the Ring. Oliver Ditson Co., 1904. [Das Rheingold; Die Walküre; Siegfried; Göt- 187 b) Die Walküre. Music-Drama in Three Acts. First Part of terdammerung.] Boston: Oliver Ditson Co.; New the Trilogy “Der Ring des Nibelungen”. The English Ver- VERNE, Jules; H. C. Harwood (ed.) Novels. York: F. Rullman, 1888–1904 sion by Charles Henry Meltzer. Metropolitan Opera Being the following five books, reprinted un- Together 4 works in 1 volume, octavo (254 × 176 mm). House, Grand Opera Libretto. New York: F. Rul- abridged and included in one volume: Twen- Contemporary red half morocco, raised bands to spine, lman, 1904. ty Thousand Leagues Under the Sea; Around compartments lettered and tooled in gilt with mono- c) Siegfreid. Music-Drama in Three Acts. Second Part of the World in Eighty Days; Floating Island; gram “HS” to foot of spine, single gilt rule to yellow the Trilogy “Der Ring des Nibelungen”. The German The Blockade Runners; Hector Servadac. marbled sides, yellow marbled endpapers, top edge gilt. Version. Metropolitan Opera House, Grand Opera With all the original wrappers bound in. Bookplate of Libretto. New York: F. Rullman, 1908. London: Victor Gollancz Ltd, 1929 American lawyer Reginald Heber Smith and wife Edith Octavo (1,168 pages). Original black cloth, spine lettered Rush to front pastedown. Small ink mark to head of d) Götterdammerung. With German and English Words, in orange. With the dust jacket. Spine a little marked, front free endpaper. Slight toning to leather, joints previ- and the Music of the Principle Airs. Standard Opera Li- else a very good copy in the toned dust jacket, a little ously professionally refurbished, occasional light offset- bretto. Boston: Oliver Ditzon Co., 1888. ting from newspaper clippings. A very good copy. chipped at extremities, lightly marked, rear flap creased. £1,750 [125227] first edition, first impression, of Gollancz’s An unusual collection of Wagner’s four libretti omnibus edition of Verne’s most famous novels. of the Ring Cycle, which was first performed as a complete work in 1876, here published variously in English and in German. All parts are packed with

All items are fully described and photographed at peterharrington.co.uk 91 189

189 WEBB, Sidney (ed.) How to Pay for the War: being ideas offered to the Chancellor of the Exchequer by the Fabian Research Depart- ment. London: Fabian Society & George Allen and Unwin Limited, 1916

190

Octavo. Original green cloth, spine lettered in blind, 190 front cover lettered in gilt. Spine a little faded, tiny browning to initial and final couple of pages, else a very WELLS, H. G. The Works. New York: Charles good copy. Scribner’s Sons, 1924 first edition, first impression. With a pres- 28 volumes, octavo (228 × 150 mm). Recent dark blue entation inscription from the editor to Professor morocco, two crimson morocco labels, single rule to Phillip Bradley dated 25 November 1925 pasted to boards, marbled boards, top edges gilt, others un- the front free endpaper. Loosely inserted is a man- trimmed. The occasional minor blemish else in near- uscript letter from Webb to Bradley from 28 July fine condition. 1936, in which Webb writes that he read Bradley’s the atlantic edition, number 998 of 1,050 Road to War “with almost painful interest — as it copies signed by the author. “The text throughout is so like what is now happening though not in- is read and revised by the author, who has written evitably with the same results”. How to Pay for the a special preface to each volume as well as a gen- War was concerned with the means by which debts eral introduction to the set” (Wells, p. 61). A hand- incurred by the war could be ameliorated and how somely bound set. government and the economy could be restruc- Wells 89. tured to achieve this. Many of its suggestions were £12,000 [122488] partly implemented by the post-war governments, although not as a direct result of the book. 189 £450 [124802]

92 Summer Miscellany: Peter Harrington 191 191 193

191 unopened. Frontispiece with tissue guard and 25 plates. 193 Negligible rubbing to extremities; a near-fine copy. WHITE, E. B. Charlotte’s Web. Pictures by WILD, Frank. Shackleton’s Last Voyage. The Garth Williams. New York: Harper and Brothers, first edition, first printing, one of 450 un- Story of the Quest From the Official Journal numbered copies. Malcolm Whitman (1877–1932) 1952 was an American tennis player who won three and Private Diary kept by Dr. A. H. Macklin Octavo. Original light brown cloth, spine and front cover singles titles at the US National Championships, London: Cassell and Company, Ltd, 1923 lettered in black and blue, blue and white spider-web from 1898 to 1900. Large octavo. Original blue cloth, spine lettered in patterned endpapers. With the dust jacket. Illustrated £375 [125221] gilt, front board with titles in black and pictorial block throughout by Williams. Tiny bumping to extremities, of the Quest to the front board in black, white and gilt, else a very good copy in the price-clipped dust jacket, all within concentric frames in black and frame, picto- spine panel lightly darkened, tiny chips to extremities, rial endpapers. Coloured frontispiece, 50 halftone plates tear to spine panel repaired on verso with marks of for- from photographs, sketch maps to the text. Very slightly mer tape. rubbed, just whitened at the spine edges and corner tips, first edition, first printing. E. B. White spine a touch sunned and mildly crumpled head and tail, won the Laura Ingalls Wilder Medal in 1970 for text mildly toned, but overall a very good copy indeed. Charlotte’s Web and his first children’s book,Stuart first edition. Wild had been with Scott on the Little, which was published in 1945. Loosely insert- Discovery, was with Mawson in 1911–14, “and was a ed in this copy is a programme for a school pro- close friend of Shackleton on both the Nimrod ex- duction of Charlotte’s Web, of unknown date. pedition of 1907–09 and second-in-command on £2,250 [125068] the Transantarctic Expedition of 1917–17 . . . Wild joined Shackleton on his final voyage to the Ant- arctic in 1921–23 but the explorer’s death sapped 192 Wild’s desire to continue” (Howgego). His ac- WHITMAN, Malcolm D. Tennis. Origins and count, a “handsome publication . . . [contains] Mysteries. With an historical bibliography by the last photographs of Shackleton to be taken” Robert W. Henderson. New York: The Derrydale (Taurus). Press, 1932 Howgego III S25; Rosove 349.A1; Taurus 112. Octavo. Original brown cloth-backed brown paper £1,250 [125379] boards, white label to spine lettered in black, front board lettered in gilt, top edge gilt, others untrimmed, partially 192

All items are fully described and photographed at peterharrington.co.uk 93 194 195 196

194 Octavo. Original blue canvas boards, spine lettered in ant binding. The Importance of Being Earnest, Wilde’s gilt, decoration to front board in gilt, top edge trimmed, WILDE, Oscar. Salome. A tragedy in one act, last play, opened to great acclaim on Valentine’s others uncut, some pages unopened. Illustrated fron- Day 1895 but was withdrawn after Wilde’s failed li- translated from the French. Pictured by Au- tispiece with tissue guard and 9 plates. Spine and board bel suit against Lord Queensbury led to his arrest. edges toned, a little marking to covers, slight foxing to brey Beardsley. London: Elkin Mathews & John The subsequent “utter social destruction of Wil- Lane, 1894 tissue guard, gauze strip visible in gutters of a couple of openings. A very good copy. de” (ODNB) meant that the play was not published in book form until February 1899, after Wilde’s first edition in english, first impression, release from prison. Richard Ellmann comments one of 500 copies. Salomé was originally published that Smithers’s handsome editions of Earnest and in French in the preceding year and was translated An Ideal Husband “brought Wilde a little money”. into English by Lord Alfred Bruce Douglas. This copy is in the scarce variant binding, featur- £4,500 [126127] ing a design with more elongated and extravagant gilt floral motifs compared to the standard ver- 195 sion. This design was used later in the same year WILDE, Oscar. The Importance of Being Ear- for the covers of An Ideal Husband. nest. A Trivial Comedy for Serious People by Mason 382. the Author of Lady Windermere’s Fan. Lon- £3,750 [124945] don: Leonard Smithers and Co, 1899 Square octavo. Original pale purple cloth, title to spine 196 in gilt, gilt floral motifs from designs by Charles Shan- WILDE, Oscar. Salome. A Tragedy in one act: non to spine and covers, untrimmed. Near-contempo- translated from the French. London: John Lane, rary ownership inscription to front free endpaper. Spine a little faded, three small holes possibly from worming The Bodley Head, 1907 to rear joint, very light rubbing to ends and corners, Quarto. Original green cloth, spine lettered in gilt, some slight dust soiling and a few minor marks to cloth. elaborate overall art nouveau design on front cover, top Internally sound and free from all but the faintest spot- edges gilt, others untrimmed. Illustrated frontispiece, ting; a very good copy indeed. title page, decorative border to List of Plates, 11 plates, first and limited edition, out-of-series copy all by Beardsley on japon, plate of Beardsley’s original cover design. Partially erased ink ownership inscription 194 from an edition of 1,000 copies, in the scarce vari-

94 Summer Miscellany: Peter Harrington 197 198 199 to front free endpaper. Negligible wear to very tips and Octavo. Original bluish-green cloth, titles and pictorial cially in the rare jacket; no copies of which have spine ends, a couple of faint marks to covers, light foxing decoration to spine and front board in black, white, and been traced at auction. to endpapers, pale offsetting to first blank, verso of last yellow. Frontispiece and 11 plates. Cloth a little rubbed, McIlvaine A20a. page, and occasionally from plates. A very good, fresh tiniest amount of wear to tips and spine ends, a near-fine copy. copy in bright cloth. £3,500 [125814] first complete beardsley edition, and sec- first edition, first impression, of the sequel ond English-language edition. The story of Sa- to Mike, published the previous year. A scarce title, 199 lomé’s publication is a long and convoluted one, especially so in such nice condition. WODEHOUSE, P. G. Ukridge. London: Herbert ranging across the Channel and two languages. It McIlvaine A14a. Jenkins, 1924 was first issued in French in 1893. The first Beards- £1,750 [125149] ley-illustrated edition appeared in 1894, but some Octavo. Original green cloth with titles to spine and designs were withheld. They were not published front cover in dark green, vignette stamped to front cover until this Bodley Head edition of 1907. “If Le Morte 198 in dark green. With the dust jacket. Ownership signature Darthur [1893] made Beardsley known, his designs to front free endpaper. A very good, bright copy, with WODEHOUSE, P. G. Piccadilly Jim. Illustra- foxing to edges, in the slightly rubbed dust jacket with for the first edition in English of Wilde’s Salomé tions by May Wilson Preston. New York: Dodd, a few nicks or short closed to extremities, small chip to made him notorious, and it remains the book of Mead and Company, 1917 head of spine panel extending to head of front panel and which most people think when his name is men- a little creasing, nonetheless the pictorial front panel tioned” (Ray). Octavo. Original orange cloth, spine and front cover let- presenting nicely. tered in black. With the dust jacket. Colour frontispiece, Mason 355; Ray 315A (“this handsome edition, the bind- 7 colour plates. A near-fine copy in bright cloth, bind- first edition, first impression, in the scarce ing design for which is also by Beardsley, contains sev- ing square and tight, top edge just a little dusty, a touch jacket, correctly priced 3/6 on the spine as with eral new or unexpurgated plates”). of shelfwear, in the rare jacket, somewhat stained and most Herbert Jenkins short story collections, and £750 [125551] soiled but with original pink colouring to front panel still crucially unrestored. This collection of 10 short visible, with some creasing, shallow chips to tips and stories featuring Ukridge is the second appear- spine ends, five closed tears to panels with tape repairs 197 ance of the character in book form, following Love to verso. Among the Chickens (1906). WODEHOUSE, P. G. Psmith in the City. A Se- first edition in book form, first printing. McIlvaine A32a. quel to “Mike”. With twelve full page illustra- This work first appeared in serialized form in the tions by T. M. R. Whitwell. London: Adam and Saturday Evening Post between 16 September and 11 £5,750 [125151] Charles Black, 1910 November 1916. It was subsequently published in the UK in May 1918. An uncommon work, espe-

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200 WODEHOUSE, P. G. Jeeves Omnibus. Lon- don: Herbert Jenkins Limited, 1931 Octavo. Original green cloth, titles and decoration to 201 spine and front board in black, top edge green. With the dust jacket. Portrait frontispiece. A tight, near-fine copy in bright cloth, hint of foxing to edges, otherwise clean is set in the 1920s in a fictional French seaside from 16 July to 3 September 1938. It was published internally, in the bright dust jacket, short closed tear to town, for stage as The Inside Stand (1935). simultaneously in the UK and US on 7 October 1938. head of front panel extending into spine, extremities a McIlvaine A47a. McIlvaine A60b. little rubbed and nicked. first edition, first impression, of the first £3,750 [125148] £2,500 [125813] Jeeves omnibus. Scarce in in the dust jacket and in such nice condition, with no restoration or repair. 202 McIlvaine B1a. WODEHOUSE, P. G. The Code of the Woost- £2,750 [125152] ers. London: Herbert Jenkins Limited, 1938 Octavo. Original green cloth, spine and front cover let- 201 tered in black, publisher’s device to spine in black, top edge dark green. With the dust jacket. Spine rolled, a lit- WODEHOUSE, P. G. Hot Water. London: Her- tle bubbling to fore edge of front cover, small puncture bert Jenkins, 1932 mark to margin of pp. 19–20, not affecting text. A very good, bright copy in the jacket with minor chips to tips Octavo. Original orange cloth, titles to front board and and spine ends, light creasing to extremities, a couple of spine in black. With the dust jacket. Faint ownership sig- short closed tears to head of spine and front panel, an- nature to front free endpaper. A fine, crisp copy in the other to foot of front panel. slightly rubbed jacket with a couple of small chips to spine ends and tips, one chip to foot of rear panel, and several first edition in book form, first impres- short closed tears, but entirely unfaded and bright. sion, with eight pages of adverts at the rear as first edition, first impression, in the scarce called for by McIlvaine. The Code of the Woosters was dust jacket. Wodehouse adapted the story, which first published as a serial in the Saturday Evening Post 202

96 Summer Miscellany: Peter Harrington 203 WODEHOUSE, P. G. America, I Like You. Il- lustrations by Marc Simont. New York: Simon and Schuster, 1956 Octavo (207 × 144 mm). Contemporary blue half morocco, raised bands to spine, lettered in gilt, gilt rules to sides, marbled sides and endpapers, top edge gilt. Black and white illustrations by Simont. Spine faded, covers partly so, minor wear to extremities, a couple tiny scratches to rear cover, front hinge starting, a very little light foxing to front free endpaper verso; a very good, fresh copy. first edition, first printing, inscribed by the author on the front free endpaper, “To Charlie Buck’s Margaret from P. G. Wodehouse”. The recipient is likely to have been Margaret Buck, the second wife of Charles “Charlie” Alfred Buck Sr., a Ford dealer and Barbershop quartet singer 205 206 from New Jersey. McIlvaine A79a. 205 first trade edition, first impression. This £850 [125808] WOOLF, Virginia. Orlando. A Biography. edition was preceded only by the New York signed limited edition, published nine days previously. London: The Hogarth Press, 1928 Kirkpatrick A11b. Octavo. Original orange cloth, spine lettered in gilt. With the dust jacket. Frontispiece and 7 photographic illustra- £2,750 [125070] tions including Virginia Woolf as Orlando. Spine bumped at foot, edges foxed, occasional light foxing to contents, 206 else a very good copy in the dust jacket, a couple of nicks, very minor soiling to spine and rear panel, spine ends a WOOLF, Virginia. The Waves. London: Pub- little creased, short closed tear at head of rear panel. lished by Leonard and Virginia Woolf at The Hoga- rth Press, 1931 203 Octavo. Original purple cloth, titles to spine in gilt. With the dust jacket designed by Vanessa Bell. Minor creasing 204 to foot of spine, negligible rubbing to extremities, light WOOLF, Virginia. To the Lighthouse. London: fading to very foot of covers. A near-fine copy in the jacket with very faint browning to spine, short closed tear to The Hogarth Press, 1927 foot of rear panel joint, another, smaller, to head of front Octavo. Original blue cloth, spine lettered in gilt, top panel, tiny chips to tips and spine ends. edge yellow. Pencilled ownership signature to front free first edition, first impression, of Woolf ’s endpaper. Spine a little faded, cloth slightly marked, most ambitious and experimental novel, hailed by light wear to extremities. A very good copy. Cyril Connolly as her “masterpiece”. “It is one of first edition, first impression, of Woolf ’s the books which comes nearest to stating the mys- “most famous novel” (ODNB), described by Cyril tery of life and so, in a sense, nearest to solving it” Connolly as being “written at the height of her lu- (Connolly, p. 49). minous Impressionist vision”. One of 3,000 cop- Kirkpatrick A16a; Woolmer 279; Connolly, Enemies of ies printed. Promise, 2008. Kirkpatrick A10; Connolly, The Modern Movement 54. £2,500 [125364] £1,250 [124996] 204

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