LITERATURE IN LOVE

Peter Harrington london even Auguste Rodin’s illustrated Jardins des Supplices, the bible of BDSM (132). Americans in Paris also hold their own, whether it be the formidable salonnière Natalie Clifford Barney (9, 10, 135, 168), known as “the Amazon”, or Harry and Caresse Crosby (42–44), the wildest of the Lost Generation expats. The selection is proudly pansexual, with some great LGBTQ+ items such as a copy of the first gay poetry anthology owned and annotated by Rupert Brooke (25), or the very scarce first published translation of Sappho by a lesbian, the fascinating Renée Vivien (135, 168). We also have some exceptionally strong Oscar Wilde material here (172–175), including original clippings reporting the Love, for all its infinite variety, has not changed so very much trial, with his famous defence of “the love that dare not speak its over the centuries. Literature in Love seeks to present this universal name”, and a truly rare presentation copy of the deluxe issue of experience in its ecstasy and anguish, as expressed in the great love The Ballad of Reading Gaol inscribed to a friend who had bravely stories and poetry across the ages. campaigned against Wilde’s conviction. All these are syncretized Amours ancient as the Song of Solomon (16, 62) are as heart- in the wide embrace of this fundamental human experience. As quickening today as they were millennia ago. It is a pleasure, Frank O’Hara (115) concisely put it, “love is love”, and that, as John therefore, to have introduced, at least on the page, some Lennon knew and sung, is all you need (103). uncontemporaneous bedfellows like Warhol and Wilde, Boccaccio This catalogue was planned with Valentine’s Day in mind, and Bukowski, Dalí and Dante, Percy Shelley and Patti Smith, and and as well as featuring a range of delights for your loved ones, Sappho and Sackville-West. it also has a selection (161–166) charting the development of this As well as the love stories their books contain, authors’ own day of love and its long association with poetry. Shakespeare is tangled love-lives are no less captivating: a collection of letters of course heartily represented, with a beautiful copy of the grand from Ian Fleming documents a tempestuous early love affair (61); Fourth Folio being a particular high-spot (137), as well as a copy of a letter from Mary Shelley contains a precious clipped signature Romeo and Juliet presented for a 50th wedding anniversary (142), of her “ever faithful” husband Percy, sent to her sister Claire with in a heart-warming memento of a considerably longer-lasting whom he had been distinctly unfaithful (144); and a book inscribed relationship. by Lytton Strachey to “Bunny” Garnett unfolds a more-than-usually After a difficult year, with people kept apart for too long, I hope complicated Bloomsbury love-polygon (15). that our literature catalogue for 2021 will stand as a celebration of When it comes to the language of love, there is indeed an that force which has always connected us and will help in bringing embarrass des richesses, with the French showing their flair for us back together again. dangerous liaisons: see our first edition of Choderlos de Laclos’s masterpiece (97), or the illustrated memoir of Kiki, the muse of sammy jay Montparnasse, inscribed to one of her (many) artist lovers (95), or [email protected]

Front cover illustration from Djuna Barnes’s Ladies VAT no. gb 701 5578 50 This catalogue is Almanack, item 7; title page illustration from Allen Peter Harrington Limited. Registered office: shipped in a Ginsberg’s Valentine for Peter Orlovsky, item 71. WSM Services Limited, Connect House, 133–137 biodegradable envelope made Design: Nigel Bents. Photography: Ruth Segarra. Alexandra Road, Wimbledon, London SW19 7JY with recycled material Registered in England and Wales No: 3609982 There is no VAT on books in the UK. Orders going overseas such as mainland Europe, Canada and Australia may be subject to local sales taxes upon import. CBP003316 Peter Harrington london

catalogue 171

LITERATURE IN LOVE

mayfair chelsea 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 www.peterharrington.co.uk usa 011 44 20 7591 0220 1

with Elliott Bulloch Roosevelt (1860–1894), the socialite younger brother of President Theodore, as best man. BAL 158 & 159; Grolier, One Hundred Books Famous in Children’s Literature, 38.

1 £5,000 [145409]

1 An attractive untrimmed set ALCOTT, Louisa M. Little Women. Boston: Roberts 2 Brothers, 1869 AUSTEN, Jane. Northanger Abbey: and Persuasion. 2 volumes, small octavo. Original green cloth, spines and front covers London: John Murray, 1818 lettered in gilt, brown coated endpapers. Frontispiece and 3 plates in each. Contemporary Christmas gift inscription in each volume from an aunt to 4 volumes, duodecimo (190 × 111 mm). Finely bound in late 19th-century/ her 9-year-old niece, Susie Prince, with a pencilled note of appreciation by early 20th-century brown polished calf, twin morocco spine labels, gilt Susie on her 10th birthday. Unusual and attractive metallic label pasted to decoration to spine, triple gilt rules to boards, top edge gilt, others front endpapers of vol. 1. Spine ends slightly frayed, a little wear to tips, untrimmed, inner dentelles gilt, green coated endpapers. Housed in a spines cocked, inner hinges cracked and a couple of gatherings proud, but custom brown cloth slipcase. Gilt embossed oval morocco bookplate otherwise firm, occasional spot of foxing to contents. Overall, a pleasing (“Omnia Pro Bono H.M.”) of Harold Murdock (1862–1934), a Boston set. banker, bibliophile, and book collector. A little expert furbishment to joints, occasional spot to contents, otherwise clean. A beautiful set, finely First edition of Alcott’s timeless tale of sisterly love, later issue of bound and wide-margined. the first part (a year after the first), and first edition, third state, First edition of Austen’s final published work, pairing Northanger of the second part. It has never gone out of print and has been Abbey, probably the first full-length novel she wrote, with Persuasion, adapted for film and television multiple times, most recently by her last completed novel. Her brother Henry’s biographical notice, Greta Gerwig in 2019. dated 13 December 1817, is the first acknowledgement in print of This set was presented on Christmas day 1869 to a young girl in Jane Austen as the author of her six novels. New York, Susie Prince, inscribed in both volumes by her aunt, the second volume with a pencilled note by Susie on her 10th birthday Gilson A9; Keynes 9. the following year. Included are two cartes des visite, produced by £17,500 [143280] Alman & Co. of New York, showing Susie and her husband, R. R. Colgate. Their Newport wedding on 31 August 1882 was described 3 in the New York Times as “one of the brilliant events of the season”, AUSTEN, Jane. Sense and Sensibility. London: Richard Bentley, 1833 [but 1832] Duodecimo. Original purple glazed linen boards, black spine labels lettered in gilt (Gilson’s first state binding). With 8-page publisher’s catalogue at front. Engraved vignette title and frontispiece by William Greatbach after Ferdinand Pickering. Old blank shelf label at head of spine. Light wear to spine ends and joints, spine sunned, but all firm, light foxing to plates, contents otherwise clean. A very good copy, unrestored in the original cloth. First Bentley edition, the third overall (pre-dating the first American edition by a few months), and the first English edition to be illustrated. In 1832–3 Richard Bentley bought the copyright to all Austen’s novels, which had not been reissued since 1818, to include them in his Standard Novels series, of which this is no. XXIII. 1

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First Bentley edition, as with the previous item, the third overall, and the first English edition to be illustrated, here in an attractive contemporary binding. This copy has a Christmas gift inscription from the poet Robert Calverley Trevelyan to Polly Allen, the daughter of his friend the British politician Clifford Allen. Trevelyan and Allen were part of the same social and political circles of pacifists and both were close friends with Bertrand Russell; Russell ran the Telegraph School at which Joan Collette Allen, known as Polly, studied. The Bentley edition of Mansfield Park is the first one-volume edition. £1,500 [120828]

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The Bentley illustrations, by the obscure Ferdinand Pickering, played an integral part in the reception of Austen’s novels; according to one Austen scholar, they “promoted a sense that her novels were best understood as familial, female focused, and sensational. For decades, these illustrations would have served to steer readers away from the conclusion that Austen’s fiction ought to be understood as social, comic, or didactic” (Looser, p. 20). Despite the date on the title page, the book was published on 28 December 1832. Gilson D1. Davoney Looser, The Making of Jane Austen, 2017. £2,750 [145555]

4 AUSTEN, Jane. Mansfield Park. London: Richard Bentley, 1833 Octavo (164 × 103 mm). Contemporary tan half calf, red spine label, decoration to spine in gilt, marbled paper sides, edges and endpapers. Wear to extremities, light rubbing to sides; a very good copy. 4

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

5 AUSTEN, Jane. Pride and Prejudice. London: George Allen, 1894 Tall octavo. Original brown buckram, titles to spine gilt, untrimmed. With 101 illustrations by Hugh Thomson, including the frontispiece, all but two (title page and dedication leaf ) printed on china paper and mounted. 6 Loosely inserted is the publisher’s publicity slip for the sale of Thomson’s original drawings for this edition at the Fine Art Society. Spine sunned and these illustrations, which are a full and original revision of his with a couple of light stains, light sunning to front board, a little rubbed, the binding otherwise sound and square, light toning to free endpapers as illustrations for Macmillan’s edition of the same novel in 1895. often, else internally fresh and clean; a very good copy indeed. Brock prided himself on the historical accuracy of his illustrations; he and his brother Henry collected antique furniture and clothing, First fully illustrated edition, large paper issue, one of 250 copies and used friends and relations to model them in their Cambridge released in England; a further 25 copies were released in the US. studio. Thomson’s “light touch and feeling for period manners provide a charming and accessible gloss to the author’s work” (ODNB). This £2,950 [75968] was the first edition to feature illustrations accompanying the text; Bentley’s 1833 edition and subsequent printings had featured only Copy #1, Bill Butler’s copy, passed to the lawyer who a frontispiece. Gilson E78. fought his case in the obscenity trial £3,750 [144993] 7 BALLARD, J. G. Why I Want to Fuck Ronald Reagan. 6 Brighton: Unicorn Bookshop, 1968 AUSTEN, Jane; BROCK, C. E. (illus.) Original Quarto. Original silk-screened wrappers. Stapled as issued. A fresh copy, a illustration for Pride & Prejudice. 1907 few minor marks to rear wrapper, sound and generally in excellent condition. Original pen-and-ink water colour illustration (370 × 267 mm). Presented First edition, publisher Bill Butler’s own copy, number 1 of 50 in a hand-made gold leaf frame, with conservation glass and an attractive copies signed and numbered by Ballard from an edition of 250. wash-line mount. Margins slightly marked. In excellent condition. Ballard’s infamous pamphlet was a satirical exploration of the The original signed illustration for the edition of Pride and Prejudice psychosexual appeal of Ronald Reagan, framed as a series of published in 1907 as part of the “Series of English Idylls” by J. M. Dent fantastical and sadistic erotic experiments. Reagan was then one & Co. The scene depicted is an illustration of Elizabeth’s thoughts of the lead challengers in the Republican presidential primary. regarding her sister Lydia’s attitude to men: “Her affections had been This first paper copy was kept by the publisher Bill Butler . . . never without an ­object”, chapter LLVI, p. 96. (1934–1977) of the Unicorn Bookshop, and has recently emerged Charles Brock was elected a member of the Royal Institute of from the estate of the lawyer who defended Butler’s case in the high- Painters in Watercolour in the year following the publication of profile obscenity trial brought against the Unicorn Bookshop for the

4 literature in love 7 8 publishing and distribution of this and other counterculture books. September 1978 until her death in 1982. He was asked to do so by It was one of several of Butler’s books passed to Swan after Butler’s Berenice Abbott, a mutual friend, and his relationship with Barnes death – Butler had written in his suicide note intended for his lover swiftly developed into that of an informal personal assistant. Mike Hughes: “Dick Swan may be interested in the manuscripts”. O’Neal would sort through her papers, arrive at short notice should problems occur, and bring her medicines and tape recordings, £4,500 [144438] including of Dylan Thomas reading Nightwood. He published a diary of their conversations, entitled Life is Painful, Nasty & Short – in My 8 Case it Has Only Been Painful and Nasty, in 1990. BARNES, Djuna. Ladies Almanack [together with a Ladies Almanack, a satirical novel playing on the traditional prospectus for the work and the original hand-coloured almanack format, was printed and distributed privately. Barnes based her story on the lesbian social circle at Natalie Clifford proof for the illustrated wrapper]. Paris: printed for the Barney’s salon in Paris; it “closes with the playful narration of a author, and sold by Edward W. Titus, 1928 kind of eternal flame of lesbian cunnilingus” (Warren, p. 4). Together, 3 items. Ladies Almanack: small quarto. Original cream card Unusually, in this copy the imprint with Titus’s name has not wrappers with woodcut-style illustration to front and rear wrapper. Hand- been blacked out. According to Herring, the Parisian bookseller coloured vellum cover: single vellum sheet (310 × 464 mm), illustrated Edward Titus “persuaded Barnes to put his name on the title page in black ink and hand-coloured, mounted (board size 400 × 515 mm). of Ladies Almanack, as if he were the publisher, in exchange for Prospectus: single leaf folded into 4 pp., titles and illustration to front selling the book in his shop”. However he asked for “a large cut of cover in black. With 22 woodcut-style illustrations by Barnes in the text. Minor creasing to extremities, wrappers clean, a little ripple to inside rear the royalties in addition to the retail mark-up, which infuriated wrapper, occasional foxing to otherwise bright contents; a near-fine copy. Barnes and reinforced her disillusionment with the book trade” Wrapper proof lightly foxed, not affecting illustration, small chip to left (pp. 152–3). Barnes subsequently had Titus’s name removed from edge. unsold copies. First edition, the copy of Barnes’s literary executor, inscribed by Mary Lynn Broe, Silence and Power: A Reevaluation of Djuna Barnes, 1991; Phillip the author on the front free endpaper and accompanied by the F. Herring, Djuna: The Life and Work of Djuna Barnes, 1995; Dianne Warren, Djuna Barnes’ Consuming Fictions, 2008. proof sheet for the front cover of the deluxe issue, hand-coloured by her: “For Hank O’Neal – with the compliments of the Author – £5,000 [145299] Djuna Barnes. New York 1978”; this copy is number 1,000 of 1,000 copies on Alfa. The total edition comprised 1,000 Alfa copies; 40 hand- coloured copies on Rives paper; and 10 signed copies on vergé de Vidalon paper with a hand-coloured cover, the proof sheet for which accompanies this copy. On the occasion that Barnes inscribed this copy, O’Neal noted in his diary: “she signed my copy of the book, thinking it was interesting I had copy 1,000, the last one. Spoke of the reissue version of the book; no changes in the book, just the new introduction” (Broe, p. 353). Hank O’Neal (b. 1940), the renowned jazz producer and author, made regular visits to Barnes’s apartment in Patchin Place from 8

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

The Paris-based American expatriate writer Natalie Clifford Barney (1876–1972) was known as the “Amazon” of Paris. She was one of the most influential lesbian and feminist writers of 9 the period. The French writer Élisabeth de Gramont (1875–1954), Duchess of Clermont-Tonnerre, was introduced to Barney by one Presentation copy to “the most significant of Barney’s of her lovers, Lucie Delarue-Mardrus. De Gramont “became the long-term attachments” most significant of Barney’s long-term attachments” (Dellamora) and their relationship, started in spring 1909, lasted until de 9 Gramont’s death in 1954. BARNEY, Natalie Clifford. Pensées d’une Amazone. I. Barney’s life inspired Radclyffe Hall’s The Well of Loneliness, and her Paris salon at 20 rue Jacob was for 60 years the crucible of Les sexes adverses, la guerre et le féminisme. II. Choses Left Bank culture (guests included Colette, Pierre Louÿs, Mata de l’Amour. III. Pages prises au roman que je n’écrirais Hari, Auguste Rodin, Ezra Pound, Jean Cocteau, T. S. Eliot, pas. IV. Autres éparpillements. Paris: Émile-Paul Frères, 1920 F. Scott Fitzgerald, Rainer Maria Rilke, Rabindranath Tagore, Octavo. Original cream wrappers, titles printed in black and red, Nancy Cunard, Peggy Guggenheim, Caresse and Harry Crosby, untrimmed, partly unopened. With pp. 24 pamphlet of reviews, Pensées Sylvia Beach, and Isadora Duncan, to name but few). Barney d’une Amazone, ce qu’ils en pensent (1921), tipped-in at end, 2 line-drawing promoted women’s writing and formed an Académie des femmes illustrations as head- and tailpiece. Light wear to spine sometime in response to the all-male Académie française, while also stabilized, creases to wrappers sometime pressed, spine slightly toned, supporting and inspiring male writers from Remy de Gourmont to the wrappers otherwise sound and fresh, internally clean and bright; a very Truman Capote. good copy indeed. This presentation copy appears to be a special issue, printed First edition, first printing, presentation copy inscribed on the on finer paper than the ordinary trade issue, and additionally half-title by the author to one of her long-term lovers and fellow includes, tipped-in at the rear, the pamphlet of reviews published writer, Élisabeth “Lily” de Gramont: “Dire a toi seule le nom de in 1921 to accompany copies of the second edition. Featuring mon enchantement et de mon souci durable: Lily: – a ‘ton petit reviews from male readers exclusively, it includes contributions nom qui fleurit’ – ces [Pensées d’une Amazone] N ...... , Paris, from Anatole France (“Amazone, je baise vos mains avec une fin mars 1920”. terreur sacrée”), Ezra Pound (“J’aime ce livre – par bouffées”), and This poetical inscription loosely translates as “Just between us, Paul Valery (“Tu penses? – dit Hercule, – donc je fuis!”). The title the name of my delight and lasting trouble is yours, Lily: ‘your pet page bears a red “Discarded” stamp, presumably denoting this name which beflowers these’ Thoughts of an Amazon, N[atalie], copy’s deaccession from an unidentified library. Paris, late March 1920”. The word “souci” has two meanings – Richard Dellamora, Radclyffe Hall, A Life in the Writing, 2011. “trouble” and “marigold” – and is a play on Lily, Barney’s pet name for de Gramont. The French word for Lily, “lys”, appears three £2,000 [145286] times in this work (pp. 46, 63, and 103). Each of these references appears in the context of Barney describing marriage as a prison; 10 de Gramont was married when she and Barney met in 1910, but divorced in 1920, the year of publication of this work. (BARNEY, Natalie Clifford.) ROUVEYRE, André (illus.) Mort de l’Amour, avec, en appendice, une prose de Jean Moréas. Paris: Mercure de France, 1911

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Quarto. Original folded wrappers, titles printed in black to front cover, border enclosing a frame of hand-painted intertwining roses and rose untrimmed. With 8 full-page wood-engraved illustrations by Paul-Eugène leaves (vol. 1) and intertwining tulips and tulip leaves (vol. 2), both on Vibert after Rouveyre. Slight creasing and soiling to wrappers, otherwise a field of gilt dots, panel on each front cover with a hand-painted scene sound, light offsetting to pages facing illustrations, else internally crisp; a taken from Beardsley’s designs, back covers with three-line gilt panels, near-fine copy. gilt-ruled turn-ins with delicate cornerpieces, marbled endpapers First and only edition, inscribed by the illustrator on the half- with cream silk gutters, top edges gilt, others untrimmed. Gravure frontispieces, 18 full page wood engravings (including 5 double-page), title to the “Amazon” of Paris: “à Natalie Clifford Barney, numerous text illustrations, and approximately 350 repeated designs imperturbable, André Rouveyre”. This is number 928 of 1,000 for chapter headings and borders, all by Aubrey Beardsley. Vol. 1 joints copies on papier d’arches, from an edition limited to 1,010 copies. starting at both ends, spines faintly dulled compared to vivid front Rouveyre seems to have been liberal with his inscriptions, but this panels, sound and clean within, excellent condition. is a superb Parisian association. First Beardsley edition of Malory’s Arthurian epic, this copy in Rouveyre was a prolific newspaper caricaturist, a close friend of a stunning example of Cedric Chivers’s “vellucent” bindings, Apollinaire and Matisse, moving in some of the most interesting hand-painted after Beardsley’s own artwork. Only a handful of circles of Paris society (including Barney’s salon), and developing sets were bound in this manner, and of the two others we have his distinct and pioneering style, poised between minimalism and handled, neither were distinguished by the present blue colour expressionism. to the usually cream-coloured vellum, making this a particularly For Natalie Clifford Barney, see items 135 and 168. choice example. This is one of the 1,500 copies of Beardsley’s £650 [145003] edition printed on ordinary paper, aside from 300 produced on handmade paper. The Victorian era saw a proliferation of famous and popular Vellucent binding by Cedric Chivers reproducing retellings of the Arthurian saga, the keystone of Victorian Beardsley’s illustrations medievalism. Arthur and his knights defined the codes of chivalry and personified the complexities of love in well-known texts by 11 Tennyson, Swinburne, Morris, and Rossetti, to name but a few, BEARDSLEY, Aubrey (illus.); MALORY, Sir Thomas. while at the Lyceum Sir Henry Irving took the kingly role in a The Birth, Life, and Acts of King Arthur. London: J. M. spectacular stage version with costumes and scenery by Burne- Jones. It was Malory’s version, here updated for the fin de siècle, Dent, 1893 that definitively laid out “the matter of Britain”, with its intriguing 2 volumes, large square octavo (240 × 192 mm). Contemporary blue- central love triangle of Arthur, Guinevere, and Lancelot. stained full vellum over bevelled boards by Cedric Chivers of Bath (blind John Lewis, The Twentieth Century Book, 1984, pp. 148–9; Barbara Tepa Lupack, stamped to binder’s blank in vol. 2), gilt panelled spines with hand- Illustrating Camelot, 2008; Ray, The Illustrator and the Book in England from 1790–1914, painted art nouveau-style lettering and scrolling floriate motifs, below 1976, 314. which, on a field of gilt dots, an overall pattern of stylized roses and rose leaves (vol. 1) and tulips and tulip leaves (vol. 2), sides with two-line gilt £16,500 [140967]

All items are fully described and photographed at peterharrington.co.uk 7 12 13

12 to have had second thoughts, perhaps prompted by his growing BEARDSLEY, Aubrey (illus.) The Lysistrata of Catholic faith. On his deathbed, he wrote to Smithers imploring him to destroy all his ‘obscene drawings’, a request that Smithers Aristophanes. London: [Leonard Smithers], 1896 ignored” (Tate Exhibition Guide for the 2020 Aubrey Beardsley Quarto. Original boards, rebacked, facsimile printed paper label to front exhibition). The recent Tate exhibition displayed the artworks in a cover, endpapers renewed, edges uncut. Housed in custom grey cloth separate room, with a warning to parents and the prudish. chemise within quarter vellum slipcase. Frontispiece and 7 plates by Lasner 107. Beardsley on Japanese vellum. Slight rubbing and toning to boards with edges worn, light toning to contents with a few instances of minor soiling, £9,500 [144882] contents without any ownership markings, plate facing p. 46 with short nick at fore edge and tiny spot, otherwise plates and pages notably fresh. A very good copy. One of 50 copies printed on japon First edition, number 11 of 100 copies with the limitation hand- 13 written by Smithers in purple ink. Beardsley’s eight designs for the classical Greek play Lysistrata constituted, with his parallel BEARDSLEY, Aubrey. Under the Hill, and other essays project for Juvenal’s Sixth Satire, the most explicit and shocking in prose and verse. London: John Lane at the Bodley Head, illustrations of his career. Unthinkable for general publication, the 1904 small issue of the book to subscribers ensures that it remains one Quarto. Original white buckram, elaborately decorated in gilt to front of Beardsley’s rarest and most sought-after works. board, titles to spine in gilt, top edge gilt, others untrimmed. House in the The artwork was executed in the south of England in the green cloth slipcase. Title page printed in red and black. Frontispiece after summer of 1896, while Beardsley was recuperating from the photograph of Beardsley at Mentone, 14 plates and two illustrations in the tuberculosis which would end his short life less than two years text. Wear to spine ends and tips, spine browned, buckram lightly soiled, later. Aristophanes’ satirical play provided ready subject matter foxing to endpapers, else a very good copy indeed. for Beardsley: during the Peloponnesian War, the Athenian and First edition, one of 50 copies printed on japon, of Beardsley’s Spartan women bring an end to the conflict by refusing to sleep unfinished erotic novel based on the legend of Tannhäuser, with the warring men until peace is secured. alongside a collection of Beardsley’s other poems, letters, and “These subjects chimed with Beardsley’s own irreverent humour artwork. This copy has the armorial bookplate of Sydney Frederick and fascination with all aspects of sexuality – and, perhaps, his McIlree Lomer, Uranian poet and major with the Sherwood own sexual frustrations. Smithers, who prided himself that he Foresters. would ‘publish what all the others are afraid to touch’, no doubt In 1914 Lomer published a notably homoerotic translation of encouraged him. Matching the exuberant eroticism of the texts, epigrams from Anthologia Palatina XII , “an explicit paederastic Beardsley adopted a starkly linear style for these drawings. This text” (Hoare). Lomer was also a close friend of Noël Coward and bold new direction was inspired by his knowledge of ancient Philip Streatfeild, who joined his regiment in 1914. When, at the Greek vase painting and Japanese erotic prints. age of 16, Coward visited Lomer with Esmé Wynne-Tyson in 1916, “Very few of Beardsley’s contemporaries would have known he noted that Lomer’s “wonderful house was filled with gorgeous of these drawings. Their ‘indecency’ meant they could not be books” (ibid.). published and advertised in the usual way. Instead they were Philip Hoare, Noel Coward: A Biography, 2013. only made available by Smithers to a select group of like-minded collectors through private subscription. Even so, Beardsley seems £1,250 [134094]

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14 15

14 First Masson edition, a superb association copy with a compelling BÉDIER, Joseph; BELLOC, Hilaire (trans.) The Bloomsbury connection: David “Bunny” Garnett’s copy, inscribed and presented to him by Lytton Strachey, and subsequently lent to Romance of Tristan & Iseult. Drawn from the best a young Angelica Bell, daughter of Vanessa, later Garnett’s wife. French Sources and Re-told. Illustrated by Robert Strachey has inscribed the first volume, “D.G. from G.L.S. June Engels. London: George Allen, 1903 1915”, on the blank prelim of volume I, below which Garnett has Large octavo (310 × 214 mm). Near-contemporary half japon and green added a pencil annotation: “these four volumes of Racine were paper boards preserving the original wrappers, titles in gilt to spine, green given to David Garnett by Lytton Strachey in 1915 when D.G. was endpapers, untrimmed. Large colour illustrations throughout, including 4 leaving to work in the War Victims’ Relief Expedition with Francis full-page, and numerous decorative borders and initials all by Robert Engels. Birrell. They were bought at Bickers shop, then in Leicester Square Light dust-soiling to spine mostly, the binding otherwise sound, faint toning & given me there D.G.” Garnett and Birrell would open a bookshop to contents, else internally fresh and clean; a very good copy indeed. in late 1919, favouring, among others, 18th-century French First edition in English, first impression, number 17 of 300 literature. Garnett’s armorial bookplate is in each volume, along copies only, of leading medievalist Joseph Bédier’s retelling of with his ink ownership inscription to the last three volumes. the chivalric romance set in Cornwall, Ireland, and Brittany. First A pencil note annotation, “lent to Miss Bell”, in volume III adds a published in French as Le roman de Tristan et Iseut (1900), it features new and intriguing Bloomsbury connection, that of Angelica Bell, the same beautiful and profuse art nouveau illustrations by the the daughter of Vanessa Bell and her lover Duncan Grant (though German artist Robert Engels. This copy is handsomely presented her paternity was officially attributed to Clive Bell). At the time of in a contemporary binding, preserving the original illustrated Angelica’s birth “Grant, predominantly homosexual, was living wrappers. with his lover, the writer and publisher David Garnett at Charleston, a house rented by Vanessa Bell to provide a wartime rural retreat” £900 [145326] (ODNB). Garnett, 26 years Angelica’s senior and present at her birth, “wrote presciently to Lytton Strachey: ‘[the baby’s] beauty is the “Une famille tuyau de poêle” – an incestuous Bloomsbury remarkable thing . . . I think of marrying it; when she is 20 I shall connection be 46 – will it be scandalous?’ Angelica did indeed marry into her parents’ generation and Garnett was to be her husband” (Spalding). 15 They married in 1942, two years after his first wife died of cancer. (BLOOMSBURY GROUP.) RACINE, Jean. Œuvres. Paris: Known to be well-read in French literature and having briefly been schooled in France in the mid-1930s , it seems only natural that Victor Masson, 1836 Garnett would lend her his copy of Racine’s works. The inclusion 4 volumes, duodecimo (134 × 84 mm). Contemporary green quarter calf, here of one of his most popular plays, Phaedra (volume IV), the spines lettered and elegantly tooled in gilt, marbled boards and endpapers. tragedy about a mother’s lust for her stepson, is perhaps apposite, Housed in custom green cloth chemise and matching slipcase with gilt given Angelica’s near-incestuous marriage to her father’s lover. lettering to spine. Bookplate of Bloomsbury collector William Beekman. Light wear to corners, discreet colour restoration, boards a little rubbed, Sarah Knights, Bloomsbury’s Outsider, A Life of David Garnett, 2015; Frances Spalding, the bindings otherwise sound, very occasional slight foxing to contents, “Angelica Garnett obituary”, in The Guardian, 7 May 2012. else internally fresh and bright. An attractive set. £7,500 [145327]

All items are fully described and photographed at peterharrington.co.uk 9 16

16 title of Cromwell as Lord Protector, in distinction to His Majesty BIBLE; LOVE TOKEN. The Holy Bible Containing the Charles I, although it remains a King James Bible as noted in the title. Evidently this example served a very different function to Old Testament. London: printed by Iohn Field, one of His that of the Bible of a Puritan soldier. Highness’s printers, 1658 Two similar Bibles dated 1658 carry Field’s imprint. Darlow and Vicesimo-quarto (115 × 60 mm). Contemporary black sealskin, with Moule record that one of the two is possibly a foreign or pirated original silver furniture of centrepiece and corners engraved with a floral edition, though it is unclear which is which. The British Museum design, held with the fully-functioning clasp engraved “A [love heart with a Catalogue records the present as the genuine edition, while Fry viscountess coronet] M”, marbled endpapers. Collates complete (A–ZZ12), and Lennox call it “spurious”. Within the present edition, there a few binder’s blanks at rear sometime excised, three corner pins absent are two states, this distinguished by the word “appointed” on the but furniture firm without wear, a few minor faults to contents (cc1 short general title, the other without it. If this were indeed a foreign closed tear to fore edge, cc11 with minor loss to lower outer corner of leaf, finger mark at foot of vv10 verso); notwithstanding, the contents in nice edition – most likely produced in the Low Countries for export condition. A lovely example. to England – it might illuminate the apparently continental presentation. A superb “pearl bible”, a love token to an aristocratic spouse or The recipient has thus far proved untraceable; the initials “AM” paramour, the clasp engraved with the presentation monogram could be reversed, as was not uncommon in the 17th century. “AM” with a crowned love heart; the heart’s coronet appropriate for a continental viscount or viscountess. Darlow & Moule 520A; ESTC R23800. Such crowned love hearts were an established symbol of the love £4,750 [145459] gift and are also found on rings and brooches from the period. All such mementoes from the 17th century are naturally now scarce. For bindings like this, it is not unusual for the engraved furniture to be lost over time: for a book to retain all the metalwork without restoration and to be in such commendable condition is most uncommon. A contemporary owner has annotated the bible, generally with marginal lines and occasional minor comments, with especial interest in Proverbs, Psalms, Ecclesiastes, and most appropriately the Song of Solomon, the great love poem of the Old Testament, which is among the earliest and most erotic poetry surviving in the western tradition. In one instance the annotation is cropped by the binder, indicating that the book was in use prior to its binding as a love token, although whether the annotator is the presenter, the presentee (in their possession before rebinding as a token), or a prior owner, is unclear. The “pearl bible” was produced during the English Civil War, tradition holding that they were intended for the soldiers of Oliver Cromwell’s army as a pocket-sized book to carry during their service. The imprint of “His Highness’s printers” refers to the 16

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Inscribed by Blunt to his lover Mary Singleton a poem and a poet in one” (Orlando). She had a prolific output, publishing five collections of poetry, a verse novel, a drama, three 17 prose novels, a volume of essays and stories, and a translation, BLUNT, Wilfrid Scawen. The Love-Lyrics and Songs of as well as numerous periodical publications. She was especially Proteus. Hammersmith: Kelmscott Press, 1892 known for her satirical writings, many poking fun at the British upper class (of which she was a well-established member) or at her Small quarto. Original stiff vellum by J. and J. Leighton of London, yapp own occasionally tangled love-life. edges, spine lettered in gilt, edges uncut, silk ties detached but retaining In the early 1870s she began a long-lasting romantic affair three of the original four. Housed in a custom green morocco solander box with Kelmscott Press device to front panel in gilt with red and white onlay. with the diplomat Philip Currie, a cousin of Blunt’s, whom she Woodcut border to opening text page, 6- and 10-line initials by Hooper would marry after the death of her first husband Henry Sydenham after Morris; shoulder titles, initials, stanza and sonnet numbers, and Singleton in 1893. She did little to conceal this affair and assumed some lines printed in red, all printed in Golden type. Very faint soiling to the role of hostess to foreign dignitaries placed under Currie’s care vellum as often, vellum remaining unbowed and square, minor rippling throughout their relationship. In 1880, however, Singleton began to endpapers, short cracks to paper at turn-ins, very light toning to book a liaison with Blunt himself, “her combination of wit and emotion block edges, a beautiful copy in near-fine condition. sparking off in Wilfrid a new electric storm of poetry” (Longford, First Kelmscott edition, one of only 300 copies, presentation copy, p. 161). Although their romantic tryst did not last long, the two pseudonymously inscribed by Blunt to his sometime lover Mary remained friends and Blunt recalled that many of his early sonnets Singleton on the front free endpaper, “Violet Fane from Proteus were addressed to her. April 29 1892”. Singleton was notably the subject of Sonnet LV “St. The Love-Lyrics and Songs of Proteus was issued on 27 February 1892 Valentine’s Day” on page 162 of this work. This is a beautiful copy making this one of the earliest known inscribed copies: the only with a fittingly romantic association. earlier copies that can be traced are those inscribed to Frederick Mary Singleton née Lamb (1843–1905) gained widespread Locker-Lampson on 22 April and Jane Morris on 26 April. This is attention with her collection of love poetry From Dawn to Noon the only Kelmscott book with the decorated initials printed in red, in 1872. The collection was published under the pseudonym of done at the special request of Blunt. Violet Fane, a romantic heroine of Benjamin Disraeli’s Vivian Grey Franklin, p. 200; Peterson A3; Ransom, Kelmscott 3. Elizabeth Longford, A (1826). She swiftly established herself in London literary society, Pilgrimage of Passion, 1979. becoming friends with Robert Browning, Algernon Swinburne, and Oscar Wilde, who affectionately called her a woman “who is £4,500 [144728]

All items are fully described and photographed at peterharrington.co.uk 11 18 19

A “landmark” edition – copy number 1 and notes its “sonorous and self-conscious Pre-Raphaelite vocabulary”. 18 Armstrong notes that “the privately printed edition was issued BOCCACCIO, Giovanni. The Decameron. London: Printed as a limited edition of 750 copies in two different deluxe formats: by private subscription and for private circulation only, 1886 one, the ‘Holland Paper’ edition, with 11 illustrations by the famous French engraver Léopold Flameng, and one without”. 3 volumes, large octavo (226 × 153 mm). Contemporary red hard-grain This example, though it has the Flameng illustrations, is from morocco preserving the original printed wrappers, spines lettered in gilt a “Japan Paper Edition” not noted by Armstrong and is marked and gilt tooled in the compartments, boards richly gilt, blue morocco doublures richly gilt, red watered silk free endpapers, top edges gilt, others “Subscription copy number 1”. untrimmed. 11 etched plates (including frontispieces) by Léopold Flameng, Guyda Armstrong, The English Boccaccio, 2013; Thomas Wright, The Life of John each mounted on white heavy paper and with a captioned tissue guard. Payne, 1919. Joints furbished, with some light superficial wear, the bindings sound and bright, very occasional slight dust-soiling to contents, else internally fresh; £2,250 [145322] a very good copy indeed. First Payne edition, copy number 1 of an unstated but evidently Signed by Marc Bolan and Mickey Finn small limitation in a rare and unrecorded Japan paper issue, 19 printed on large paper for subscribers. “A landmark in the history of the Decameron in English, [and] the very first complete and BOLAN, Marc. The Warlock of Love. London: Lupus Music, unexpurgated version” (Armstrong, p. 259), this splendid copy of 1969 Boccaccio’s erotic story cycle is in a fittingly lavish scarlet morocco Octavo. Original photographic boards, titles to spine and front board binding. white. With the dust jacket. Board edges slightly rubbed; an excellent copy A linguistic scholar and prolific translator, Payne (1842–1916) in the slightly creased jacket with extremities lightly rubbed and nicked. rendered French, German, Arabic, Persian, and Turkish texts into First edition, first impression, signed by Marc Bolan and fellow English, notably the Diwan Hafez and the Arabian Nights, through T. Rex band member Mickey Finn on the front free endpaper which he met and befriended the orientalist and explorer Sir (“Marc Bolan / Micky Finn”). The signatures were obtained at their Richard Burton. In a November 1881 letter to the Athenaeum about gig in the Electric Garden, Glasgow on 25 May 1970. With a letter his own unfinished work on the Arabian Nights, Burton wrote “I laid-in from the original owner detailing the provenance. rejoice to see that Mr. Payne has addressed himself to a realistic translation without ‘abridgements or suppressions’ . . . I want to £2,500 [106957] see that the book has fair-play; and if it is not treated as it deserves I shall still have to print my own version. [His] Villon, however, makes me hope for the best” (cited by Wright, p. 72). Payne had founded the Villon Society in 1878 to publish his first complete translation of the French poet François Villon, and his work on this Decameron was just as thorough and celebrated. G. H. McWilliam, in his 1971 edition of the Decameron, called Payne’s version of Boccaccio’s masterpiece “splendidly scrupulous”,

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Presentation copy to his greatest muse, the “haloed” Norah Lange 20 BORGES, Jorge Luis. Inquisiciones. Buenos Aires: Editorial Proa, 1925 Octavo (175 × 130 mm). Specially bound for presentation in contemporary tan cloth, red morocco spine labels, marbled endpapers. Housed in a black 21 quarter morocco solander box by the Chelsea Bindery. Title label at the head a little chipped, cloth somewhat spotted with a few other marks, light rubbing to extremities, some foxing within, a very good copy. cut. Borges had a set of untrimmed sheets specially bound for presentation to Lange. We are unaware of any other copy thus First edition, first impression, a superlative presentation copy presented, making this copy perhaps the primary presentation of the author’s first work of prose. One of 505 copies printed, copy of Borges’s first experiment with short prose pieces, the this is a uniquely untrimmed, unnumbered, and specially bound medium in which decades later he would achieve his monumental presentation copy inscribed by Borges on the first blank to his status in world literature. fellow Argentine author, and muse, Norah Lange (1905–1972). Borges’s inscription, using the nickname reserved only for £27,500 [145266] family and his most intimate friends, reads, “a la aureolada Nora, muy cordialmente – Georgie” (“to the radiant/haloed 21 Nora, very warmly, Georgie”). A pencil note below, apparently in the hand of Lange’s sister, observes “no pudo, para ti, encontrar BRADLEY, Katharine, & Edith Cooper, as Michael mejor adjetivo” (“he could not have found a better adjective for Field. Poems of Adoration. London & Edinburgh: Sands & you”). This radiance may be read either in reference to the light Co., [1912] colouring afforded by Lange’s exotic Scandinavian blood (she Octavo. Original purple cloth, titles to spine in gilt, front cover elaborately was three-quarters Norwegian), or a sign of Borges’s worship of blocked in gilt with art nouveau iconographic design by Charles Ricketts, her at this time. edges untrimmed. Spine lightly faded, minor rubbing to extremities, Edwin Williamson asserts Lange’s central significance as boards slightly bowed, very occasional foxing to contents, central vertical Borges’s early muse in his 2011 biography, identifying her as the crease from production fault to pp. 41–2; a very good copy indeed. focus of a love triangle involving Borges and his literary rival the First edition, first impression, of this collaboration by Edith poet Oliverio Girondo. Borges went so far as to propose marriage Emma Cooper and her aunt and sometime lover Katharine Harris to Lange in March 1927, but she turned him down, and eventually Bradley, pseudonymously published as Michael Field. This copy married Girondo in 1943. The time around the publication of is in notably bright condition, highlighting Charles Ricketts’s Inquicisiones, however, marks the peak of Borges and Lange’s striking art nouveau cloth design. flirtation. A piece praising Lange is included among the essays Cooper and Bradley’s first publication as Michael Field , of Inquisiciones, gushing for three pages of poetic prose about “the Callirhoë (1884), was publicly well-received with The Spectator double brilliance of her hair and her haughty youth”, affirming greeting it “as a work of ‘great promise’, exhibiting ‘the their shared comradeship as poets of the Ultraist movement, and true poetic [and dramatic] fire’” and later asking, “will the likening the appearance of her poems to a “luna nueva”. This piece pseudonym of ‘Michael Field’ become greater even than that of was printed in the same year as the prologue to Lange’s debut ‘George Eliot’?” (Blain, p. 247). Although other contemporary books of poems, La calle de la tarde . admirers of their work included writers such as Robert Lange’s importance to Borges is well-documented, but her Browning, George Meredith, and Algernon Charles Swinburne, novels and poems have recently received renewed attention until very recently their work was not widely critically studied. in their own right, with Professor Kay Sibbald hailing Lange’s Virginia Blain, “‘Michael Field, the two-headed nightingale’: Lesbian Text as “vanguard feminism”, and a translation into English of her novel Palimpsest”, Women’s History Review 5:2, 1996; Marion Thain & Ana Parejo Vadillo, The People in the Room published in August 2018. Michael Field: The Poet, 2009. The published copies were trimmed and bound in blue £500 [134560] wrappers, but the text block of this copy is almost a centimetre longer from gutter to fore edge, and the edges much more roughly

All items are fully described and photographed at peterharrington.co.uk 13 First edition of Charlotte Brontë’s third novel, the last to be published in her lifetime. Virginia Woolf praised this quasi-gothic romance as “her finest novel. All her force, and it is the more tremendous for being constricted, goes into the assertion, ‘I love. I hate. I suffer.’” Sadleir 349; Smith 6; Wise 7; Wolff 828. £4,500 [125261]

23 BRONTË, Emily. Un Amant. Traduction française précédée d’une introduction par T[éodor] de Wyzewa. Paris: Perrin et Cie, Libraires-Éditeurs, 1892 Octavo. Original yellow printed wrappers, untrimmed. Housed in a green cloth flat-back box by the Chelsea Bindery. A hint of wear, spine expertly stabilized, light browning and discolouration to spine, contents a touch browned, a very well-preserved copy of a notoriously delicate production. First edition in French of Brontë’s Wuthering Heights (1847), later renamed Les Hauts de Hurle-Vent. Apparently scarce: Library Hub locates only the British Library copy in the UK, WorldCat adds a further four in France. We trace only one copy in commercial records, a rebound copy which sold at auction in 2018. 22 The first edition, published by Thomas Cautley Newby in London, was rushed into the shops on 4 December 1847 to capitalize on the 22 unexpected success of Jane Eyre. Wuthering Heights, however, attracted only hostile and uncomprehending reviews, perhaps explaining the BRONTË, Charlotte. Villette. London: Smith, Elder & Co., 1853 lengthy delay in the production of a French translation. This edition 3 volumes, octavo. Original brown cloth, spines lettered in gilt, sides includes a prefatory biography of the author by Wyzewa, albeit largely panelled in blind, yellow endpapers. With 12-page publisher’s catalogue to inspired by Charlotte Brontë’s preface for a later edition in English. rear of vol. 1, as issued. Remnants of stickers to front pastedowns in vols. 1 Portrayed as a coy, homesick girl who preferred the company of and 2, original binder’s ticket to rear pastedown of vol. 1, gift inscription to nature, animals, and the night, Emily Brontë captured the popular front free endpaper of vol. 1, neat quotation from Mrs Gaskell’s Life of Charlotte imagination of a country under the spell of Verlaine’s myth of the Brontë to front free endpaper verso in same vol. Spine ends somewhat nibbled and tips just rubbed, but a near-fine copy in original cloth, sound and fresh. cursed poet.

14 literature in love Publisher’s binding 24 BRONTË, Charlotte, Emily, & Anne. The Shakespeare Head Brontë. Oxford: Newly printed at the Shakespeare Press, published by Basil Blackwell and by Houghton Mifflin Company, Boston and New York, 1931 19 volumes, octavo (228 × 155 mm). Bound at the Riverside Press (so signed on front free endpapers) in contemporary green crushed half morocco, spines gilt-lettered in two compartments, four compartments gilt with art nouveau style designs, raised bands, green cloth sides, single gilt rules, pale green endpapers, top edges gilt. 30 etched illustrations, 11 as frontispieces, the frontispieces also duplicated in full colour, with printed tissue guards. Title pages in red and black. Occasional mild spotting to pages, spines evenly faded to brown but still very eye appealing, light general shelf wear to bindings, mild soiling to some sides, a very good set which displays nicely. Large paper issue of the Shakespeare Head edition of the novels of the Brontë sisters, number 41 of 500 copies of the American issue, the whole edition having been equally divided between Britain and the USA, extremely scarce in the attractive publisher’s binding. These handsomely produced collected works include two of the most power romantic novels of the 19th century, Charlotte’s Jane 23 Eyre and Emily’s Wuthering Heights, alongside the sisters’ other novels, poetry, and correspondence. “The polyglot Polish exile Teodor de Wyzewa is now remembered mainly as the first exegete of Mallarmé and as the £8,750 [86989] joint author of a massive monograph on Mozart. But from his prodigiously prolific pen there also came 26 volumes of novels, tales, memoirs and essays, 40 volumes of translations, and 900 articles on literature” (Austin, p. 295). Lloyd Austin, Poetic Principles and Practice, 2010. £6,000 [143390]

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“The beauty of a boy is beautiful indeed, but it lives not homosexual side of his romantic life notably led to an emotional long . . . ” Rupert Brooke’s gay poetry anthology crisis in 1912 that ended his long affair with his lover Katherine (“Ka”) Cox. The Brooke myth, which accompanied his life as 25 much as it was intensified by his death on the Greek island of Skyros, certainly identified the poet with “Greekness” (consider (BROOKE, Rupert.) CARPENTER, Edward (ed.) his friend Frances Cornford Darwin’s poem celebrating: “A Young Iolaus. An Anthology of Friendship. London: Swan Apollo, golden haired . . . ”) – though his homosexuality was never Sonnenschein, 1902 publicly acknowledged. Octavo. Original beige cloth, titles to spine and front in gilt and dark He clearly identified with the book, adding his large book­plate brown, top edge gilt. Housed in a tan morocco backed bookform box (illustrated by C. Lindsay) which is in our experience seldom by Asprey. Some minor darkening and marks to spine, light spotting to present among books from his library. His pencil annotations endpapers, otherwise sound and fresh, very good indeed. in Greek attest further to this engagement. He has added four First edition of this key early anthology of poetry celebrating male favoured lines of Theocritus (from Idylls VIII) to the margins of friendship and homosexual love, a wonderful association copy Carpenter’s chapter on him, and on the blank half-title verso from the library of Rupert Brooke, with his pencil ownership a further two lines of Greek, again from Theocritus. This time inscription and large illustrated bookplate (not often present Brooke draws from Idyll XIII (known as “Erastes” or “The Lover”), in his books) to front endpapers. Brooke has added pencil the “reckless lovers” from line 66, and a longer quotation from annotations in two places, supplying further poignant and line 32: “And the beauty of a boy is beautiful indeed, but it lives suggestive quotations from the Greek of Theocritus. not long”. This is remarkably self-reflexive, and would prove An important early publication of its type, Carpenter’s prophetically so. anthology was named after the charioteer and lover of Hercules. Brooke discovered Theocritus at the age of 18, writing to St John Including his own commentary, it explores the nature of loving Lucas in 1905: “Theocritus I adore . . . I have never read [him] male relationships from the ancient world to modern times, before. I am wildly madly enchanted by him”. It seems likely that with excerpts drawn from Shakespeare, Byron, Shelley, Melville, Brooke, who went up to Cambridge in October 1906, acquired his Tennyson, and Whitman, among (naturally) numerous Greek Iolaus around this time. and Roman poets and philosophers, as well as the interesting A postcard is also laid in, with a note scribbled in Brooke’s hand inclusion of Persion poets such as Rumi and Hafiz. to a friend: “I seem to be very hard up. So you can pay me the rest Brooke’s ownership of it is highly telling. His Cambridge as soon as you get it.” circle, dubbed by Virginia Woolf as the “Neo-Pagans”, had been Anthony Copley, A Spiritual Bloomsbury, 2006; Paul Delany, The Neo-Pagans: Rupert significantly influenced by the “simple life” ideas that Carpenter Brooke and the Ordeal of Youth, 1987; Sheila Rowbotham, Edward Carpenter: A Life of (also a socialist and advocate for vegetarianism) had popularized . Liberty and Love, 2008. More pertinently, though, Brooke was bisexual and had relations £9,750 [144707] with both men and women. His struggle to come to terms with the

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26 and they were effectively a couple, albeit a chaste one, for the rest (BROOKE, Rupert.) SHAKESPEARE, William. of his life. The Winter’s Tale. London: George Harrap & Co., [c.1909] £1,250 [142637] Octavo. Original pink cloth, spine and front cover lettered in gilt. Spine sunned, cloth somewhat soiled, still a good copy. Rare first appearance of Sonnets from the Portuguese The copy of the poet Rupert Brooke, with his posthumous book 27 label to front pastedown. This is a particularly appropriate volume, as it was in Harley Granville Barker’s 1912 production of BROWNING, Elizabeth Barrett. Poems. London: The Winter’s Tale that Brooke first saw the love of his life Cathleen Chapman & Hall, 1850 Nesbitt, in the role of Perdita. His biographer writes that Brooke 2 volumes, octavo (169 × 106 mm). Attractively bound to style in modern over-identified Nesbitt with Perdita, as a sweet young innocent, green half calf, spines in compartments with gilt and blind decoration, red distorting their relationship (Nigel Jones, Rupert Brooke: Life, Death morocco title label gilt to each, marbled sides, brown coated endpapers, and Myth). Eddie Marsh set them up following the performance, top edges gilt. With the original cloth bound in at the rear of each volume. Fine condition, clean within. Second edition, the first to include the “Sonnets from the Portuguese”, handsomely bound with the original cloth preserved within and both half-titles. Barrett Browning’s Poems first appeared in 1844, but this “New Edition” (the second overall) contains in the second volume the coveted and rare first appearance of “Sonnets from the Portuguese”, some of the most famous love poems in the English language, including most prominently “How do I love thee, let me count the ways . . . ”. It is also the first to give Barrett Browning’s married name. Her 1844 Poems attracted the attention of, and led to her introduction to, Robert Browning, resulting in the whirlwind love affair that led to the composition of these famous love poems in the years immediately following. This copy is in the second state with the publisher’s imprint “193 Piccadilly” instead of “186 Strand” and cloth being blue rather than brown, the first state being very rare. £5,000 [132112] 26

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28 slipcase with chemises. An exceptional copy, spines sunned but the gilt still very bright and otherwise a truly fine set. BROWNING, Elizabeth Barrett. A Selection from the First edition, an exceptional fine set in the original cloth, of Poetry. Leipzig: Bernhard Tauchnitz, 1872 Browning’s most enduring collection. Men and Women was the Small octavo (164 × 112 mm). Contemporary Italian hand-painted vellum, equivalent of Browning’s “Sonnets from the Portuguese”, likewise titles in red and black calligraphy to front board with foliate surrounds in being the first published after his marriage to Elizabeth Barrett. pink, blue, and green, gilt raised dot work embellishments and circular panel It features many love poems, including “Love Among the Ruins”, surrounding design of the Brownings’ Venetian villa, simple foliate design “Any Wife to Any Husband”, “Love in a Life”, “Life in a Love”, “The to spine in gilt, large dragon design outlined in gilt on dark green ground to rear board, board edges partially bevelled, plain endpapers, pale brown suede Last Ride Together”, and “Two in the Campagna”. ties, top edge of book block gauffered in gilt with dot design. Frontispiece The collection also includes longer poems such as “Childe portrait of the author with tissue guard. Vellum very lightly soiled, a couple of Roland to the Dark Tower Came” and “Andrea Del Sarto”. The chips to raised gilt embellishment on front board, faint foxing to book block publication has proven quite fragile, and copies surviving in such edges, contents clean; a lovely copy in very good condition. sparkling condition, especially in the original cloth, are very A beautiful copy of the first Tauchnitz edition in an Italian hand- seldom encountered. This copy has the contemporary ownership painted vellum binding depicting the Brownings’ Venetian villa. inscription to vol. 1 title page of Emma Barclay, and the armorial This selection includes some of Barrett Browning’s key love poetry stamps of the Scottish clan Barclay to the front endpapers. such as “The Romance of the Swan’s Nest”, “The Romaunt of the £2,250 [145103] Page”, and her “Sonnets from the Portuguese ”. Elizabeth Barrett Browning moved to Italy with Robert Browning following their honeymoon in Paris in September 1846. From then she lived almost 30 continuously in Italy until her death in Browning’s arms in 1861. BUKOWSKI, Charles, & Linda King. Me and Your Both the Tauchnitz editions and elaborate bindings such as this Sometimes Love Poems. Los Angeles: KissKill Press, [1972] were produced for English-speaking travellers on the continent, often replicating the common route of Grand Tours. Tauchnitz editions are sometimes thought of as piracies whereas they were in fact authorized editions marketed at such travellers. £675 [145263]

“Infinite passion and the pain Of finite hearts that yearn” 29 BROWNING, Robert. Men and Women. London: Chapman & Hall, 1855 2 volumes. Original green cloth, titles gilt to spines, sides panelled in blind (Carter’s variant “B”). Housed in a green morocco backed book-form 30

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Folio, 20 mimeographed leaves of variously coloured paper (355 × 222 mm). 100 plates with captioned tissue guards. Engraved bookplate with “H” Printed on rectos only, staple-bound at upper margin as issued. Marginal monogram and coronet to front pastedowns. A fine set. illustrations throughout. Faint single central horizontal crease, negligible First edition thus, one of 1,000 copies only, in an attractive Riviere creasing to edges, a remarkably well-preserved copy in near-fine condition. binding. Often considered Burton’s most enduring work, this First edition, one of an estimated 100 copies only, this attractive translation is somewhat explicit, as are some of Burton’s notes. copy signed by both authors on the front cover, with three minor The Kamashastra Society was Burton’s vehicle to avoid manuscript corrections in King’s hand to the text. Bukowski prosecution, which would have been likely if this work had been collaborated on this work with his then partner Linda King, a poet published in an open edition. Privately disseminating works with and sculptor who edited the literary magazine Purr. explicit content among the members of a society was legal, and was While Krumhansl suggests a print run of roughly 100 copies, the means by which Burton skirted the obscenity laws. The first ten various sources cite Linda King’s recollection of only 50 copies volumes were issued in 1885 and the balance three years later. having been printed. Institutionally, 20 copies have been traced worldwide, all held in the US except that at Oxford University. £15,000 [143343] Krumhansl 42. £1,750 [142875]

A superb set 31 BURTON, Sir Richard Francis. A plain and literal translation of the Arabian nights entertainments. Benares: Kamashastra Society, 1885–88 16 volumes, octavo (237 × 145 mm). Finely bound by Riviere & Son in brown morocco, titles in gilt direct to spine, raised bands, compartments and turn-ins richly gilt with floral motifs, red coated endpapers, gilt edges. 31

All items are fully described and photographed at peterharrington.co.uk 19 4 works bound in one, octavo (215 × 128 mm). Contemporary half calf, spine with five low raised bands, gilt lettered direct and with foliate decoration filling the compartments, marbled sides, red speckled edges. Engraved armorial bookplate (an appealing rococo anachronism) of Edward Parker of Browsholme, Yorkshire. Advertisement leaf [E8] to The Prisoner of Chillon and half-title to The Siege of Corinth discarded by the binder. Front joint split at head but sound, corners a little worn. An attractive, unrestored volume, with half-titles to the first three works. First editions, first issue of Hebrew Melodies, with the 4-line notice of Samuel Rogers’s Jacqueline: A Tale on the verso of E4 (omitted in the second issue) and Thomas Campbell’s Selected Beauties of English Poetry advertised as “In the Press”; The Giaour is of the issue printed on ordinary wove paper without a watermark. This is a fine representative Sammelband of four works, notable for including the first issue of Hebrew Melodies, which contains one of Byron’s finest lyrics, “She walks in beauty”, and the oft-anthologized (and oft-parodied) “The Destruction of Sennacherib”, with its opening line “The Assyrian came down like the wolf on the fold”. Byron’s Eastern narratives, the wildly popular The Giaour, The Siege of Corinth, and Parisina, appear here, which “defined and perfected the Byronic hero” (ODNB). Wise I, pp. 103–04, 78, 113–14, 106–07. £2,500 [131986] 32 34 Hope Mirrlees’s copy, with a letter from the author CAPOTE, Truman. Breakfast at Tiffany’s. New York: 32 Random House, 1958 BUSSY, Dorothy, as Olivia. Olivia. London: Hogarth Press, Octavo. Finely bound by the Chelsea Bindery in pink morocco, black morocco title label, title to spine silver, black leather onlay silhouette of 1949 Audrey Hepburn as Holly Golightly with real diamond jewellery, black plain Octavo. Original pink cloth, titles to spine in gilt, ribbon vignette to front endpapers, twin rule to turn-ins silver, all edges silver. Housed in a custom cover in gilt, top edge pink. With the jacket illustrated by Duncan Grant. black velvet drawstring bag. A fine copy. Spine slightly cocked, cloth bright, contents clean, a fine copy in the jacket with lightly browned spine, negligible creasing to edges. First edition, first impression, a great Bloomsbury Group association copy, with the ownership inscription of Hope Mirrlees (1887–1978) to the front free endpaper, of this pseudonymously published lesbian novel by Dorothy Bussy, sister of Lytton Strachey. The copy was sent to Mirrlees by Bussy, and includes a highly revealing autograph letter signed from Bussy to Mirrlees concerning her intention for the story. The novel is based on Bussy’s experience while a student at the Marie Souvestre girls’ school, as well as her viewing of the German film Mädchen in Uniform (1931) which too explores a lesbian relationship at an all-girls school. In her letter Bussy notes her relief at both the safe delivery of a copy of Olivia to Mirrlees, who has made two small pencil underlinings to the text, and at Mirrlees’s positive response: “I am so very glad you like Olivia and in such an understanding way . . . I hope I shall very soon see you and be able to answer (some of ) your indiscreet questions”. £1,750 [145212]

“She walks in beauty, like the night . . .” 33 BYRON, George Gordon Noel, Lord. Hebrew Melodies [with:] The Giaour, a Fragment of a Turkish Tale; The Prisoner of Chillon, and other poems; The Siege of Corinth. A Poem. Parisina. A Poem. London: John Murray, 1815, 1813, 1816, 1816 34

20 literature in love First edition, first printing, of Capote’s classic novella, the basis for the much-loved film. Finely bound by the Chelsea Bindery in rose-pink and black morocco leather, the front cover features a silhouetted Audrey Hepburn in that iconic Givenchy little black dress and foot long cigarette holder. Diamond embellishments on the jewellery make this luxurious and unusual binding sparkle. £2,750 [134757]

35 CARTER, Angela. Fireworks. Nine Profane Pieces. London: Quartet Books, 1974 Octavo. Original purple cloth, spine lettered in gilt, purple endpapers. With the dust jacket. A fine copy in near-fine, lightly toned jacket. First edition, first impression, signed by the author on the title page. Fireworks was Carter’s first collection of short stories, a series of feminist meditations on sex relations inspired by experiences living in Japan 1969–1971. She later recalled that “In Japan I learnt what it is to be a woman and became radicalized”. £500 [142577]

36 CASANOVA DE SEINGALT, Jacques; WEGENER, Gerda (illus.) Une aventure d’amour a Venise. Paris: Le livre du bibliophile, 1927 2 volumes, quarto. Original plain paper wrappers, titles to spines and front covers in black and red, edges untrimmed. With the original glassine 36 wrappers. Text in French. With 8 full-page colour etchings by Andre Lambert after Wegener’s watercolours with tissue guards, and wood engraved headpieces, initials, and vignettes by G. Aubert printed in sepia after her designs. Slight chips to spine ends, gatherings a little fragile, a near-fine copy in the faintly toned glassine jackets. First edition thus, first printing, number 226 of 414 copies printed on velin d’arches paper, of a total print run of 500. The text is extracted from Casanova’s memoirs describing his relationship with “M.M.”, a nun from the convent at Murano. This edition is beautifully illustrated by Gerda Wegener, likely using her wife, Lili Elbe, as a model. Gerda Wegener (1886–1940) was a Danish artist working in art deco and art nouveau styles known for her eroticized depictions of women, her pioneering reconsideration of the female gaze in portraiture, and her stunningly decadent backgrounds which are well-exemplified here. In 1925 Wegener represented France at the world exhibition in Paris where she was awarded two gold and one bronze medals. Wegener was married to fellow artist Lili Elbe, having met at the Royal Danish Academy of Fine Arts in Copenhagen. The two lived in Paris from 1912 where Elbe was one of Wegener’s most frequent models. Elbe is also known for being one of the first documented recipients of gender affirming surgery, and as the subject of the novel The Danish Girl by David Ebershoff, and 2015 film of the same name. £2,000 [145168]

35

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37 throughout, tiny hole in v.1 C2 costing one letter on verso, small hole at foot of v.1 E5 touching one letter on verso, occasional short closed tears in inner CASANOVA DI SEINGALT, Jacques. The Memoirs. margin (v.1, D6–8; v.2 D8 and F6), small hole at foot of v.2 B6 touching An Autobiography Translated into English by Arthur two letters on verso, some marginal tears with loss to edge of text area but Machen With an Appreciation by Havelock Ellis. London no loss of text (v.1, D8 and F3; v.2, E7–8, F12, H7, the latter with old paper repair), these flaws minor only; overall, a very good copy in an unrestored & New York: Issued for Subscribers only by The Venetian Society, contemporary binding. 1928 Extremely rare early edition of Cleland’s Memoirs of a Woman 12 volumes, octavo (240 × 157 mm). Contemporary purple half morocco, of Pleasure, or Fanny Hill, “the first original English prose spines lettered in gilt, compartments gilt, pink cloth sides, marbled pornography, and the first to break away from the dialogue form endpapers, top edges gilt, others untrimmed. Frontispiece portrait of into the style of the novel” (Foxon, p. 45). Jacques Casanova with tissue guard. Bookplates of Howard Paulsen. First published under the same imprint in an edition dated Small tear to cloth on front cover of vol. I, occasional light wear and 1749, the imprint is fictitious, though to what extent is unclear. rubbing around extremities, yet overall a very good set, spines bright and presenting nicely. A very handsome set of the memoirs of the great libertine, one of a stated edition of 330 unnumbered sets (other sets are known with an edition limitation of 660). The text uses the translation of the Welsh mystic and author Arthur Machen, first published in 1894, with an introductory essay by the pioneering sexologist Havelock Ellis, taken from his 1898 collection Affirmations. It additionally includes the two chapters of the Memoirs rediscovered by Arthur Symons in 1899. £1,750 [138632]

Truly rare early edition of Fanny Hill 38 CLELAND, John. Memoirs of a Woman of Pleasure. London: Printed for G. Fenton in the Strand, 1781 2 volumes bound in one, duodecimo (171 × 102 mm), pp. 172; 187. Contemporary calf, smooth spine divided in compartments by decorative gilt rolls, black morocco label, gilt initials “W.H.” at foot, sides with decorative gilt roll, marbled endpapers. Housed in a black quarter morocco solander box by the Chelsea Bindery. Printed title pages without ornaments or rules, un-illustrated as issued. Early ownership inscription lightly abraded from head of first title. Binding rubbed, especially at the joints, corners worn, spine creased, short tear at lower inner corner of first title without loss, intermittent pale brown marginal stain at lower inner corner 38

22 literature in love 39

Under questioning, Ralph Griffiths claimed that the clandestine 40 publication was a joint enterprise with his brother Fenton Griffiths (“G. Fenton” being a disguised version of the latter’s name), but it is by no means certain that the brother existed. fifteen copies in institutional libraries (BL and Oxford only in the ESTC, locating only one copy of this edition at the Biblioteka UK), and with only a few auction records in the last half century. Uniwersytecka, Warsaw, Poland, wrongly characterizes this as an ESTC N24327. abridgement: the text here is in the fully explicit original version – £3,000 [125240] set in two letters, rather than the eleven letters of the abridged and bowdlerized Memoirs of Fanny Hill (1750) – with the only omission the brief homosexual passage in vol. II that was omitted from 40 all 18th-century editions after the first. All 18th-century editions COCTEAU, Jean. Le Livre Blanc. Paris: Editions du Signe, are rare, this edition particularly so: no copy appears in auction 1930 records going back to at least 1975, and the Warsaw copy is the only one located in institutional records, including the Private Quarto. Original cream folding wrappers, titles in black to front cover, untrimmed. Housed in the publisher’s slipcase and chemise. Frontispiece Case of the British Library. and 17 line-drawing plates after Cocteau, hand-coloured by M. B. Ashbee Vol. 3, p. 66 no. 3; not in the British Library. Foxon, Libertine Literature in Armington, and a plate of Cocteau’s handwriting in facsimile. Light England, 1660–1745, 1964. toning to wrappers, the binding otherwise firm and unmarked, internally clean and fresh; a very good copy indeed, the slipcase and chemise £19,500 [145272] somewhat restored. First illustrated edition, first printing, inscribed by Cocteau on 39 the half-title “à mon cher Maurice, le jour où Pas de Chance est CLELAND, John. The Surprises of Love, exemplified in revenu du bagne” and with an original sketch of Pas de Chance, the Romance of a Day . . . London: T. Lownds and W. Nicoll, a character in this classic of homosexual literature. This is copy 1765 lettered h of 22 hors commerce copies, from an edition of 450. Although not specified, the recipient is likely the French Duodecimo (165 × 95 mm). Contemporary calf, spine bands and covers writer Maurice Sachs (1906–1945) who met Cocteau around 1923, ruled in gilt. A few contemporary pen jottings to pastedowns. Light wear to became his secretary, and published the first edition of this work extremities, a few scratches to covers, front joint starting to split at head, a little shaken, front free endpaper lacking, inner margin of title-leaf torn at in 1928, without illustrations. Although Cocteau is credited in the head without affecting text, corner of p. 171 chipped without affecting text, present edition as the illustrator, both editions were published a few pages lightly creased and marked. A very good copy. anonymously. This is the most explicit of Cocteau’s work, charged First collected edition, with two of the stories (“Romance of a with homoeroticism and based on his own sexual encounters. Morning”, “Romance of an Evening”) here printed for the first This copy, though unmarked as such, was later in the time, the other two (“Romance of a Day”, “Romance of a Night”) Farringdon House library of Lord Berners, the British composer, previously published in 1760 and 1762 respectively (hence stated novelist, and painter. second edition on title page). John Cleland is best known for his £4,500 [143341] The Memoirs of a Woman of Pleasure (generally known as Fanny Hill), often seen as the first modern erotic novel. The Surprises of Love, as with all of Cleland’s works, is a scarce book, ESTC listing only

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41 publicity break for the book, and that sales were slow but steady” COHEN, Leonard. Dance Me to the End of Love. (ibid., p. 172). Linda Hamalian, The Cramoisy Queen: A Life of Caresse Crosby, 2005. Paintings by Henri Matisse. Edited by Linda Sunshine. A Greg/Clark Design. New York: A Welcome Book, distributed £500 [144764] by Stewart, Tabori, & Chang, 1995 43 Quarto. Original pictorial boards, titles to covers and spine, red endpapers. With the dust jacket. Illustrated in colour throughout with Henri Matisse CROSBY, Harry. Sonnets for Caresse. Paris: Albert paintings. A near-fine copy with a few trivial marks to jacket. Messein, Editeur, 7 October 1926 First edition, first printing, signed by Cohen on the front free Octavo (164 × 111 mm). Original presentation vellum, hand-painted endpaper and stamped with his authenticating double heart titles to spine and border to sides, yapp edges, marbled endpapers, top stamp. This is a wonderful pairing of Leonard Cohen’s amorous edge gilt, others untrimmed, silk bookmarker loosely inserted. With the poem (originally recorded as a song on his album Various Positions) original wrappers bound in. Title page vignette in red. Spine a little greyed, with the illustrations of Henri Matisse, and was part of Stewart, bookmarker detached but retained, contents bright; a near-fine copy. Tabori, & Chang’s Art and Poetry series. The most complete edition of Crosby’s first book, the third overall, £1,000 [144385] number 23 of 100 copies on Arches paper (there were also 7 issued on japon, and one on vellum). This copy, which is in beautiful condition with the original wrappers bound into the hand-painted 42 vellum binding as issued, is a presentation copy, inscribed by CROSBY, Caresse. The Passionate Years. New York: The Harry Crosby to Helenka Adamowski Pantaleoni “Helenka from Dial Press, 1953 Harry Paris MCMXXVII”. Pantaleoni (1900–1987) met Crosby at Harvard when he was Octavo. Original black cloth-backed green boards, titles to spine in gilt. With the dust jacket. With 8 black and white plates. Negligible rubbing to there as a student after the First World War. She remembered spine ends and tips, a couple of tiny bumps to foot of rear board, contents him at this time as “an incredibly sensitive, high-strung, poetic clean, a beautiful near-fine copy in the bright jacket with slight creasing individual” (Wolff, p. 68). Pantaleoni was a renowned actress and and nicks to edges. intellectual who founded the US Fund for UNICEF, serving as its First edition, first printing, presentation copy, inscribed by the from 1953 until her retirement in 1978. author on the front free endpaper, “For Delia, whose passionate Sonnets for Caresse was first published in October 1925. The first devotion to ‘The Passionate Years’ has been a delight, gratefully, and second edition contained 30 and 37 poems respectively, and Caresse, April 7, 1953”. The recipient was Delia Bye of the Dial this third was expanded to 48; a fourth edition the following year Press, one of Crosby’s editors for this work. was halved in size with only 24. The Passionate Years is an autobiography of 39 “short anecdotal Harry Crosby (1898–1929) was born the heir to one of Boston’s chapters, which critics generally admired for its vivacious style wealthiest banking families (he was the nephew of J. P. Morgan). and intimate rendering of 1920s Paris” (Hamalian, p. 172). In After serving as an ambulance driver during the First World War July 1953 Bye reported to Crosby that her positive reviews in the he met and fell in love with a married woman, Mary Peabody (née New York Times and the New York Herald Tribune had led to “a good Jacob), a Bostonian heiress. They eloped to Paris and she changed her name to Caresse. Harry and Caresse embedded themselves in the avant-garde cultural scene, holding wild parties in their

24 literature in love 43 palace on the île Saint-Louis, and founding the Black Sun Press, which published the work of English and American expatriate modernists such as Crane, Eliot, Jolas, Joyce, Lawrence, MacLeish, and Pound. The couple lived a life of dissolution off Harry’s inheritance. Following Crosby’s tragic death in 1929, the Black Sun Press continued under the directorship of Caresse, who survived 44 until 1970. Minkoff A3-c; Geoffrey Wolff, Black Sun: The Brief Transit and Violent Eclipse of Harry Crosby, 1976. (as pictured above), including the names Jacqueline, Ninon de Lenclos, Caresse, and Constance under the title “A Paris, ce £3,750 [144892] mois de décembre 1924”. Jacqueline was his imaginary lover, to whom Crosby left his gold suncup and $5,000 in his will, and 44 whose name he had tattooed across his chest. Ninon de Lenclos (CROSBY, Harry.) DAUDET, Alphonse. Sapho. Paris: (1620–1705) was a writer, courtesan, and patron of the arts whose Librairie Alphonse Lemerre, [c.1903] name in France is synonymous with wit and beauty. Constance was Constance Crowninshield Coolidge, a lover and close friend Octavo (155 × 88 mm). Contemporary black crushed morocco, raised of Crosby’s. What role, in this imaginary ménage, was to be played bands to spine, titles to spine in gilt, elaborate “Crosby Cross” and “Ad by “Boys”, Crosby’s sun-pipe, and indeed his mamma, we can Astra Per Aspera” vignette to the design of Crosby’s bookplate blocked in gilt to boards, marbled endpapers, turn-ins rolled in gilt, edges gilt. Title scarcely guess. page printed in red and black. First inscription to front free endpaper Sapho was first published in 1884 and adapted into a play of the verso, “Best wishes for a Merry Christmas, Franny”. Philip C. Duschnes same name by Daudet in 1885. It “chronicles the tempestuous bookseller’s ticket to rear pastedown. Initials not in Crosby’s hand to verso love story between Fanny Legrand, the titular character, and Jean of final blank, “EB / NN”. Minor rubbing to extremities, front board neatly Gaussin, a destructive affair marked by a pattern of cohabitation reattached, rear inner hinge reinforced, contents clean; an excellent copy. and rupture during which the two characters find they can live Harry Crosby’s copy of Daudet’s cautionary romantic novel neither with nor without each other”, themes relevant in Crosby’s warning against a life of overt debauchery, with Crosby’s pencil own romantic endeavours (Brevik-Zender, p. 99). As was a and ink underlining to 116 pages of the text, including many recurring theme in French literature of the era the title character passages that play upon the symbolism of the sun and the power is “associated by her nickname of Sapho with both lesbianism of lust and desire in a man’s life. and sexual excess” (Schultz, p. 49). The novel was partly In addition to being bound for Crosby this copy has several autobiographical, Legrand based on Daudet’s former mistress marks of his ownership: the “Crosby Cross” black morocco Marie Rieu, an actress and courtesan to whom he dedicated his bookplate (the design incorporating the names Harry and Caresse only collection of verse, Les Amoureuses (1858), and from whom he crossing at the first “r”) to the front free endpaper; his paper contracted the venereal disease which led to his death. bookplate to the front pastedown ; his ownership inscription Heidi Brevik-Zender, Fashioning Spaces: Mode and Modernity in Late-Nineteenth- inked neatly above; a Black Sun blindstamp to first blank with the Century Paris, 2015; Gretchen Schultz, Sapphic Fathers: Discourses of Same-Sex Desire “Crosby Cross” written within in manuscript; Crosby’s inscription from Nineteenth-Century France, 2015. below, “Harry Grew Crosby a Paris ce 14 juin 1925”; he has added £4,750 [144911] a rather curious list of names to the rear free endpaper recto

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

“Indescribable filth” became a sensation among erudite pornographers everywhere. Crowley, determined to do a better job of explaining the nature of 45 sexual deviance, wrote a story from the perspective of a poet who CROWLEY, Aleister. White Stains. The Literary goes astray, taking on various vices and ultimately committing Remains of George Archibald Bishop a Neuropath of murder . . . Although White Stains has been hastily dubbed pornographic, it actually belongs to Decadent literature, with the Second Empire. [Amsterdam: printed by Binger Bros for poetry a natural style for Crowley to choose” (Kaczynski, p. 49). Leonard Smithers,] 1898 Yorke 46. Richard Kaczynski, Perdurabo: The Life of Aleister Crowley, 2010. Quarto. Original black cloth, white ankh or crux ansata device at head of spine, lettered in white on front cover, untrimmed. Housed in a black cloth £8,000 [144151] flat-back box by the Chelsea Bindery. Ends and corners worn, some other light rubbing and faint marks, some white marks to front cover, internally 46 sound and fresh, very good overall. CROWLEY, Aleister; RODIN, Auguste (illus.) Seven First edition, sole printing, of one of Crowley’s rarest books: number 29 of 100 copies printed, with “many destroyed by H.M. Lithographs by Clot from the Water-Colours of August Customs in 1924” (Yorke) for its pansexually erotic content. OCLC Rodin, with a Chaplet of Verse. London: printed for the records only two copies in British institutional libraries (BL and author at the Chiswick Press, 1907 the Warburg), and eight in America. Quarto. Original white cloth, titles to spine and front cover in gilt, fore “Smithers was the logical publisher for Crowley’s next book, and bottom edge untrimmed. Title page and dedication printed in red and White Stains (1898). Although tame by today’s standards, some black. With 7 colour lithograph plates after Rodin’s water-colours with of its pieces – such as ‘A Ballad of Passive Paederasty,’ ‘With Dog tissue guards. 12 cm split to cloth at rear joint of toned spine, 1 cm loss and Dame,’ and ‘Necrophilia’ – required the seasoned hands of cloth to foot, small chip to head, slight soiling to cloth, wear to tips, of an underground publisher. Because of its content, Smithers gauze visible at a couple of gutters, book block remaining firm, split to top edge of plate at p. 32, offsetting to endpapers and very faintly from plates, sent the book to Amsterdam to be typeset by Binger Bros. occasional foxing, contents generally clean and bright; a very good copy. Crowley published it anonymously, and as with Aceldama [his first book, also published in 1898], only one hundred copies were First edition, presentation copy, inscribed by Crowley to the front printed. The book . . . was a reaction to Austrian police doctor free endpaper, “With the heartiest good wishes of Aleister Crowley Richard Freiherr von Krafft-Ebing’s (1840–1902) study of sexual for a happy marriage”; this is one of 488 copies on handmade aberrations, Psychopathia Sexualis (1893): the book that coined the paper from an edition of 500. term ‘masochism’ after the fiction of fellow Austrian Leopold Although best known for his notorious occult writings, some of Ritter von Sacher-Masoch (1836–1895). Although Krafft-Ebing which may cast aspersions on the desirability of his “good wishes translated the racier sections of his text into Latin, the book for a happy marriage”, Crowley also had an extensive career as a

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that it was intended to be titled Les Lesbiennes. The collection includes three poems directly exploring lesbian identities, including “Lesbos” at p. 96, one of the titles checked by Cullen. The collection’s content was condemned as obscene by the Public Safety section of the Ministry of the Interior, leading to a ban on the work and the prosecution of both Baudelaire and his publisher. The ban was not lifted in France until 1949. Cullen was “a great admirer” of the translator Edna St. Vincent Millay, who lived an openly bisexual life and explored same sex attraction in her own writings and translations; he completed his senior thesis at New York University on her works (ANB). Cullen likewise explored same-sex attraction, including his own, in his poetry. For example, “For a Lovely Lady”, published in his debut collection Color (1925), “acutely addresses the socialization of same-sex desire, specifically located in early 1920s Harlem” (Braddock, p. 1250). Millay’s co-translator of this work, George Dillon, reviewed Color in 1926, remarking that it “shows Cullen to be a young poet of uncommon earnestness and diligence”. Jeremy Braddock, “The Poetics of Conjecture: Countee Cullen’s Subversive Exemplarity”, Callaloo, 2002; Chun-yen Chen, “Vierges en Fleurs: Baudelaire’s Lesbian Poems and the Ethics of Writing Sameness”, Concentric: Literary and 46 Cultural Studies, 2004; Edmond Paul Cueva, The Classics and Countee Cullen in Interdisciplinary Humanities, 2013. poet, much of which is sentimental and romantic in nature. He £750 [144903] “was a prolific poet who displayed, intermittently, a pure and genuine talent, writing some of the most daringly original poems of this century” (Sutin, p. 4). For Rodin, see item 132. Richard Kaczynski, Perdurabo , Revised and Expanded Edition: The Life of Aleister Crowley, 2010; Lawrence Sutin, Do What Thou Wilt: A Life of Aleister Crowley, 2000. £6,500 [144724]

47 (CULLEN, Countee.) BAUDELAIRE, Charles. Flowers of Evil. With the original texts and with a preface by Miss Millay. New York: Harper & Brothers, 1936 Octavo. Original black cloth, gilt paper spine label, marbled endpapers, fore and bottom edges untrimmed. With a supplied dust jacket. Text printed in French and English parallel text. Touch of wear to very tips, square and bright, a couple of faint marks to cloth, a near-fine copy, small marginal smudge to p. vi, in the faintly soiled, nevertheless uncommonly attractive jacket with a couple of scuffs and light scrapes to panels, tiny chips to spine ends, and creasing and short nicks to head of rear panel. First edition thus, printed “B–L” [February 1936] on copyright page, this the copy of Harlem Renaissance poet Countee Cullen, his signature to the first blank, and five ticks in his hand to the contents pages. This is a highly compelling queer association copy of these most important decadent poems. Baudelaire’s Flowers of Evil was first published as Les Fleurs du mal in 1857, although he announced repeatedly before publication 47

All items are fully described and photographed at peterharrington.co.uk 27 49

48 CUMMINGS, E. E. 50 Poems. New York: Duell, Sloan and Pearce, 1940 50 Octavo. Original beige cloth, titles in gilt to spine and to dark red leather label on front board, untrimmed. With the original slipcase, dark red your heart with me (i carry it in” and “maggie and milly and molly leather label lettered in gilt on front board. Neat gift inscription dated 1954 and may”. to front pastedown. A near-fine copy, light offsetting to pastedowns, tiny hint of foxing to top edge of book block, else entirely unblemished, in the £2,750 [143249] faintly soiled slipcase, front panel label a little rubbed. First edition, first printing, number 150 of 150 copies only signed 50 by the author on the front free endpaper. This is a beautiful copy CUMMINGS, E. E. Original oil portrait of his wife of Cummings’s collection, which includes some of his key love Marion. [No location: undated, probably 1930s ] poems, such as “love is more thicker than forget”, “love is the every only god”, and “hate blows a bubble of despair into”. Single sheet of stiff card (162 × 118 mm), oil portrait to recto, verso blank This volume, Cummings’s first of verse following his marriage except for LPC sticker and number label. Presented in a handmade gold leaf frame with museum acrylic glazing. Fine condition. to his third wife Marion Morehouse, “reflects the happiness that this relationship brought, expresses more clearly the A small but enchanting portrait by Cummings of the love of his life individualistic philosophy of life that Cummings had developed, Marion Morehouse (1903–1969), captured here with remarkable and rejoiced in romantic and sexual love” (ANB). tenderness. She frequently modelled for his artworks, often nude. They were together for 30 years, from their first meeting £2,000 [145135] in 1932 (she was onstage) to his death 30 years later. Morehouse was a great beauty, and modelled also for photographers such as “i carry your heart with me, i carry it in my heart” Steichen, Hoyningen-Huene, and Beaton. An exhibition of Cummings’s paintings was held in 1949 at the 49 American British Art Center in New York – the poet’s programme CUMMINGS, E. E. 95 Poems. New York: Harcourt Brace and for the exhibition printed an imaginary interview with himself: Company, [1958] “Tell me, doesn’t your painting interfere with your writing? / Quite the contrary: they love each other dearly.” Tall octavo. Original blue cloth, spine and front cover lettered in gilt, title Though unsigned (as usual with his art), this piece is one of blocked in blind to covers, yellow endpapers, top edge yellow. Housed in those from those left in Cummings’s art studio after his death. the publisher’s black paper-covered slipcase. Christmas gift inscription to His daughter gave the entire contents of her father’s art studio front free endpaper. Spine and board-edges a little faded, a couple of faint marks to cloth, contents clean and bright, a very good, attractive copy in a to Luethi-Peterson Camps (founded 1948) for them to sell as neat slipcase with superficial cracking and discreet repair. fundraisers, with the sale originally handled by Gotham Book Mart. This example has the LPC number label to verso as a marker First edition, signed limited issue, number 128 of 300 copies of that provenance. signed by the author, 280 of which were released for sale. This edition is notably uncommon and much coveted, not least because £2,500 [145262] it contains many of Cummings’s best loved poems such as “i carry

28 literature in love 51

51 morning in 1989, he was listening to his favourite recording of DALÍ, Salvador. Tristan & Iseult. Text by André Mary. Wagner’s Tristan & Isolde. Field 70–10; Michler and Löpsinger 406–426. Paris: Éditions Ramos Anstalt, 1970 Folio. Original white wrappers housing the unbound book with titles to £45,000 [145699] front cover in blue and gold, brown card folder housing the suite of loose prints, both in a brown leather-backed folder, metal cover embossed with Gala and Dalí in a circle beneath a crown, all housed in the publisher’s brown leather clamshell box, titles to spine gilt. Frontispiece and 20 full page colour drypoint etchings throughout the text, together with a separate suite of 21 loose colour drypoint etchings, all printed on vélin d’arches watermarked paper. Plate sizes: 40 × 26.5 cm. Sheet sizes: 45 × 32.6 cm. Light toning to spine of wrappers and minor rubbing to the edges of the clamshell box, otherwise an excellent copy of this beautiful production. First edition, number V of 25 copies with an extra suite of 21 prints signed by Dalí, issued in addition to the complete set of drypoints for Tristan & Iseult, which comprises 20 initialled by Dalí and one signed by him, from a total edition of 125 with French text. There were also editions of 125 in three other languages: English, German, and Italian. Dalí had a long relationship to this great chivalric romance telling of the doomed and passionate love affair between the knight Tristan and the Irish princess Iseult betrothed to his uncle, the King of Cornwall. In 1944 Dalí designed the sets, costumes, and a large painted backdrop for the surrealist ballet Mad Tristan, inspired by Wagner’s opera, choreographed by Massine, and staged at the Metropolitan Opera in New York. Almost half a century later, when Dalí suddenly died of heart failure on a January

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52 DANTE ALIGHIERI; ROSSETTI, Dante Gabriel (trans.) [La Vita Nuova.] The New Life. Pictured by Evelyn Paul, with music by Alfred Mercer. London: printed at the Cheylesmore Presse, Coventry, by W. W. Curtis Ltd, [1916] 53 Quarto. Original vellum, spine and front cover decorated and titled in gilt, red, blue and grey, illustrated endpapers, top edge gilt. Printed on japon. First edition of the principal collection of Donne’s poetical works, With 16 colour plates by Evelyn Paul highlighted with gilt, vignettes in text. issued two years after his death, here in a contemporary calf Gift note from Arthur Bosanquet of Windsor loosely inserted. Front board binding. With the exception of a few rare small pieces none of starting to bow, gilt bright, faint soiling to rear board, contents clean; a Donne’s poems were printed in his lifetime, and this posthumous near-fine copy. collection presents the first publication of some of the greatest First Evelyn Paul edition, UK issue, number 73 of 150 copies signed love poems in the English language, including “A Valediction by the illustrator and bound in vellum. This beautiful production Forbidding Mourning”, “The Good Morrow”, “The Sun Rising”, presents Rossetti’s translation of his namesake Dante’s immortal “Air and Angels”, and of course “The Flea”. Notably absent is love sonnet sequence, with illustrations by Evelyn Paul (1883– Donne’s more explicitly erotic “Elegy: To His Mistress Going to 1963), who was heavily influenced by Rossetti as an artist. This Bed”, which the licenser refused to include and was not published copy is in notably attractive condition. until 1669. The 1633 Poems remains the best early text of the most The UK issue was distributed by George G. Harrap, the US by important of all metaphysical collections. Brentano’s; each is apparently identical other than their imprints Provenance: ownership inscription (on front free endpaper) of on the title page. “W. Morfill 1853”: William Morfill (1834–1909), Slavonic languages scholar, was Oxford’s (and Britain’s) first professor of Russian. £1,500 [145448] On 28 May 1853 he went up to Corpus Christi on a scholarship, so this volume may have been a gift on that occasion. Morfill had a 53 lifelong fondness for Donne: in an article on Robert Browning for DONNE, John. Poems. With Elegies on the Authors the Century Illustrated Monthly Magazine (1912), the American literary Death. London: printed by M. F. [Miles Fletcher] for John scholar William Lyon Phelps recorded that “I fancy Donne will survive all our contemporary criticisms of him. I well remember Marriot, 1633 the good talk I had at Oxford with the late Professor Morfill. With Small quarto (182 × 133 mm). Contemporary sprinkled calf sometime the utmost enthusiasm he quoted from memory verse after verse neatly rebacked with the original flat spine and label laid down, corners of the great seventeenth-century poet”. refurbished, spine divided by simple gilt rules and floriate roll-tools, sides Grolier L–W 286; Hayward 54; Keynes 78; STC 7045. bordered with a blind French fillet, red sprinkled edges. Housed in a brown cloth solander box by the Chelsea Bindery. Without first and last blanks, £25,000 [82696] covers scratched and marked with eight wormholes to the rear cover, corners bumped and extremities rubbed, spine darkened and creased, faint tanning to paper with the occasional minor mark or spot, but overall a very good copy.

30 literature in love Pale visions of the enchanted past 54 DORÉ, Gustave (illus.); TENNYSON, Alfred, Lord. [Idylls of the King:] Guinevere; Vivien; Elaine; Enid. London: Edward Moxon, 1867–68 4 works, small folio. Original royal blue cloth (Elaine vertical-rib moiré cloth, the others morocco-grain) over bevelled boards , gilt-lettered spines and front covers, the latter with additional gilt ornamental borders enclosing title within decorative cartouche, back covers bordered in blind, pale lilac endpapers. Steel-engraved frontispiece and 8 plates to each volume (with tissue guards) by James H. Baker, Charles Henry Jeens, Edward Paxman Brandard and others, after Doré. A few old marks to covers, most noticeably to those of Vivien, inner hinge to Elaine cracked at half-title and a little delicate but sound, scattered foxing. A particularly attractive set. First Doré edition of each of these poetic romances from Tennyson’s Idylls of the King, a stunning set in the stylish original cloth bindings, bright and fresh. Doré’s four selections notably focus on the love stories in Tennyson’s Arthurian cycle, those of Guinevere and Arthur (and Lancelot), Merlin and Vivien, Elaine and Lancelot, and Enid and Geraint. The notice for “Lancelot and Elaine” by the Saturday Review critic could apply equally to the entire series; it was, he declared, “the most ambitious and ornate work of the day” that honoured Tennyson with “typography and general sumptuousness” (cited in Kooistra, p. 238). It was the French critic Jules Clartetie who noted that Doré’s “imagination and sense of fantasy were at ease in this dream world. With a powerful poetry he evoked the depths of the avenues of druidic oaks, the dark forests of Broceliande, the enchanted 54 lakes, the exploits of Lancelot, the heroics of the Knights of the Round Table, the pale visions of the enchanted past” (cited in A fresh copy with a distinguished provenance Zafran, p. 99). Moxon spared no expense in employing the best English engravers of the day to capture on steel Doré’s vision, and 55 the fine typography by Swift & Co. should not be overlooked. DRYDEN, John. Marriage A-la-Mode. A Comedy. As it is Provenance: each volume with the small armorial bookplate Acted at the Theatre-Royal. London: printed by T[homas]. of the Rev. George Walter De Lisle, who taught French at Marlborough College and edited the College Register from 1843 N[ewcomb]. for Henry Herringman, 1673 to 1869; the poet’s eldest son, Hallam, attended Marlborough Quarto (207 × 162 mm). Bound in early 20th-century brown calf, without between 1866 and 1872. the last blank, titles in gilt direct to spine, boards ruled in blind, all edges gilt. Ornamental woodcut initials and headpieces. Discreet colour touch Ray 250 (for the 1868 edition of Idylls); Lorraine Janzen Kooistra, The Illustrated Gift ups to lightly rubbed extremities, the binding otherwise sound and clean, Book and Victorian Visual Culture 1855–1875, 2011; Eric Zafran, Fantasy and Faith: The very occasional slight spotting to contents, else internally bright and fresh; Art of Gustave Doré, 2007. a very good copy indeed. £3,250 [144202] First edition of Dryden’s Restoration comedy, first performed the same year in London by the King’s Company. The two separate, yet intertwined, story lines feature impossible loves, criss-crossed secret rendezvous, and misunderstandings. This copy has a distinguished provenance and bears, on the front pastedown, the book labels of three notable American collectors: the Minneapolis publisher Herschel V. Jones (1861– 1928), Louis H. Silver (1902–1963), whose library was sold in 1964, and David and Lulu Borowitz, whose library was sold in 1977. ESTC R3349. £1,750 [144907]

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An attractive set of Eliot’s “greatest novel” E. Hill resembled, as he wrote to his editor Max Perkins, “a debauched version of me”. 56 £9,500 [50447] ELIOT, George. Middlemarch. A Study of Provincial Life. Edinburgh and London: William Blackwood and Sons, 1871 Original cloth, first state 4 volumes, octavo (169 × 114 mm). Contemporary tan half calf, titles in gilt to brown morocco spine labels, gilt roll to raised bands, marbled boards, 58 red and blue speckled edges. Contemporary ink ownership inscription to each volume. Half-titles present in all but vol. 1. A hint of wear to FITZGERALD, F. Scott. The Great Gatsby. New York: extremities, colour added, the bindings otherwise firm, very occasional Charles Scribner’s Sons, 1925 light foxing to contents, else fresh and bright; a very good, attractive set. Octavo. Original dark green cloth, spine lettered in gilt, front cover lettered First edition in book form, following publication in parts, of in blind, top edge trimmed, others uncut. Pencilled ownership signature Eliot’s sixth and “greatest novel, [garnering] accolades in all the to front pastedown and underlining to p. 96, contemporary New York journals and sales of more than 10,000 copies in the first year, well bookseller’s label to rear pastedown of The Literary Lobby (situated at 28 beyond her, or Blackwood’s, wildest dreams” (ODNB). Middlemarch West 44th Street). Spine ends bumped, some light scratches and marking to cloth, a few small black marks to front cover, 2 cm closed tear at head of has been acknowledged as “the most brilliant literary study of marriage in English” (The Guardian, 21 April 2018) by the Pulitzer prize-winning novelist Jennifer Egan. Too long for the traditional three-decker format, George Henry Lewes suggested to Blackwood that “on the model of Victor Hugo’s Les Misérables, it should be brought out in eight parts at two-monthly intervals, and subsequently published in four volumes” (ODNB). Parrish, pp. 32–5. £2,250 [144759]

57 FITZGERALD, F. Scott. The Beautiful and Damned. New York: Charles Scribner’s Sons, 1922 Octavo. Original green cloth, titles to spine gilt, titles to cover blind stamped. With the dust jacket. An excellent copy in a very good dust jacket with a little chipping to the head of the spine and a couple of very small chips to the back panel. First edition, first printing, first issue dust jacket with the title in outline on the front panel. That Fitzgerald’s second novel was a thinly disguised portrait of his and Zelda’s difficult marriage did not stop him taking offence that the dust jacket design by William 58

32 literature in love 59

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.” in the inscription refers to his life with Zelda, not Margaret – much of Tender is the Night is set in the French Riviera and Switzerland, paralleling the Fitzgeralds’ life there in the 1920s. Intriguingly, the front free endpaper was almost certainly torn out of this copy by Fitzgerald. It is possible that he initially inscribed the front free endpaper, as was his custom, and having made a mistake, tore it out and inscribed the first blank instead. At the time this copy was inscribed, Zelda was being held at the Sheppard-Pratt hospital in Baltimore for psychiatric treatment, and Fitzgerald, reeling from the poor critical reception of Tender is the Night the previous year, increasingly dependent on alcohol, and in straitened financial circumstances, went through a period of intense womanizing in the summer of 1935. “From the evidence 59 of his ledger, with its notes on each month’s activities, 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 pp. 15–16 slightly affecting text, pp. 90–91 with slight separation in hinge win the admiration of a woman” (Donaldson, p. 127). Margaret and some spotting. A very good, tight copy. Harriman, a writer herself, who contributed to the New York Times First edition, first printing, first state of the text, with the relevant and later authored The Vicious Circle, among other books, was one points: “chatter” on p. 60, “northern” on p. 119, “it’s” on p. 165, such liaison. “According to Fitzgerald’s ledger, the two of them “away” on p. 165, “sick in tired” on p. 205, and “Union Street foregathered in New York twice, in late July 1935 and in December station” on p. 211. Although now a truly iconic American novel, 1936. The 1935 meeting concluded with Fitzgerald badly hungover The Great Gatsby did not sell well on publication, and it was only and nursing a wounded ego from Margaret’s remark that novelist when the book was distributed as a cheap paperback to soldiers in Joseph Hergesheimer was ‘more established’ than he” (Donaldson, the Second World War that the work reached a wide audience. It p. 141). In a letter to Margaret after their July meeting, Fitzgerald has since sold an estimated 25 million copies worldwide, and was wrote, “I started to come to New York yesterday afternoon, to see adapted into the films of 1949, 1974, and 2013. you, because I thought you’d think I’d run out on you, instead of on Bruccoli A11.I.a. my own wretched state of mind and health . . . when I see you again £3,750 [135749] I want everything to be right – even if I find you engrossed in a love affair with Geo V. and have no time for me” (Letters, August 1935). He went on to address her comment on Hergesheimer: “Of course he is Inscribed by the author to his lover, Margaret Case more established than I am, in the same way that Hugh Walpole is Harriman more ‘established’ than D. H. Lawrence – established with whom? . . . But it is simply another sort of writing. Almost everything I 59 write in novels goes, for better or worse, into the subconscious of FITZGERALD, F. Scott. Tender is the Night. New York: the reader. People have told me years later things like ‘The Story of Charles Scribner’s Sons, 1934 Benjamin Button’ in the form of an anecdote, having long forgotten who wrote it. This is probably the most egotistic thing about my Octavo. Original green cloth, titles to spine gilt. Housed in a green quarter writing I’ve ever put into script or even said . . . oh, there’s so much morocco solander box by the Chelsea Bindery. Cloth a little worn and marked, front free endpaper neatly torn out, almost certainly by the author, to hear you say, no matter how much I’d be cynical about” (ibid.). text block slightly shaken, rear hinge expertly repaired. A very good copy. Fitzgerald considered incorporating their affair into The Last Tycoon, with one of his working notes reading “‘Put in Margaret Case First edition, first printing, presentation copy, inscribed by the episode after his wife’s death’” (Donaldson, p. 141). author on the first blank to his sometime lover, Margaret Case Bruccoli A15.I.a. Scott Donaldson, Fool for Love: F. Scott Fitzgerald, 2001. Harriman, “For Margaret Harriman, who has inspired all my books this tale of our life together in Switzerland, France & £32,500 [125792]

All items are fully described and photographed at peterharrington.co.uk 33 61 FLEMING, Ian. Archive of his correspondence with Edith von Morpurgo, an Austrian girlfriend. London: 1934–35 Together 11 items: three 4-page autograph letters in ink signed Ian, one 2-page typed letter with autograph postscript in ink signed Ian, two 4-page autograph letters in pencil signed Ian, two pencilled notes in Fleming’s autograph, one pencil telegraph form with letter in pencil from Fleming, all in German, one photograph of Fleming seated in Austrian mountain scenery in climbing boots and shorts, retrospectively captioned in Edith’s hand “Der Vater von James Bond 007, ein Freund 1934 in Osterr[eich]”. One letter evidently angrily torn into pieces by the recipient, later restored with cellophane tape. A fine correspondence revealing the typically tempestuous relationship, with hints of sadomasochism, between the young Fleming and his Austrian girlfriend, Edith Maria Thonet (née von Morpurgo) (1904–1988). Her father was the aristocratic Viennese architect, Robert Guido Elio Freiherr von Morpurgo (1872–1941); her mother was the actress Lucie Laval Nikolovsky. Fleming’s nickname for her in these letters, “Oberstadtdeppin” (“High class ninny”), lightly mocks that aristocratic background. In 1924 Edith married Rico Thonet, of the Viennese furniture dynasty. The marriage ended in divorce; thereafter she generally used her married name, though sometimes also used her maiden name Morpurgo. During the 1930s she was often in Kitzbühel 60 in the Tyrol, where in 1934 she met Ian Fleming and fell in love with him. The photograph dates from their first meeting and was presumably taken by Edith herself. 60 By 1934 Fleming was already a seasoned visitor to Kitzbühel. FLAUBERT, Gustave. Madame Bovary. London: Vizetelly He had been to finishing school there, and he regularly visited & Co., 1886 afterwards to improve his German, or to ski or hike in the mountains. At the time of his affair with Edith, he was working Octavo. Publisher’s blue-green diagonal-ribbed cloth, titles in gilt on blue for a small merchant bank in London, Cull & Co., which had panel with gilt floral decoration, spine lettered and decorated in gilt, back cover ruled in blind and publisher’s device in blind, black coated endpapers, strong German connections and where his language skills were edges untrimmed. Advertisement leaf at front, illustrated frontispiece with useful. After their meeting in Kitzbühel, Edith visited London tissue guard, and five other plates. Some light wear to cloth at extremities, and their affair was carried on in a love-nest in Marylebone Lane. and some minor marks, but still a notably fresh copy with the gilt bright, The letters show a passionate sexual relationship between the two internally sound and clean, only a little superficial cracking to endpapers at over several months, intensifying around April 1935, before the inner hinges, and small surface portion of front free endpaper abraded from relationship broke down and Edith returned to Vienna. being stuck to small contemporary bookplate facing it, a pleasing copy in The teasing, occasionally sadistic tone of the letters will be very good condition, entirely free from restoration. familiar to any reader of Fleming’s Bond stories: “Wenn ich ‘Lieb’ First edition in English of Flaubert’s masterpiece, in the sage wirst Du mit mir streiten, und dann werde ich Dich peitschen attractively decorated cloth. The translator was Karl Marx’s müssen und du würdest winen und das will ich nicht. Ich will nur daughter, Eleanor Marx-Aveling, then living openly with Edward dass du glücklich wirst. Aber ich möchte Dir auch weh tun, weil Bibbens Aveling, a married man whose name she used in Du es verdienst hast und um Dich zu zä[h]men (?) wie ein kleines conjunction with her own. wildes Tier. Also gib acht, Du.” (“If I were to say ‘love’ you would Flaubert’s debut novel was five years in the making, and only argue, and then I would have to whip you and you would cry originally serialized in the Revue de Paris. It provoked charges and I don’t want that. I only want you to be happy. But I would also of obscenity and immorality from the French government, like to hurt you because you have earned it and in order to tame resulting in a trial at which Flaubert was acquitted. The ensuing you like a little wild animal. So be careful, you.”) publicity also ensured that upon publication the book became The other letters range from short notes arranging dates or a bestseller. The heroine of the novel, Emma Bovary, ultimately simply sending kisses (“Ich küsse Dich XX”), sometimes with commits suicide by swallowing arsenic – a fate that also befell her illustrations showing exactly where he would like to kiss her. Others translator. urge reconciliation after arguments – a repeated theme is that Edith £4,750 [145169] has caught Fleming lying to her – and make pledges of continued love to her, even after she has decided to return to Vienna. One or two remarks in the letters suggest that Fleming had not previously realized that Edith had been married before. One letter has been torn into shreds, but taped back together again. According to Edith’s family, she and Fleming seriously discussed marriage. In later life she considered that Fleming had

34 literature in love 61 been the only man she ever truly loved and regretted having sent his letters back to him. We are indebted to Edith’s relative Helmut Morpurgo for kindly sharing with us personal information concerning the history behind this correspondence. £27,500 [145273]

62 FLINT, William Russell. The Song of Songs which is Solomon’s. London: Philip Lee Warner, Medici Society, 1909 Quarto. Original full limp vellum by Henry Young and Sons of Liverpool, titles to spine and front cover in gilt, yapp edges, green cotton ties, top edge gilt, others untrimmed. Colour frontispiece and 9 colour plates tipped-in as issued to pale brown mount with tissue guard, title page vignette printed in blue. A fresh and attractive copy, some very faint foxing within and a small water stain to rear endpapers only, excellent condition overall. First Flint edition, number 465 of 500 copies printed on handmade paper at the Riccardi Press, one of a few issued in the deluxe full vellum binding, this copy additionally signed by the artist on the colophon. The Song of Solomon is certainly the most erotically charged passage of the Bible, an aspect brought out by Flint’s illustrations. £1,250 [145559]

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63 ‘pure’ in the sense that it unconscious. No one but a genius, or FORD, Charles Henri, & Parker Tyler. The Young and Mr Ford and Mr Tyler, could have written it”. Evil. Paris: Obelisk Press, 1933 £5,750 [145143] Octavo. Original brown paper wrappers, titles in red. Housed in a red cloth folding case. Front joint fold with tiny tear at head and tiny stain near tail, 64 otherwise a fine copy, exceptionally fresh and intact. FORSTER, E. M. A Room with a View. London: Edward First trade edition, first printing, very scarce and a superb copy, Arnold, 1908 of “the novel that beat the Beat Generation by a generation” (Gertrude Stein). The Young and Evil is considered the first Octavo. Original red vertical-ribbed cloth, spine and front cover lettered modern novel to represent homosexual protagonists openly in gilt. Spine slightly rolled and faded, extremities slightly worn. A very good copy. and unapologetically (as well as, more shockingly at the time, interracial sex). Surviving copies are very scarce on account of First edition, first impression. Forster’s novel of conflicted love censorship and customs seizures, with 500 copies of the small and self-realization was the basis for the 1985 Bafta-winning film print run burned by British customs, and all US copies being of the same title, starring Maggie Smith, Helena Bonham Carter, returned on arrival. It was not published in America until 1975. Judi Dench, and Simon Callow. Ford met Tyler when he began contributing to his amateurish Kirkpatrick A3. magazine Blues, published from his parents’ house in Mississippi £3,250 [125117] 1929–1930. They moved to New York together, with their adventures in the queer subculture of Greenwich village providing the inspiration for The Young and Evil. Ford then moved to Paris, First edition in English, one of 350 copies signed by the befriended Gertrude Stein, and took up lodging with Djuna author Barnes – in lieu of rent he typed the manuscript of Barnes’s similarly significant lesbian novel Nightwood (1936). 65 The novel was rejected by both Liveright and Cape, and GARCIA MÁRQUEZ, Gabriel. Love in the Time even the radically left-wing Gollancz, but with the support of of Cholera. Translated from the Spanish by Edith Stein and Barnes it was published by Jack Kahane’s Obelisk Press, which in the next year would publish its most famous Grossman. New York: Alfred A. Knopf, 1988 production, Henry Miller’s Tropic of Cancer. The front flap here Octavo. Original black and pink cloth, spine lettered in gilt, pink prints evocative testimonial from both Stein and Barnes. Stein endpapers. With the printed acetate dust jacket and publisher’s yellow card claimed that it “creates this generation as This Side of Paradise slipcase. A fine copy. . . . created his generation. It is a good thing, whatever the First edition in English, signed limited issue, number 282 of 350 generation is, to be the first to create it in a book”; Barnes copies signed by the author and specially bound. The novel was declared, “Never, to my knowledge, has a certain type of originally published in Colombia under the title El amor en los homosexual been so ‘fixed’ on paper. Their utter lack of tiempos del cólera in 1985. The New York edition preceded the UK emotional values – so entire that it is frightening; their loss of all edition by a few months. Victorian victories: manners, custom, remorse, taste, dignity; their unresolved acceptance of any happening, is both evil and £3,500 [145227]

36 literature in love 66, 67, 68

66 First edition, first printing, letter O of 26 specially bound copies GAY SUNSHINE PRESS. Angels of the Lyre. San signed by Ginsberg and Orlovsky. This is publisher and editor Winston Leyland’s own copy of the deluxe issue, additionally Francisco: Panjandrum Press, Gay Sunshine Press, June 1975 signed by him on the title page, and with two unpublished Octavo. Original blue cloth, titles gilt to spine and front. No jacket as autograph letters signed from Ginsberg to Leyland laid in. issued. Illustrated frontispiece and others in the text. Cloth a little spotted, The first letter, dated 26 November 1982, praises the present faint spotting to edges and some sparse instances within, a very good copy. publication, mentions meeting John Rechy, and discusses other First edition, first printing, cloth issue, the publisher and editor’s matters of gay publishing. The second, with the signed envelope own copy, number 2 of 10 copies signed by Leyland, of the first dated 7 September 1990, sends Leyland a postcard of the famous Gay Sunshine Press publication, one of the earliest openly gay photograph Ginsberg took of Neal Cassady and Natalie Jackson poetry anthologies. This was one of 200 hardcover copies, most of in 1955. which were sold to libraries. Gay Sunshine A14c. This copy comes from Winston Leyland’s personal collection and is additionally signed by him on the title page. Leyland £1,500 [123246] (b.1940) was a leading figure in American LGBT publishing and won the Stonewall Book Award in 1980. He established the Gay 68 Sunshine Press in 1975, which was notable for its pioneering GAY SUNSHINE PRESS. Gay Roots. San Francisco: Gay anthologies of gay writing from other cultures, and his Gay Sunshine Press, 1991–93 Sunshine Journal (1970–82) was particularly influential for its interviews with prominent gay writers of the era. Angels of the Lyre 2 volumes, octavo. Original violet half cloth, titles gilt to spine, white paper was the first book publication of Gay Sunshine Press, printing sides, patterned purple endpapers. Illustrated frontispiece and others in the text. Titles a little rubbed on vol. I spine, small dent to lower edge of poems by poets such as Joe Brainard, Charles Henri Ford, Allen rear board on vol. I, but all in excellent condition. Ginsberg, Gerard Malanga, Harold Norse, Frank O’Hara, and many more. First edition, first printing, Winston Leyland’s own copy of the Gay Sunshine A1b. deluxe signed limited issue, letters B and Z of 26 specially bound copies signed by Leyland, these volumes additionally signed £650 [123172] by Leyland on the title pages and deriving from his personal collection. There were also 300 unsigned cloth copies, the vast 67 majority of which were sold to libraries. Winston Leyland (b.1940) was a leading figure in American GAY SUNSHINE PRESS: GINSBERG, Allen, & Peter LGBT publishing and won the Stonewall Book Award in 1980. He Orlovsky. Straight Hearts’ Delight. Love Poems and established the Gay Sunshine Press in 1975, which was notable for Selected Letters 1947–1980. Edited by Winston Leyland. its pioneering anthologies of gay writing from other cultures. San Francisco: Gay Sunshine Press, 1980 Gay Sunshine A61b. Octavo. Original blue patterned quarter cloth, title label to spine with £1,000 [123228] titles in orange, light brown paper sides with titles to front in orange, dark blue endpaper. With the original acetate jacket. Photographic portrait frontispiece, and other illustrations. But for some minor marks to acetate, fine.

All items are fully described and photographed at peterharrington.co.uk 37 69

Presentation copy, with the original dust jacket 69 GIBRAN, Kahlil. The Prophet. New York: Alfred A. Knopf, September 1923 Octavo. Original black cloth, titles and design gilt to front board, top edge black, others untrimmed. With the dust jacket. Housed in a black quarter morocco solander box by the Chelsea Bindery. Frontispiece and 11 other plates after drawings by Gibran. Spine a little sunned, light shelf-wear at extremities, minor white marking to cloth, short superficial splits to front inner hinge, contents clean without marks. The jacket restored at spine, preserving original panels, somewhat dust-soiled but presenting well. 69 First edition, first printing, rare presentation copy, inscribed on the front free endpaper “To Brander Matthews with real that established his worldwide reputation. Never out of print, admiration from Kahlil Gibran, October 1923”, dated in the month translated into over 40 languages, and with sales of over 100 following publication, and with the original dust jacket retained million copies, The Prophet is responsible for Gibran’s ranking as as a rare survival, advertising Gibran on the rear panel with the the third best-selling poet of all time, behind Shakespeare and praise of Auguste Rodin: “He is the William Blake of the twentieth Lao-Tzu. century”. The “On Love” and “On Marriage” sections of The Prophet Signed or inscribed copies of the first printing of The Prophet are are still today a favoured source for readings at weddings. rare; we can trace only one in auction records, and that merely The recipient, James Brander Matthews (1852–1929), was signed. Surviving examples of the first printing dust jacket are also an American writer and educator. The first full-time professor rare: the last recorded at auction was in 1938. of dramatic literature at an American university, he played a £30,000 [138457] significant role in establishing theatre as a subject worthy of formal study in the academic world. His interests ranged from Shakespeare, Molière, and Ibsen to French boulevard comedies, From the library of a contemporary San Franciscan poet folk theatre, and the new realism of his own day. A socialite, his 70 friends included Robert Louis Stevenson, Rudyard Kipling, Mark Twain, and Theodore Roosevelt. “Matthews served as president GINSBERG, Allen. Howl and other poems. The Pocket of the Modern Language Association (1910) and of the National Poets Series: Number Four. San Francisco: The City Lights Institute of Arts and Letters (1913), as well as chancellor of the Pocket Bookshop, 1956 American Academy of Arts and Letters (1922–1924)” (ANB). Kahlil Gibran (1883–1931) is one of a select group of literary Duodecimo. Original stiff black wrappers, stapled as issued, with a white hand-pasted wraparound paper label printed in black. Very minor rubbing geniuses whose greatest works were written in a language other to extremities, light browning to wraparound label, edges faintly toned as than that of their birth. Born in the Lebanon, Gibran emigrated often; nevertheless a very good copy indeed. to the US and having published several works in Arabic he First published edition, first printing, with the spelling “Lucien produced The Prophet, his masterpiece, in English. It was this Carr” in the dedication, and the eighth line of the second collection of inspirational essays, first printed in September 1923,

38 literature in love 70 paragraph on the rear cover beginning “Harlem”. The title poem “Howl” was in part a poem of love dedicated to Carl Solomon, a friend being held in a psychiatric institute, and caused much 71 controversy for its explicit homoeroticism. This copy is from the library of contemporary San Francisco poet Jean McLean, and is “New Democracy Wish List” was printed in the New York signed “Jean and Jo Mclean” on page 4. Newsday Magazine on Wednesday 20 January 1993 as part of a series Jean McLean’s work was published in the poetry collection Seven of alternate inauguration poems for Bill Clinton’s inauguration on Stray Cats in Sausalito in 1957, alongside poets such as Gerald Stern, that day, at which Maya Angelou read “On the Pulse of Morning”. Laura Uronovitz, and Ginsberg’s close friend Jack Gilbert, with To the foot of the poem Ginsberg has added “For Peter Orlovsky whom McLean collaborated on two erotic novels under the joint 2/14/1993, Valentine’s Day. Thanks for the Hearty Cheeskake, Allen pseudonym Tor Kung. Howl and other poems is a landmark collection Ginsberg” and made a couple of small manuscript corrections considered one of the principle works of literature that launched to the text, adding “Honduras” to the line “Purge US. Military the Beat Generation. Ginsberg’s first regularly published book, death squad subsidies in [Honduras] Salvador, Guatemala etc.” it was printed in a run of an estimated 1,500 copies. As is often Ginsberg’s poem is an impassioned stream of consciousness found in the first edition of this work, each of the elided swear setting out his wishes for the new administration, his adjacent words have been carefully supplied in manuscript (pp. 12, 15, 17, Valentine message making clear his concurrent, significantly more and 29). tender, wishes for Orlovsky. Ginsberg and Orlovsky met in 1954 Cook, pp. 21–22; Morgan A3.a1.1. and were partners until Ginsberg’s death in 1997. £2,750 [133699] £1,750 [145390]

“Take care of your tender sad heart for others’ sake!” 71 GINSBERG, Allen. Photocopy of “New Democracy Wish List” as a Valentine’s for Peter Orlovsky. New York: 14 February 1993 Single leaf photocopy (279 × 216 mm). Text printed in black to recto with a couple of small manuscript corrections in black ink, heart and poem drawn in black ink in manuscript to reverse. Very minor creasing, faint marks to reverse, in a near-fine condition. A photocopy of “New Democracy Wish List” used by Ginsberg as an evocative Valentine’s to his partner Peter Orlovsky, to which he has added a cupid’s arrow pierced heart, at the centre of which is an eye bearing the letters “AH”, encircled by his Valentine’s sentiment: “Take care of your tender sad Heart for others’ sake!”. Ginsberg has signed, dated, and titled this “For Peter”. 71

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72 woodcut illustrations by Belgian illustrator Mark Severin. Lucas GOLDEN COCKEREL PRESS: SANDFORD, Lettice reportedly found the Belgian’s illustrations “a bit tarty”. (illus.) Cupid & Psyche. The Most Pleasant & Delectable £2,250 [145202] Tale of Their Marriage. [London:] The Golden Cockerel Press, 1934 74 Octavo. Original cream quarter buckram, spine lettered in gilt, red-brown GREENAWAY, Kate, & Walter Crane. The Quiver of textured hand-made paper boards, untrimmed. With the dust jacket. Love. A Collection of Valentines Ancient and Modern. Wood-engraved frontispiece and 2 similar illustrations (including one full page). Slight shelf-wear and two small dents to lower edge, the binding With Illustrations in Colors [sic] from Drawings. London: otherwise bright and firm, very faint foxing to endpapers, else internally Marcus Ward & Co., 1876 fresh and clean. A near-fine copy in the very good jacket, light toning and Large octavo. Original brown cloth over bevelled boards, titles in gilt to foxing, small nicks to extremities. spine and on white background to front board, spine and front board First edition thus, first impression, number 22 of 150 copies only. “This Tale of Cupid & Psyche from the Golden Asse of Apuleius translated by William Adlington about 1566 is here reprinted from the Quarto of 1639” (limitation). A superb copy of this rare early Golden Cockerel Press publication. £1,750 [145308]

73 GOLDEN COCKEREL PRESS: LUCAS, F. L. (trans.) Homeric Hymn to Aphrodite. A new translation. With ten engravings by Mark Severin. [London:] Golden Cockerel Press, 1948 Quarto. Publisher’s deluxe binding of full red morocco by Sangorski & Sutcliffe, titles gilt to spine direct with two raised band, boards decorated in gilt after Severin’s illustrations, gilt-ruled turn-ins, top edge gilt, others untrimmed. With the publisher’s grey cloth slipcase. 13 wood engravings, title letters printed in red. Printed in Poliphilus Roman and New Hellenic Greek types on Arnold’s mould-made paper by F. J. Newbery at the Chiswick Press. A fine, bright copy. First edition thus, copy 26 of 100 deluxe copies bound by Sangorski & Sutcliffe and signed by the translator F. L. Lucas, from a total edition of 750 copies. This Golden Cockerel Press edition exhibits the ancient Greek poetic hymns to Aphrodite, goddess of love, with both the Greek text and Lucas’s translation, alongside 74

40 literature in love 75 76 richly gilt with cherub and foliate motifs, dark green coated endpapers, for the first three letters of the word “Appresso” which can just gilt edges. Chromolithographic title heightened in gilt, and 8 colour be made out (see Thomas). The second part of the volume, with plates mounted within chromolithographic and gilt decorative borders, a new pagination and register, is Guarini’s Rime, his collected monochrome head- and tailpieces and opening initials. A hint of rubbing poetry. In the first part, pp. 223–300 is the text of Torquato Tasso’s to extremities, the binding otherwise sharp and firm, faint foxing to first and last few leaves, a couple of gatherings else internally clean and bright; a pastoral play Aminta. remarkably fresh copy. David H. Thomas, An Annotated Checklist of Editions of the Works of Battista Guarino, 2010, p. 99. First edition of this collection of love poems, uncommon in such nice condition, from Burns, Spenser, Byron, Longfellow, Shelley, £600 [145457] Rossetti, and others. The volume is beautifully illustrated by Kate Greenaway and Walter Crane, the latter having described 76 one of her books as “‘old world atmosphere tinted with modern aestheticism’ (Engen, 1981, 61)” (ODNB). HADFIELD, John, ed. Georgian Love Songs; [and] Schuster & Engen 167 1a. Restoration Love Songs; [and] Elizabethan Love Songs. Preston, Herts: The Cupid Press, 1949–55 £650 [144278] 3 works, octavo. Original blue, green and brown cloth-backed marbled boards, by Douglas Cockerell & Son, morocco title labels, top edges 75 gilt, others untrimmed. Elizabethan Love Songs illustrated with 8 colour GUARINI, Giovanni Battista. Il Pastor fido, tragi­ lithographs by John Piper, other two volumes with 13 plates after Rex Whistler. Minor stains to tails of Georgian and Restoration, Elizabethan with commedia pastorale. Ora in questa nuova impressione some rubbing to title label, other minor wear in the set, but very good di bellissime Figure in Rame ornato; [bound with, as condition overall. issued:] Rime. Rome: [Michel’ Angelo Rossi, 1700 or after] A lovely complete set of these illustrated Cupid Press anthologies 2 volumes in 1, duodecimo (119 × 58 mm). Late 19th-century red collecting love poetry from the time of Shakespeare and Sidney morocco by Auguste-Petit (their stamp to front turn-in), spine lettered to the time of Gay and Goldsmith, edited by John Hadfield who in gilt, covers richly gilt with a design composed of various tools and founded the press, and illustrated by Rex Whistler and John Piper. impressions, gilt turn-ins, marbled endpapers, gilt edges. Engraved title Each was one of 660 copies, the Elizabethan volume being number and 11 copper engravings, all integral. Old bookseller’s description and 226 and signed by John Piper as issued. note on the binding design on initial binder’s blanks, the latter dated The first two volumes have illustrations by Rex Whistler, 1976. Colour skilfully retouched at extremities, contents crisp and clean; though were not issued signed since they were published after his an excellent copy. death in the war. These however have the added appeal of being A most attractive copy of Guarini’s Faithful Shepherd, in the original presentation copies from the editor John Hadfield. The first is Italian, here in a splendid binding by Auguste-Petit, with a numbered 11 and inscribed “and is for Araminta with John’s love”, delicately tooled design of the shepherd piping to his love, both and the second numbered 40 and inscribed “and is for Araminta reposing under the trees. Aside from the charming binding, the with John’s love, Christmas 1950”. The Elizabethan volume edition is a pretty one, nicely illustrated with clear type, closely (deriving from another source) has an envelope tipped in with a based on the Elzevir edition of 1640. letter fittingly presenting the volume as a wedding gift. The edition is apparently a re-issue of Michel Angelo Rossi’s 1700 edition, with the imprint erased from the title plate, save £600 [144365]

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In a stunning Léon Gruel binding The work is uncommon institutionally with two copies traced institutionally worldwide, at New York Public Library, the copy 77 presented by Haggin to the library in 1898, and Colorado State HAGGIN, Blanche Butterworth. Le Livre D’Amour. New University Morgan Library, where it is erroneously attributed York: Scribner & Welford, 1887 to Charles Augustin Sainte-Beuve (1804–1869). A further 170 small paper copies on japon were also released, alongside 20 on Octavo (175 × 143 mm). Finely bound by Gruel in contemporary pale Whatman paper and 20 on German crayon paper. brown morocco, stamp in gilt to front doublure, spine tooled in gilt in 6 Sarah Prideaux, Bookbinders and Their Craft, 1903. compartments with raised bands ruled in gilt, onlaid morocco posies in compartments, and intricate matching floral design in gilt to covers with £5,000 [144850] morocco onlay roses and tulips in pink, white, and blue, leaves in green, posy bows in red, central frame onlaid in brown morocco with 4 gilt lantern devices, all within single rule gilt frame, initials in gilt to centre of front Original cloth cover, board edges tooled with floral pattern, blue morocco doublures with gilt ruled frame, floral patterned silk free endpapers, top edge gilt, others 78 untrimmed, blue silk book marker. Fleur-de-lis patterned original paper wrappers bound in. With brown morocco-backed marbled paper chemise HARDY, Thomas. Far from the Madding Crowd. London lined in red felt. Text in French. Decorative half-title in gilt and pink, title Smith, Elder & Co., 1874 page printed in red and black, decorative initials to each poem. Tiny scuff 2 volumes, octavo. Original green diagonal-fine-ribbed cloth, spines to foot of rear board, a fine copy, in chemise with a little wear to tips. lettered in gilt with central quatrefoils filled in black, triple-panel design First edition of this lavish book of French love poetry, number 19 blocked to front covers in black with churchyard vignette to front covers of 20 large paper copies printed on japon, numbered and initialled and reproduction of Allingham’s second plate to rear, uncial titles to by the editor Blanche Butterworth Haggin on the limitation page, central panel with decorative tooling gilt, 3-line border to rear covers in in an exquisitely produced binding by one of the most famous blind, fore and lower edges untrimmed. Neatly recased with new brown endpapers. Housed in brown quarter morocco boxes, spines lettered in and important fin de siècle French binders, Léon Gruel’s atelier, in gilt, brown cloth sides (boxes worn). 12 wood-engraved plates by Helen beautiful condition. Allingham (née Paterson), the frontispieces with tissue guards. Pencilled The Gruel firm, founded in 1811, “always had the highest ownership inscription on a preliminary blank in vol. I, “Arabella Carnegie reputation for initiative in artistic matters, as well as for June 1876”; Lady Arabella Carnegie of Southesk (1850–1907); a few minor irreproachable execution in the detail of its many-sided pencilled marking to text. Covers worn and dulled with some light achievements” (Prideaux). Léon Gruel (1841–1923), who took over cockling, minor paper repair to vol. II pp. 1/2, some soiling and creasing to the firm in 1891, was the single most influential person associated contents. Still a very good copy, scarce original set. with the bindery. First edition in book form, one of 1,000 copies published on 23 This expansive collection includes the work of Charles November 1874. Hardy’s fourth novel was serialized anonymously Baudelaire, Pierre de Ronsard, Christine de Pizan, Victor Hugo, in the Cornhill Magazine from January to December 1874, prompting and Shakespeare. It was compiled by San Francisco socialite a reviewer for the Spectator to remark that “If ‘Far from the Blanche Butterworth Haggin who spoke fluent French and Madding Crowd’ is not written by George Eliot, then there maintained a residence in Paris. Haggin was responsible for is a new light among novelists”. Hardy’s breakthrough novel assembling the majority of the Haggin Collection of French Art in introduced the fictional region of Wessex, establishing “precisely California. The work is dedicated “A mon mari” to her husband the kind of richly specific rural and agricultural setting that was to Louis, who was likewise fluent in French. characterize his most widely admired work” (Michael Millgate).

42 literature in love 79

Hardy himself was especially pleased with Allingham, whom he The serialization was simultaneous in New York and London, called “the best illustrator I ever had”. but the London issue is secondary in that its numbers comprised Purdy, pp. 13–17; Sadleir 1105; Webb, pp. 8–9; Wolff 2975. American sheets with British wrappers and advertisements. Although he had originally promised Harper’s, to whom he had £9,500 [128066] first offered the novel, that there would be nothing in the story to “bring a blush to a school-girl’s cheek (the phrase is J. Henry First appearance in print of Jude the Obscure Harper’s)” (Weber 206), Hardy began to realize as he wrote that his new novel would prove too strong for the tastes of magazine 79 readers. In April 1894 Harper’s refused the author’s request to be HARDY, Thomas. Hearts Insurgent [Jude the Obscure]. released from his contract, preferring to make cuts to the text New York: Harper & Brothers; Osgood, McIlvaine, London, once it was delivered. “Jude’s relations with Arabella and Sue were fundamentally altered, and numerous passages of considerable December 1894 – November 1895 extent excised altogether, with amazing sacrifice of art and 12 issues, octavo. Original printed wrappers. Housed in two cloth chemises credibility” (Purdy). and slipcases with brown morocco labels. With 12 illustrations by William The novel was renamed from The Simpletons after the first part as Hatherell, alongside the various illustrations across the magazine. Expert it was deemed too similar to the title of Charles Reade’s A Simpleton; repair to spine ends (paper backing reglued and recoloured) with minor chipping to others, April issue loosening from wrappers with some Hardy requested it be renamed The Recalcitrants, but Harper had peripheral staining, January issue a little soiled with short splits at joint already renamed it to its earlier working title Hearts Insurgent. ends, a few other issues with peripheral damping. Notwithstanding, Meanwhile, Harper’s had contracted William Hatherell, who generally a very good, well-preserved set. had recently illustrated the Hardy short story “The Fiddler of the First appearance in print of the last of Hardy’s full-scale novels, Reels” for Scribner’s in New York (May 1893), to provide twelve Jude the Obscure, here serialized in 12 monthly instalments in illustrations for the novel. Hardy was pleased with the results, the New York Harper’s New Monthly Magazine, under the title The and the illustrations were reproduced in the subsequent US book Simpletons (the first instalment only) and then as Hearts Insurgent. edition, but not in the UK. Complete sets in the original wrappers are uncommon. Hardy’s Purdy, pp. 87–8. critique of the institution of marriage, when eventually published £2,250 [128054] under its final title, was branded “Jude the Obscene” by the scandalized critics.

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Presentation copy to the future Florence Hardy their relationship swiftly became very close. Emma died in 1912 and the following year Florence moved into Hardy’s home at Max 80 Gate, Dorchester, before they married at Enfield in 1914. “What HARDY, Thomas. Wessex Poems, and other verses. Hardy valued above all in Florence Dugdale was a gentleness, a London: Macmillan & Co., 1907 peacefulness, a quietness even, such as he had scarcely ever known before in his relationships with women” (Millgate, pp. 426–7). Octavo. Original maroon cloth, titles gilt and decoration gilt to spine and Their relationship, though largely successful, was strained by the front. Housed in a custom cloth slipcase and patterned paper chemise. publication of Satires of Circumstance (1914), including a sequence of Illustrated frontispiece, and several vignette and full page illustrations in the text. Publisher’s advertisement leaf at the rear. Some very minor impassioned love poems written with the recently deceased Emma rubbing, but a highly pleasing copy in excellent condition. in mind. Thomas Hardy, when he died in 1928, had his heart buried in Stinsford churchyard with his first wife, and when Florence died A wonderful presentation copy of Hardy’s poetry, courteously almost a decade later, her ashes joined them. inscribed on the front free endpaper to the future Florence Hardy, This copy was previously in the esteemed Thomas Hardy “To Miss Florence Dugdale with the author’s kind regards. June collection of Frederick Baldwin Adams Jr (1910–2001), director of 1907”. This is a first impression of Macmillan’s “Pocket Edition”, the Pierpont Morgan Library, with his bookplate. His books were combining Hardy’s two major poetry collections (1898 and 1902 dispersed in a landmark sale at Sothebys London on November respectively), prettily presented and printed on India paper. 2001, this being lot 497. Florence Dugdale (1879–1937) first met the author in 1905 at the age of 26, at which point he was in his mid-sixties and married to Millgate, Thomas Hardy: A Biography Revisited, 2006. (though largely estranged from) his first wife Emma. She began £19,500 [145360] working with him soon after, assisting him with research, and

44 literature in love 81

He came to think of Jane Mason as his very own Zelda of Briarcliff, she had made her debut in Washington, D.C., just before her impulsive marriage to Mason. Dancing, drinking, and 81 deep-sea fishing were among her current enthusiasms, and so HEMINGWAY, Ernest. Holograph revisions to the was pigeon shooting at the Club de Cazadores, a sport in which typescript short story “A High Wind-less Night in few other women engaged . . . Conceivably, [Hemingway] came to think of Jane Mason as his very own Zelda, except that he Jamaica” by his lover Jane Mason. Perhaps Havana: mid- proposed to make her well by giving her lessons in marlin fishing 1930s and by telling her over and over that she wasn’t crazy [Mason 7 pages, quarto, triple-spaced on white paper. Housed in a custom dark suffered with manic depression]” (Lynn, p. 404). brown morocco solander box. Pale brown staining (mostly at left margin With Hemingway’s encouragement Jane began writing of each sheet), rust marks from paper clips, with some pencilled revisions fiction. In “A High Wind-less Night in Jamaica” (the title echoes by Jane Mason (one on verso of page 6). On the verso of the first leaf, Richard Hughes’s A High Wind in Jamaica, 1929) she draws upon alongside a sketch of a bare foot, is a pencil sketch of a bearded figure Hemingway’s dictum of “write what you know” and tells the story, wearing a cap of the type favoured by Hemingway, the face of which is scribbled over. from the point of view of an American woman, of a thoroughly unpleasant group of colonial Jamaicans drinking and dancing on A remarkable survival that memorialises Hemingway’s a hotel veranda. Hemingway has corrected punctuation, changed infatuation with the young and glamorous socialite Jane Mason, verbs, tightened phrases, and in general polished the story. who was to become the model for the character of Helene His longest revision occurs near the end where Mason has Bradley in To Have and Have Not (1937), his last experimental work written about her lead character: “I felt strangely sorry for from the Key West years. her, despite the fact that in England she was the type who The couple first met in the autumn of 1931, when Hemingway always terrified me, and to whom I am generally rather rude.” and his wife Pauline were returning to New York from Paris on the Hemingway has revised the part in italics to read: “ . . . one would Ile de France. Mason “was the twenty-two-year-old wife of G. Grant not have felt sorry for her but simply classed her as a bitch without Mason, the head of Pan American Airways in Cuba and the owner implying any condemnation.” The story was submitted to The New of a beautifully situated estate in Jaimanitas, west of Havana. Yorker but turned down; it appears to remain unpublished. With her slender but curvy body and her strawberry blond hair, Kenneth S. Lynn, Hemingway, 1987. which she parted in the middle and pulled away from her oval face, she was the most beautiful woman whom Hemingway had £9,750 [145274] ever gone after. A native of Tuxedo Park, New York, and a graduate

All items are fully described and photographed at peterharrington.co.uk 45 82

82 HIGHSMITH, Patricia, as Claire Morgan. The Price of Salt. New York: Bantam Books, 1953 Octavo. Perfect bound in original pale blue paper wrappers, titles to spine in black and red, colour illustration by Barye Phillips to front cover, edges pink. Faint soiling to front wrapper fore- and lower edges, small crease to upper right corner of front wrapper, the binding otherwise sharp, internally crisp and fresh; a near-fine copy. 83 First paperback edition, first printing, in uncommonly bright condition. Patricia Highsmith’s second novel, a defining lesbian Crisbrook Waterleaf 140 Ib Imperial paper. With the grey silk slipcase. romance, The Price of Salt was originally published in hardback by Illustrated with 12 full page etchings bound in the book and one loose Coward-McCann in 1952. etching hand signed by Hockney (plate size: 36 × 23 cm. Sheet size: 46.2 × The paperback sold nearly a million copies reaching and 36.2 cm). All in fine condition. influencing a huge audience in this format and leading Highsmith Edition A, one of 250 copies with an original etching titled “Portrait of to receive weekly correspondence, addressed to Claire Morgan, Cavafy II”, signed and dated in pencil by the artist, and accompanied from fans of the work’s uncharacteristically optimistic ending. by the original prospectus. There was also an edition B of 250 copies Highsmith chose to initially publish this work under an alias as issued without the loose etching. The collection “contains some of she did not want to be categorised by the romantic content of the artist’s most accomplished line drawings to that date” (Tate). the book, her agent warning her that she was committing career Hockney first discovered Cavafy’s poems while a student in the suicide by following Strangers on a Train (1950) with a blatantly early 1960s and was immediately inspired by their “vivid, unapologetic lesbian novel. evocations of homosexual desire” (David Hockney Foundation). The Price of Salt was re-issued under Highsmith’s name with the Discussing the present etchings Hockney commented that “Of course title Carol in 1990, with addition of an afterword by her. In 2015 it Cavafy’s poems are about gay love, and I was quite boldly using that was adapted into the critically acclaimed film of the same name subject then. I was aware that it was illegal, but I didn’t really think starring Cate Blanchett. much about that at the time. I was living in a bohemian world, where we just did what we pleased. I wasn’t speaking for anybody else. I was £600 [144529] defending my way of living” (ibid.). Cavafy remained largely unrecognized in his lifetime by the 83 Athenian literary world due to this frank treatment of homosexual HOCKNEY, David (illus.); CAVAFY, C. P. Fourteen themes, although an essay by his great admirer E. M. Forster, “The Poems by C. P. Cavafy Chosen and Illustrated with poetry of C. P. Cavafy” published in The Athenaeum in April 1919, did much to establish his literary reputation as the author of some Twelve Etchings by David Hockney. Translated by Nikos of the most celebrated sensual poems in Western literature. Stangos and Stephen Spender. London: Editions Alecto Cavafy lived for the best part of his life in Alexandria, which Limited, 1967 he considered one of the last great outposts of the Greek world. Folio. Original purple cotton silk boards, text printed on Hevisier Art Hockney visited Cairo, Luxor, and Alexandria in 1963, seeking artistic Drawing 75 Ib Imperial paper and etchings printed on Handmade inspiration from the experience the cosmopolitan citizenry evident

46 literature in love 84 in Cavafy’s poems, however, the spirit it held in the 1920s appeared to Octavo (188 × 110 mm). Contemporary olive half polished calf by Sangorski have been lost by the mid-60s and so for this suite Hockney instead & Sutcliffe, spine gilt-tooled in compartments with red morocco title label, spent two weeks in Beirut for his preparatory sketches. marbled endpapers with gilt rule to sides, marbled endpapers, top edge gilt. Portrait frontispiece to Shropshire Lad. Tanning to spine and around Despina Charalambidou-Solomi, “Gender Dualism in Cavafy’s Erotic Poetry”, board edges, very minor rubbing to ends and corners, a little foxing to fore- Journal of Modern Greek Studies, vol. 21, no. 1, 2003. edge but clean wthin, and the binding wholly sound, very good condition. £10,000 [141728] A delightful Sammelband of all A. E. Housman’s verse, finely bound by Sangorski & Sutcliffe, bringing together his two lifetime “We are members of one another” collections A Shropshire Lad (1896) and Last Poems (1922), as well as the posthumously published More Poems (1936), here in a second 84 impression of the first edition. HOLTBY, Winifred. South Riding. London: Collins, 1936 Clearly executed shortly after his death, this represents an early attempt to collect his poetry in one handsome volume – something Octavo. Original quarter vellum, green cloth boards, green morocco title Housman refused to permit in his lifetime. Houseman’s Collected label at head of spine, top edge gilt, others untrimmed. A very attractive Poems were first published in one volume in 1939. More Poems, copy, some very light dust soiling and minor rubbing only, excellent. edited by the poet’s brother Laurence after his death, notably First edition, first impression, one of 175 deluxe copies with a includes some of the poems expressive of Housman’s repressed signed hand-written limitation in the hand of the author’s close homosexuality, such as “Because I loved you better . . . ” friend Vera Brittain, and specially bound in quarter vellum. Brittain contributes a three-page memorial epitaph for the £750 [145259] author specially for this issue – it does not appear in the trade version, nor does the photographic portrait frontispiece. Brittain and Holtby were friends since their days together at Somerville College, Oxford, and when Holtby married, Brittain became a third member of the household (much to the husband’s chagrin). Contrary to the gossip, Brittain and Holtby’s relationship was never romantic, though they remained deeply connected friends until her death in 1935. The memorable lines in Holtby’s prefatory letter for the novel, “we are not only single individuals, each face to face with eternity and our separate spirits; we are members of one another”, could well be read as representative of their relationship. £975 [145087]

85 HOUSMAN, A. E. A Shropshire Lad; Last Poems; More Poems. London: Richards Press; Jonathan Cape, 1936–37 85

All items are fully described and photographed at peterharrington.co.uk 47 86

First authorized edition in English The translation was by Lascelles Wraxall, and published in October 1862, within months of the original French-language 86 edition. The Guinness Book of World Records (1981) claims that “The HUGO, Victor. Les Misérables. Authorized English shortest literary correspondence on record was that between translation (copyright). London: Hurst and Blackett, Victor Marie Hugo (1802–85) and his publisher, Hurst and Blackett, in 1862. The author was on holiday and anxious to know successors to Henry Colburn, 1862 how his new novel Les Misérables was selling. He wrote ‘?’. The reply 3 volumes, octavo. Original blue diagonal-bead-grain cloth, spines lettered was ‘!’.” Sadly the story is apocryphal. and decorated in gilt, covers with blind-stamped borders, pale green Olin H. Moore, “Some Translations of Les Misérables”, Modern Language Notes, Vol. endpapers. Housed in a brown cloth flat-back folding case. Contemporary 74, No. 3, March 1959, pp. 240–6. ownership inscriptions of F. Edith Slater to free endpapers; collector’s labels of Virginia bibliophile Christopher Clark Geest. Slight rubbing to £20,000 [132201] joints, a fine copy, exceptional in this condition. First authorized edition in English, preceded only by the American “Lascivious and private and sad” – Roger Senhouse’s copy piracy in the same year, and considerably scarcer, with copies in publisher’s cloth being particularly rare. Set against the 87 backdrop of the political turmoil leading up to the 1832 June ISHERWOOD, Christopher. Goodbye to Berlin. London: Rebellion, Hugo’s vast tale articulates a sequence of love stories both romantic (between Marius and Cosette, the date of whose The Hogarth Press, 1939 wedding night in the novel was in fact the date of Hugo’s first tryst Octavo. Original grey cloth, titles to spine in red, top edge red. With the with his own mistress Juliette Drouet) and familial (in Valjean’s dust jacket, designed by Humphrey Spender. Spine lightly toned, some moral redemption through realising a love for his adopted faint foxing to endpapers, the jacket a little chipped at ends and corners and with a closed tear from top of rear panel, some general dust soiling, daughter Cosette). still a very good copy overall.

48 literature in love 87 88

First edition, first impression, an exceptional association copy, A fine copy, signed by the author presented in the month of publication from the publisher John Lehmann (also the dedicatee of the book) to Roger Senhouse 88 (1899–1970), writer, publisher, and translator of French works by ISHERWOOD, Christopher. A Single Man. London: The Colette and others, and Lytton Strachey’s last lover. Land Press, 1980 Senhouse’s ink ownership inscription on the front free endpaper is dated 1 March 1939, with “dd. John Lehmann” Quarto. Original blue cloth, title to spine gilt, decorations to covers in gilt added in pencil in Senhouse’s hand, denoting the gift from John and silver designed by James Brockman. With the blue cloth slipcase as issued. A fine copy. Lehmann, who by 1938 had become the managing director of the Hogarth Press. In 1935 Senhouse had become co-owner with Signed limited edition, this an out-of-series copy from an edition Fredric Warburg of the publishing house which became Secker & of 400 copies signed by the author and printed on Barcham Green Warburg, rescuing it from receivership. paper. The book was first published in 1964 and adapted into the Senhouse has copied out on the rear endpapers the words 2009 film of the same name, directed by Tom Ford and starring “lascivious and private and sad”, referring to the opening of the Colin Firth. novel, where Isherwood movingly describes the whistles of “young £1,500 [112609] men . . . calling their girls” on the streets of Berlin. The full passage, so full of gay isolation and yearning, reads: “Their signals echo down the deep hollow street, lascivious and private and sad. Because of the whistling, I do not care to stay here in the evenings. It reminds me that I am in a foreign city, alone, far from home. Sometimes I determine not to listen to it, pick up a book, try to read. But soon a call is sure to sound, so piercing, so insistent, so despairingly human, that at last I have to get up and peep through the slats of the venetian blind to make quite sure that it is not – as I know very well it could not possible be – for me”. This is one of 3,550 copies from the first impression of the book that is undoubtedly Isherwood’s masterpiece. Copies signed or inscribed by Isherwood are very scarce (we can trace only two in auction records, in 1998 and 2004), lending to association copies like this some added allure for collectors. £6,750 [143273]

88

All items are fully described and photographed at peterharrington.co.uk 49 89 90

Olga Rudge’s copy, the binding commissioned by Ezra Pound European recitals, ending in Paris where she joined the expatriate musical community, among whom was the young George Anthiel, 89 the newest protégé of Ezra Pound. JOYCE, James. Ulysses. Paris: Shakespeare and Company, Pound befriended Rudge in 1923, in the Bohemian salon of January 1924 lesbian writer Natalie Clifford Barney. In the early 1920s he was involved in a period of intense musical experimentation, and this Quarto (209 × 155 mm). Near-contemporary Italian custom binding of helped to fuse him, Rudge, and Anthiel, into something of a trio. vellum backed boards with vellum tips, titles pencilled to spine, faintly In December 1923 Rudge and Anthiel gave a concert together in patterned brown paper to sides, Italian patterned endpapers, edges untrimmed. Housed in a custom green morocco-backed slipcase and Paris in which one of Pound’s own compositions was performed. chemise. The binding sound and generally in very good condition, with a Around this time their relationship turned intimate, and when few minor marks, foxing to first blank only, faint damp-stain to lower outer in 1924 Pound and his wife Dorothy Shakespear decamped to margin, primarily to earlier leaves. An excellent association copy. Rapallo in Italy, Rudge went too, with Pound going on to divide A superb Modernist association copy of Joyce’s magnum opus, his attentions evenly between Shakespear and Rudge. This ménage here in the fourth printing overall, with the contemporary has been nicely summarised by Professor William C. Pratt (Miami ownership inscription of the violinist Olga Rudge, the love of Ezra University of Ohio): “Olga was the Circe to Pound’s Ulysses; his Pound’s life, in black ink to the first blank. She has noted in blue wife Dorothy was the Penelope.” ink under her original inscription, “bought in Paris 1924, later Rudge gave birth to their child Mary in 1925, entrusting her to the E.P. had it bound in Rapallo for me”. The restrained execution care of a Tyrolian peasant family, and maintained her connection is heightened by patterned Italian endpapers, with the title to Pound for the rest of his life. She was, with T. S. Eliot, one of “ULYSSES” added in pencil to the plain spine in what looks very Pound’s few supporters during his years of incarceration at St like Pound’s hand. Elizabeth’s Hospital after the Second World War, and after his Pound had played an indispensable role in getting Joyce release it was Rudge who looked after him (then to the almost published, acting as his de facto literary agent. He placed some of complete exclusion of his wife) during his final years in Italy. the Dubliners stories in Mencken’s magazine The Smart Set, arranged This fourth printing of Ulysses was in fact the second Paris (as editor) for the serialisation in The Egoist of A Portrait of the Artist printing, following the first Shakespeare & Company printing of as a Young Man, and even sent the first episode of Ulysses in early February 1922 and the second and third for the Egoist Press in 1918 to Margaret Anderson, who began serializing it in The Little London in October 1922 and January 1923. “In the fourth, fifth, Review in March of that year. and sixth printings the text was corrected for the errata which Rudge’s purchase of this copy of Ulysses in Paris came had been issued with the second and third printings, but more shortly after the beginning of her affair with Ezra Pound. Like typographical errors which had been discovered were listed Pound, Rudge was an American expatriate in Europe. Born in as Ulysses/Additional Corrections and included in the regular Youngstown, Ohio, in 1895, Rudge settled in London with her pagination” (Slocum & Cahoon). mother in 1904. There, and in Paris, she pursued a career as a This copy comes from the library of Alexander Neubauer, who violinist. By the time she made her London debut at twenty- had one of the greatest James Joyce collections in private hands, one, she had already received favourable notices. The critic for with his bookplate inside the cloth chemise. The Times noted her excellent technique and daring repertoire, Slocum & Cahoon 17. which included a number of emerging modernists. After that £6,750 [144620] performance she embarked on a cosmopolitan schedule of

50 literature in love 91 92

90 First edition thus of Keats’s poem retelling the tragic story from KEATS, John. Endymion: A Poetic Romance. London: for Boccaccio’s Decameron of Isabella and Lorenzo’s forbidden love, beautifully illustrated by W. B. MacDougall in a style reminiscent Taylor and Hessey, 1818 of William Morris and Aubrey Beardsley, and elegantly bound in Octavo. Original boards, printed paper title label to spine. Housed in a red an arts and crafts binding. morocco pull-off case and chemise. With the half-title, five-line errata slip and one-line errata page, and 4pp publisher’s advertisements dated May 1818 £975 [144539] at the rear. Bookplates of R. B. Adam (with offset tanning) and William H. Painter. Spine label eroded but for a few letters, board surface split down 92 front joint and halfway up rear joint, tanning to spine and some marking to boards, some wear to fore-corners, internally however very fresh and clean, KEATS, John. Poems. London: George Bell and Sons, 1905 and generally a very good survival in the boards. Octavo (204 × 128 mm). Contemporary green morocco by R., A. & D. First edition, very scarce first issue, unrestored in original boards. McGregor Aird, spine in six compartments, raised bands spotted in gilt, Endymion was the second of only three lifetime publications by compartments with two-tone brown morocco onlay in heart design within Keats, comprising his longest single sustained poem, famous for foliate gilt tooling, covers with rose bush design in gilt, red and green its opening line: “A thing of beauty is a joy for ever”. This copy has morocco onlay on dark green morocco ground surrounding central red morocco onlaid stylised petal and floral spray pattern in gilt, all within the first issue imprint to the verso of the half-title “Printed by T. gilt frame with heart motifs to corners, board edges ruled in gilt, dentelles Miller, Noble Street, Cheapside” and the one-line erratum leaf, as ruled in gilt with dark green morocco onlay cornerpieces tooled with gilt well as the tipped-in five-line errata slip (Hayward notes that the leaves, grey paper doublures and free endpapers, top edge gilt, others five-line errata, though present in later issue copies, was printed untrimmed. Title page and frontispiece, head- and tailpieces, chapter prior to publication, and copies in original boards are known to headings, and illustrations by Robert Anning Bell. Spine and edges toned contain both). to brown, small ink spot to front cover, offsetting to free endpapers; a near- fine copy. Ashley III:13; Hayward 232; MacGillivray A2; Tinker 1419. An exquisitely bound copy of Keats’s beautifully illustrated £12,500 [134729] poetry, with over 300 separate inlaid components, creating a remarkable arts and crafts design. The binding is signed by R., A. 91 & D. McGregor Aird, a trio of brothers and professional binders KEATS, John. Isabella or The Pot of Basil. London: Kegan working at the turn of the century, on the front dentelle. This collection of Keats’s poetry was first published in 1897 Paul, Trench, Trübner and Co. Ltd, 1898 and subsequently revised with several new illustrations by artist, Quarto. Finely bound in contemporary dark blue calf stamped “W.P. E.” to illustrator and designer Robert Anning Bell (1863–1933), added recto of rear free endpaper, titles in gilt to spine, raised bands, floral motifs in June 1898. Bell was an early member of the Arts and Crafts in gilt to upper and lower compartments, gilt tooling to front board of Exhibition Society, showing regularly with the group and serving central circle and hearts motifs within intricate floral panelling, edges and turn-ins richly gilt, cream endpapers, top edge gilt, others untrimmed, blue as the de facto official illustrator of its influential art magazine, silk bookmarker. Title printed in red and black, letterpress and 8 full-page The Studio. illustrations printed within decorative borders designed by MacDougall. Some examples of artistic bookbinding, designed and executed by R., A. & D. McGregor Aird, Spine a little rubbed, extremities somewhat darkened, discreet colour 1907. restoration to extremities, the binding otherwise firm, occasional slight offsetting, else internally crisp; an attractive, very good copy. £5,000 [144868]

All items are fully described and photographed at peterharrington.co.uk 51 95 93 First edition, first impression, in an exceptional example of the 93 jacket, of the author’s bestselling and most famous work. The novel, following the 14-year-old daughter of a famous composer KEATS, John. The Eve of St. Agnes. London: F. Sangorski who falls for one of her father’s friends, was controversial due to & G. Sutcliffe, [1912] its frank treatment of sex. Manuscript on vellum (180 × 126 mm), 22 leaves, 4 blanks, in calligraphic It was adapted into a successful play and three films, perhaps hand in black, blue, green and red ink to recto and verso, title page and most memorably in 1943, for which Joan Fontaine was nominated opening initial illuminated. Original limp vellum, title in manuscript to for a Best Actress Academy Award. The book and jacket are the front cover, original green ties, edges trimmed. In superb condition, vellum second issue, as usual, with the cancel half-title and variant fresh and unmarked. A fine copy. adverts on the rear panel of the dust jacket: copies of the first issue A most attractive illuminated manuscript of Keats’s gothic with all points are rare, issued only in small quantities to reviewers romance, written and illuminated by Francis Sangorski (1875–1912) prior to publication. and George Sutcliffe (1878–1943), who co-founded the renowned £1,750 [139346] London binders, and executed by Sangorski in the final months of his life. Sangorski and Sutcliffe had moved their workshop to Poland Inscribed by the muse of Montparnasse to one of her Street in 1912, where this manuscript was produced, when they (many) artists suffered the loss of their masterpiece aboard the Titanic. Two years in the making, and known as the “Great Omar”, it was a splendid 95 illuminated manuscript of the Rubáiyát in an elaborate jewelled KIKI. Les Souvenirs de Kiki. Paris: Henri Broca, 1929 binding, which sank without trace. Shortly afterwards, at the start Quarto. Original cream folding wrappers, titles in black and red with of July, Sangorski drowned in a bathing accident off Selsey Bill. monochrome paper onlay to front cover of Kisling’s portrait of Kiki, Keats’s romantic narrative poem, set in the Middle Ages, first untrimmed. Housed in a custom red velvet-lined vellum-backed pink appeared in 1820 in Lamia, Isabella, The Eve of St. Agnes, and other marbled chemise and matching slipcase signed A. Devauchelle. With 44 poems, the last book published in his lifetime. monochrome plates reproducing portraits of Kiki by various artists, and paintings and drawing by her. Minor creasing to spine, the binding otherwise £8,750 [145434] sharp, very occasional slight finger-soiling, else internally clean and fresh; a superb copy. In the rare jacket First edition, deluxe issue, number 40 of 250 copies on papier couché mat, artist Moïse Kisling’s presentation copy, inscribed by 94 Kiki, Foujita, Hermine-David, Krohg, Tono Salazar, and Kisling KENNEDY, Margaret. The Constant Nymph. London: himself, each in the margin of their own plate, and Kiki herself William Heinemann Ltd, 1924 on the half-title “a mon Kiki Kisling. mon demi miché, mon frère chéri, sa Kiki Reine 1929”. A great association copy. Octavo. Original red cloth, title to spine in gilt. With the dust jacket. A The Polish-born French painter, Kisling (1891–1953), was fine copy, cloth bright, contents clean and unmarked, in the original dust jacket, spine slightly toned, sharp and well-preserved. An exceptionally a member of the 1920s Parisian expatriate community in the nice example. Montparnasse area, sometimes named “The Montparnos”, which included major avant-garde artists and writers such as Hemingway

52 literature in love (who wrote the preface for the English translation published in 1930), Man Ray, Modigliani, Foujita, Kisling, and Alice Prin (1901–1953), Kiki, nicknamed the “Queen of Montparnasse”. An artist, nightclub singer, actress, memoirist, and a muse to many of the Montparnos, she rubbed shoulders with Picasso, Laurencin, Cocteau, and Ernst, to name but a few. Around 1921, she became Man Ray’s favourite model. He took hundreds of pictures of her, many of which are some of Ray’s best-known works; she is the one pictured in his famous “Violon d’Ingres” photograph. The other inscriptions read “a mon Kiki homme, à toi, Foujita”, “à moi même bien cordialement, Kisling”, “Hermine-David à Kisling amicalement”, “à Kiki(sling) l’ami d’avant / de maintenant / d’après / Toujours, Per Krohg”, and “à Kisling. Souvenir de Toño Salazar, Falstaff ”. Glassco notes that “the launching cum book- singing took place at the Falstaff [in June 1929], followed by a drinking party at the bar of the Coupole” (p. 216). John Glassco, Memoirs of Montparnasse, 1970. £5,000 [144137]

96 KISSING. How to Kiss. [Undated, mid-19th century] Single lined sheed, folded (176 × 225 mm). Neatly written in manuscript in 97 black ink, initialled “J.A.J”, blindstamp of a woman’s profile. Creased where folded, a little browning, very well-preserved. A delightful memento of the amatory arts in mid-19th century The rare first printing in a contemporary binding America, an early copy of a humorous article for men on the art of 97 kissing, which originally appeared during the Civil War, perhaps here passed off by the anonymous copyist as his own work. The LACLOS, Choderlos de. Les Liaisons Dangereuses. piece opens by describing the technique of kissing, offering some Amsterdam & Paris: Durand Neveu, 1782 tips on how the reader might improve his performance, and 4 volumes bound in 2, duodecimo (166 × 96 mm). Contemporary mottled concluding with the bliss that a properly performed kiss can elicit. calf, skilfully rebacked with original spines laid down, flat spines tooled Our amorous copyist inscribes the front of his instructions with in gilt with elaborate floriate and scrollwork gilt, twin morocco labels to the words “Practice makes perfect”. spines, marbled endpapers and edges, pink silk bookmarker to vol. I. Tips The original article was likely penned by the popular American neatly furbished, light scattered foxing and a little spotting to contents, vol. I: small mark to lower margin sig. H6, manuscript note to B8, B5 misbound journalist and humorist Marcus M. “Brick” Pomeroy (1833–1896). but present; vol. II: marginal loss to C5 and 8 (text unaffected), short closed An early version was published in the Evansville Daily Journal (6 tear to D10. A very attractive set in a contemporary binding. September 1865) under the title “The Science of Kissing”, with the First edition, first printing, of this masterpiece of French closing line: “Try the above recipe, and if you do not succeed, for literature. This is the rare first printing (“A” as identified by Max farther particulars call on, or write to Brick Pomeroy”, and later Brun) with the errata leaf at the end of volume IV and uncorrected in Pomeroy’s collection, Nonsense: Or Hits & Criticisms on the Follies of errata in the text. The first edition, issued in April 1782 in a print the Day (1869). The article was widely disseminated and reprinted run of 2,000 copies, was an immediate success, with several throughout the latter 19th century in an extraordinary variety of printings following the same year. Laclos reputedly said of his publications, such as the Yale Literary Magazine (1876), Zion’s Home controversial epistolary novel: “I resolved to write a book which Monthly (1894), Farmer’s Almanac (1896), and even the International would create some stir in the world and continue to do so after I Molders’ and Foundry Workers’ Journal as late as 1969. It also turned up had gone from it.” in England when H. K. Browne (“Phiz”) included it in his All About Kisses (1876). Max Brun, “Bibliographie des éditions des Liaisons Dangereuses portant le millésime de 1782”, Le Livre et l’estampe, n° 33, vol. IX, 1963, p. 43. £750 [144712] £12,500 [129009]

96

All items are fully described and photographed at peterharrington.co.uk 53 98

Exquisite modelled binding by Alice Shepherd 98 99 LANG, Andrew. Aucassin & Nicolete. Done into English. London: David Nutt, 1887 “boiled leather”) “refers to the process of boiling or soaking leather in some unknown substance, possibly wax mixed with Octavo (158 × 92 mm). Finely bound by Cedric Chivers in tan calf, and resin and glue, and moulding and decorating it before it started unusually signed on the lower corner of the rear board “Cedric Chivers, to harden. [Popularized again in the late 19th century,] this kind Binder, Bath”, each board with a central panel of 13 flowers in relief by Alice of leatherwork was widely practised by women workers who Shepherd (signed “A.S.”), executed in modelled cuir-bouilli and heightened in gilt stippling, within pointillé and double gilt fillet frames, titles in gilt were taking up bookbinding in considerable numbers. Modelled direct to front board, turn-ins richly gilt, blue and gilt patterned ribbed bindings were also produced by the trade, principally by Chivers of endpapers, top edge gilt, original wrappers preserved. Etched frontispiece Bath” (Middleton, A History of English Craft Bookbinding, p. 197). by P. J. Hood (with tissue guard), title within decorative borders, numerous head- and tail pieces, printed in red and black. A hint of wear to £1,500 [144866] extremities, the binding otherwise sound and square, front hinge cracked after free endpaper but firm, light abrasion marks to preserved wrappers, 99 else internally crisp; an attractive copy. LAWRENCE, D. H. Women in Love. New York: Privately First edition thus, one of 550 copies only (of which 500 for sale) on Japanese vellum, of Lang’s acclaimed translation of the French printed for subscribers only, 1920 medieval romantic chantefable, “Andrew Lang was born in order Octavo. Original blue cloth, titles to spine gilt. Housed in a blue quarter that he might translate it perfectly and he has fulfilled his destiny” morocco solander case. Gift inscription to front free endpaper. Cloth (Ezra Pound, Spirit of Romance, 1910). lightly rubbed with a few small scuffs and marks, spine titles a little dulled, From around 1897 Alice Shepherd was in charge of the cut front hinge starting, spotting to edges of book block, some mild abrasions to front pastedown, contents toned. A very good copy. and modelled leather department at the Cedric Chivers bindery at Bath, which was comprised of women workers. She trained First edition, first printing, one of a limited edition of 1,250 copies, with Mary Ann Bassett, who taught leather work at The Heath in this copy signed by the author on the title page though uncalled Leighton Buzzard. Shepherd’s “method was to mark the design for in the limitation. on the damp leather, and then scrape the under (flesh) side of £8,750 [81049] the leather with an ivory tool, to make a hollow within the area of the design. The hollow was filled with cement, and then, by 100 manipulation and pressure, the design was brought into relief on the upper (hair) side of the leather. Any gilding, colouring, or LAWRENCE, D. H. Lady Chatterley’s Lover. Florence: finishing was done after the book was bound” (Tidcombe, Women Privately Printed, 1928 Bookbinders, p. 95). Square octavo. Original pinkish-brown paper-covered boards, printed Chivers is best-known for his vellucent bindings and his revival spine label, Lawrence’s phoenix device blocked in black on front cover, fore of techniques fallen into desuetude, notably the modelled cuir- and bottom edges untrimmed. A little superficial chipping to spine ends bouilli binding, a widespread practise in the Middle Ages, although and front joint, slight loss to upper tip of front board, contents clean and then not applied to books. The term “cuir-bouilli” (literally free from ownership marks. A very good copy indeed, largely unopened.

54 literature in love 100 101

First edition, number 757 of 1,000 copies signed by the author. for trees . . . My poor book: it was, as art, a fairly complete truth: so Privately printed in Florence, the first edition prints the they carve a half lie out of it, and say ‘Voila’. Swine!” unexpurgated text, which was not published in the UK until 1960. This copy does not in fact mark Lawrence’s introduction to Roberts & Poplawski A42a. Swinburne – he quoted from him before, and is noted by Julian Vinogradoff (Ottoline Morrell’s daughter) as having declaimed £5,000 [144262] Swinburne’s poetry to fellow guests on his first visit to Garsington in 1915. However, after his arrival in the remote Cornish village “There was more powerful rushing flame of life in him of Zennor, where he stayed with Frieda in the middle war years than in all the heroes rolled together” and finished writing Women in Love, Lawrence was clearly feeling the lack of a proper library. He wrote to Low on 30 May 1916, 101 noting “books are really rather precious here”, and requesting (LAWRENCE, D. H.) SWINBURNE, Algernon Charles. Swinburne in particular. A few months after receiving his birthday Swinburne, Lawrence wrote again to Low on 28 November to Selections from the Poetical Works. London: Chatto & assure her “I have read your volume loudly from cover to cover”. Windus, 1915 Bethan Mari Jones stresses Swinburne’s significance to Octavo. Original blue cloth, titles gilt to spine, sides with blind-stamped Lawrence as a sexual poet, noting how “Swinburne (according to patterning. Housed in a cloth folding box by the Chelsea Bindery. Portrait Lawrence) emphasises the ‘physical in everything’, as is evident frontispiece and an illustrated plate. Spine sunned, light rubbing to in . . . his depiction of love always as passion” (p. 108). Jones extremities, sound and clean within, very good. further expands on the significance of Swinburne to Lawrence A rare and compelling example of a book from the library of D. as a self-consciously “lurid” writer: “[Lawrence] must have been H. Lawrence, the poems of Algernon Charles Swinburne with his aware of [Swinburne’s] writing on lesbianism (‘Anactoria’); male ink ownership inscription to the front free endpaper, “D.H.L. homosexuality (‘Fragoletta’ – a poem also implying bisexuality) Sept. 11. 1916. fr. B.L.” This volume was sent to Lawrence, then and bisexuality (‘Hermaphroditus’); as well as the constantly writing Women in Love, as a 31st birthday present by his friend the recurring theme of sexual aberration (‘Erotion’). This ‘lurid’ aspect pioneering Freudian psychoanalyst Barbara Low (1874–1955) – in of Swinburne, appealing to the ‘perverse spirit’ of Lawrence’s his letter of thanks he hailed Swinburne as “our greatest poet. He contemporary readers, is interesting in the light of Lawrence’s is the last fiery spirit among us”. later views on pornography and obscenity. Lurid literature can be Lawrence’s letter to Low, written on his birthday, was effusive: “I giggled about in corners in a way that is purely debasing, while lie in bed and read [Swinburne], and he moves me very deeply. The explicit sex-writing may attempt to undermine prejudice and pure realization in him is something to reverence: he is . . . very like provide liberation: perhaps this was one of the ways in which Shelley, full of philosophic spiritual realization and revelation. He Lawrence believed Swinburne to be a ‘great revealer’. It is also is a great revealer, very great. I put him with Shelley as our greatest true, however, that the man who deliberately published Lady poet. He is the last fiery spirit among us . . . There was more Chatterley’s Lover in Paris knew how to calculate his audience very powerful rushing flame of life in him than in all the heroes rolled well, with its taste for ‘lurid interest’” (pp. 113–4). together. One day I shall buy all his books. I am very glad to have Provenance: after Lawrence, this copy passed to the poet John these poems always by me.” Interestingly, Low also sent Lawrence Rodker (1894–1955), then to his companion the writer Ludmila that same month a copy of the July issue of the Psychoanalytic Review, Savitzky (1881–1957). It is new to the market, having recently pointing out one of the first Freudian analyses of Lawrence’s work, emerged from among other books from Savitzky’s descendents. Alfred Booth Kuttner’s review: “Sons and Lovers: A Freudian Bethan Mari Jones, “Shaping, Intertextuality and Summation in D. H. Lawrence’s Appreciation”, prompting a vitriolic response from Lawrence on Last Poems”, PhD thesis, 1998. the “vicious half-statements of the Freudians: sort of can’t see wood £6,750 [145215]

All items are fully described and photographed at peterharrington.co.uk 55 102 103

“Le Guin, more than Tolkien, has raised fantasy into high Ono’s book blurred the lines between literature and conceptual literature, for our time” – Harold Bloom art, and Lennon later stated that his song “Imagine” was derived from her poems in the book. In recognition of the influence of 102 Grapefruit on Lennon, in June 2017 Yoko was listed as the song’s co- writer by the National Music Publishers Association. Grapefruit was LE GUIN, Ursula K. The Left Hand of Darkness.New originally published in Japan in 1964, and in the UK in 1970. York: Ace, 1969 Small octavo. Original illustrated wrappers with colour art by Leo & Diane £4,500 [144710] Dillon. With the Science Fiction Book Club membership brochure bound in at pp. 160–1. An excellent copy, bright and sound with only light rubbing. 104 First edition, first printing, signed by Le Guin on the title page, LONGFELLOW, Henry Wadsworth. The Song of of this important exploration of gender and the true nature of Hiawatha. Boston: Ticknor and Fields, 1855 love. This Ace paperback edition precedes Walker’s hardback that came out later in the same year. This science fiction classic was Octavo. Original brown cloth, spine lettered in gilt, covers blocked in blind. Very light wear around spine ends and tips and a few faint marks to covers. Le Guin’s first major success, and a pioneering text in the field of A near-fine copy. feminist science fiction. Part of the Hainish cycle, it follows the adventures of a solitary First US edition, first issue. The Song of Hiawatha, Longfellow’s epic interstellar envoy on the icy planet “Winter” among its ambisexual poem of a Native American love story, is one of the most enduring inhabitants, culminating in the realization of a deep supra-sexual productions of American Romanticism. The US edition was slightly love discovered through a shared ordeal on the polar ice. It won preceded by the UK edition. both the Hugo and Nebula awards for best novel, and ranked by BAL 12112. Locus magazine in 1987 as the second most important science £750 [132509] fiction novel after Frank Herbert’s Dune. £900 [140212] Inscribed to the composer of “I wanna be loved by you” 105 Signed by John and Yoko LOOS, Anita. “Gentlemen Prefer Blondes” [together 103 with:] “But Gentlemen Marry Brunettes”. Illustrated by (LENNON, John.) ONO, Yoko. Grapefruit. Introduction Ralph Barton. New York: Boni & Liverlight, 1925 & 1928 by John Lennon. London: Sphere Books, 1971 2 works, octavo. Original red cloth, spine and front board lettered in Octavo. Original printed wrappers, spine and front cover lettered in gilt; original black cloth-backed black and white patterned boards, spine black and white. Spine somewhat sunned and rubbed, else bright, minor lettered in gilt. With the dust jackets. Black and white illustrations in the creasing to tips and front wrapper, contents toned. A well-preserved copy text. Blondes: A fine copy in the jacket with some stains to panels, toned of this fragile publication. spine and some small chips to extremities. Brunettes: Bookseller’s ticket to rear pastedown and note to rear flap of the jacket. A fine copy in the jacket First Sphere edition, first impression, signed by both Lennon and that has a toned spine and some nicks to extremities. Ono on the front free endpaper. Copies of this title are known bearing the signatures of rock’s best-known couple but are by no First editions, first printings, inscribed by the author, “To Harry means common. Ruby with all good wishes Anita Loos”, on the front free endpaper

56 literature in love 105 of Gentlemen Prefer Blondes. The recipient, songwriter Harry Ruby 107 (1895–1974) co-wrote the song “I Wanna Be Loved by You”, which MACLEOD, Fiona, pseud. of William Sharp. The featured in the 1955 film of Gentlemen Marry Brunettes. It later became one of Marilyn Monroe’s most famous performances in Silence of Amor. Edinburgh: Patrick Geddes, 1896 Some Like It Hot (1959). Octavo. Original blue cloth, front cover lettered in gilt, decorative floral endpapers. Spine darkened, extremities a little rubbed, repair to front free £2,250 [95771] endpaper at gutter. A very good copy of this fragile work. Offprint from From the Hills of Dream, inscribed pseudonymously 106 by the author on the first blank, “To George Cotterell, Poet and (LOOS, Anita.) SMITH, T. R. (ed.) Poetica Erotica. New Friend, In Christmas Greeting, from Fiona MacLeod”. Sharp later York: for Subscribers Only by Horace Liveright, Inc., 1931 dedicated Ecce Puella and Other Prose Imagining (1896), which he published under his real name, to Cotterell (1839–1898). Writer Large octavo. Original black cloth, titles in gilt to front board, gilt and editor William Sharp (1855–1905) adopted the pseudonym decorative foliate motifs to spine, black coated endpapers, untrimmed, Fiona MacLeod in 1894 and secretly wrote under this name for partly unopened. Title printed in red and black. Corners a touch bumped, a few small marks and white paint flecks to front board, the binding the rest of his life. Sharp “constructed an elaborate series of otherwise sound and unfaded, faint toning to contents, else internally deceptions, implicit and explicit, to maintain his secret: he even fresh and clean; a very good copy indeed. contributed a fictional entry for Fiona MacLeod to Who’s Who” Presentation copy from the editor of these erotic poems to Anita (ODNB). The Silence of Amor first appeared as the final section of Loos, inscribed “To Anita Loos, with the love and regard of T. R. From the Hills of Dream (1896). Smith” on the first blank, with her distinctive illustrated bookplate £1,000 [126170] to front pastedown. This is the third and last edition, number 3,104 of 3,125 copies, but a truly great association copy from the library of the Gentlemen Prefer Blondes author, described by Henry L. Mencken as “the first American writer ever to poke fun at sex”. Anita Loos (1893–1981) was an American author whose best- known books, the Gentlemen series, were published by Smith, who was managing editor at Boni & Liveright. “The publication of Gentlemen Prefer Blondes as a serial in Harper’s Bazaar in 1925 elevated Loos to international fame. At least one source reports that Winston Churchill kept a copy of the book on his bedside table, and James Joyce is said to have read it when he was losing his eyesight. Aldous Huxley said he would like to keep Loos ‘as a pet’” (ANB). Assembled by Smith, this collection gathers poems from Burton’s Arabian Nights to Oscar Wilde and Walt Whitman, including classical works by Catullus and Tibullus, as well as continental verses from all ages.

£750 [144891] 107

All items are fully described and photographed at peterharrington.co.uk 57 108 109

108 usual, this copy has the cancelled leaves removing poems in praise MARLOWE, Christopher, & George Chapman (trans.) of Oliver Cromwell: “Failure of nerve during a temporary crisis in Whig fortunes had led to excision of the three Cromwell pieces Hero & Leander. London: J. M. Dent, 1909 before sale from almost all known copies of the work” (ODNB); Large octavo (214 × 152 mm). Finely bound by Bumpus in brown crushed only two copies, both imperfect, are known with them. morocco, titles in gilt direct to spine, raised bands, compartments and This copy is accompanied by Advice to a Painter (1679) and boards panelled in gilt and blind, frames of palmette motifs in gilt to Second Advice to a Painter (1679?), a poem and its sequel that are boards, gilt ruling to turn-ins, all edges gilt. Printed in red and black. Spine now generally attributed to the Restoration courtier Henry Savile a touch faded, a little rubbed, the binding otherwise sharp, internally crisp; a near-fine copy. (1642–1687), rather than to Marvell. The first poem, an anti- Catholic satire on the Duke of York, was written in 1673 but was First edition thus, in an elegant Bumpus binding, number 10 of only published in 1679, at the height of public uproar over the 500 copies imprinted at the Ballantyne Press, Edinburgh, from Popish Plot. The attribution to Marvell was upheld by both Wing type designed by Joseph M. Dent, and published by him. and Pforzheimer, but correspondence between Savile and his This work presents Christopher Marlowe’s 1598 rendering of brother show it to be Savile’s authorship. The Second Advice to the the Greek romantic mythological legend of Hero and Leander Painter was also generally accepted as the work of Marvell, but is with the contemporary continuation by poet and translator now in doubt, given the authorship of the first. George Chapman. ESTC R23026, R641 & R737; Wing M872, M864 & M887; Pforzheimer 671, 668, £750 [144863] and 669. For the attribution of Advice to a Painter to Henry Savile, see H. M. Margoliouth, The Poems and Letters of Andrew Marvell, 3rd edition, 1971, vol. I, pp. 420–25. “Had we but world enough and time . . .” £12,500 [130819] 109 MARVELL, Andrew. Miscellaneous Poems. London: Printed for Robert Boulter, 1681 3 works, folio (293 × 186 mm). Mid-20th century brown calf (Miscellaneous Poems) and brown morocco-backed brown cloth (Advice to a Painter/ Second Advice), all housed in brown chemises within a brown cloth slipcase, spine lettered in gilt attributing each work to Marvell. Contemporary notation “12” at head of Miscellaneous Poems. With an old catalogue description by James F. Drake of New York loosely inserted. Miscellaneous Poems: earlier stab-holes visible, pages lightly toned, scattered foxing, small stain at foot of title and prefatory page. Advice to a Painter/Second Advice: a little toned and foxed, very minor fraying around extremities. Overall a very good set. First edition of all three works. Miscellaneous Poems includes the first printing of one of the greatest poems of seduction in the English 110 language, “To his Coy Mistress”. Published a couple of years after Marvell’s death, the volume made his poetic talents known to a Inscribed to Dante Gabriel Rossetti general readership who would have known him, if at all, only from his commendatory verses to the second edition (1674) of Milton’s 110 Paradise Lost, and perhaps from some satires, thus rescuing from MEREDITH, George. Modern Love. London: Chapman & obscurity one of the major English lyricists of the 17th century. As Hall, 1862

58 literature in love 111 112

Octavo. Original green wave-grain cloth (Carter’s A binding), spine titled Mishima stayed at Wilson’s Suffolk Cottage while visiting in gilt. Front cover stained, fraying to cloth at lower edge, ink shelfmark England in 1965 on the invitation of the British Council, the two stamp to front free endpaper. A very good copy. having met previously on one of Wilson’s lecture tours to Japan in First edition, presentation copy, inscribed by the author to D. G. the early 1960s. Wilson, for his part, “had strongly recommended Rossetti on the title page, “Dante Gabriel Rossetti, from his publication of Mishima’s Confessions of a Mask “in England to the friend, George Meredith”, with authorial manuscript corrections publisher Peter Owen who published the work in 1960” (Inose & in the text. (The Hayward exhibition copy, also inscribed and Sato). The novel, which reflected Mishima’s own struggle with corrected, had a note in Meredith’s hand apologizing for “Errata a homosexual identity, is often considered his finest work, and ennumerable”.) Meredith’s novel Evan Harrington was serialized Wilson subsequently praised it in The Observer: “Mishima stands in Once a Week in 1860, and it was through his contacts at the alone. This Japanese writer is to me one of the most important magazine that he met Rossetti. Meredith’s frequent London contemporary novelists”. commitments in 1862–3 led to him spending Thursday nights The Sound of Waves was Mishima’s third novel, written following at Rossetti’s Chelsea home (where Swinburne was also a guest). his 1952 visit to Greece and incorporating elements of the story Meredith served as a model for Jesus in Rossetti’s “Mary of Daphnis and Chloe. It was originally published in Japanese in Magdalene at the gate of Simon the Pharisee”. Modern Love – a 1954, and the English translation was first published by Knopf in 50-sonnet sequence which documents Meredith’s betrayal by his New York in August 1956, this UK issue appearing the following first wife – is described as “the most painfully personal of his year. It was the first of many works by Mishima to be translated works” (ODNB). into English. Awarded the Shincho Prize from Shinchosha Forman, Meredith, 8; Hayward 271; Tinker 1551. Publishing in the year of its publication, it is one of Mishima’s most enduring works, being adapted into films five times. £5,000 [111629] Naoki Inose & Hiroaki Sato, Persona: A Biography of Yukio Mishima, 2012.

111 £2,500 [145159] MISHIMA, Yukio. The Sound of Waves. Translated by 112 Meredith Weatherby. Drawings by Yoshinori Kinoshita. London: Secker & Warburg, 1957 MITFORD, Nancy. Love in a Cold Climate. London: Octavo. Original blue cloth, spine lettered in silver. With the illustrated Hamish Hamilton, 1949 dust jacket depicting the Great Wave off Kanagawa. Negligible rubbing Octavo. Original red cloth, titles to spine gilt. With the dust jacket. Very to spine ends, small splash mark to top edge of book block, a near-fine, lightly rubbed at the extremities. An excellent copy in the price-clipped and square, and bright copy in the jacket with faded spine, light soiling to rear lightly rubbed jacket with some nicks at the ends of the spine and fading of panel, chip to head of front panel with neat paper tape reinforcement to the spine panel and the top edge of the front panel. reverse, slight nicks to edges. First edition, first impression, of her most successful novel, which First UK edition, first impression, presentation copy, inscribed by was chosen as book of the month three times over and topped the the author on the front free endpaper, “To Angus with the author’s best-seller lists on both sides of the Atlantic. The novel satirizes best wishes, Yukio, 23 March 1965”. The recipient was novelist the most precious and affected among the aesthete set, as well as Sir Angus Wilson (1913–1991), one of England’s first openly gay the ways of her own terrifying mother-in-law, Lady Rennell. authors and a friend of Mishima’s. £750 [79232]

All items are fully described and photographed at peterharrington.co.uk 59 113 114

113 “And love is love nothing can ever go wrong” NERUDA, Pablo. Primeros poemos de amor. Madrid: 115 Ediciones Héroe, 1936 O’HARA, Frank. Love Poems (Tentative Title). New York: Octavo. Original yellow boards, titles in black, marbled endpapers. Spine nearly rebacked with yellow cloth, corners lightly worn and some minor Tibor de Nagy Editions, 1965 dust soiling to covers, but still a bright copy, internally sound and clean, Quarto. Original white wrappers printed in purple and red. A fine, fresh copy. but for last three pages inscribed with lines of poetry in an unknown hand, First edition, first printing, copy 9 of 20 signed and numbered dated 25 March 1940. Very good condition. copies inscribed by O’Hara on the limitation page, “#9 Frank First edition, one of 500 copies, of this collection of love poems O’Hara 1965”, from a total edition of 500. This collection contains by Neruda, essentially a condensed version of his famous and rare many poems inspired by the poet’s love for the young ballet dancer second collection Viente poemas de amor y una canción desesperada, Vincent Warren, whom he met in 1959, including “Having a Coke originally published in Chile by Nascimento in 1924. With You”. The poems included in this Madrid edition are poems 1, 4, 9, 11, 13, 14, 17, 18, and La Canción Desperada, of the original £3,750 [144261] Viente poemas. The manuscript poetry added at the end is in an unknown hand, but is early (dated 1940), and either addressed to, or signed by, an “Elena”. £1,750 [142298]

114 NERUDA, Pablo. Veinte Poemas de Amor y Una Cancion Desesperada on LP record. Buenos Aires: Antologia Sonora, Archivo de la Palabra, [1956] 12-inch vinyl LP 33⅓ RPM in plastic sleeve, in original gatefold illustrated album cover by Luís Seoane, titles to spine and front cover in black. Photographic portrait of Neruda to inside cover. LP in fine condition, cover spine lightly browned, light rubbing to extremities, a very good copy. One of eight copies hors commerce copies signed and marked “FC” (fuera de comercia) by Neruda on the central LP label and inside cover in green permanent marker, from a total limitation of 233. An uncommon recording of Neruda reciting his first and most popular collection of love poems, first published in 1924. £1,000 [145196]

114

60 literature in love 115 117

116 “Come, fill the cup, and in the fire of spring OLIVER, Mary, & Molly Malone Cook. Our World. the winter garment of repentance fling . . .” Boston: Beacon Press, 2007 117 Oblong octavo. Original blue folding wrappers lettered in black, monochrome photographic illustrations to covers, grey endpapers. OMAR KHAYYÁM; SETT, Mera K. (illus.) [Rubáiyát of ] Numerous monochrome photographs by Cook. Spine a trifle sunned, tips Omar Khayyám. Cambridge: Galloway & Porter, 1914 faintly rubbed, the covers otherwise sharp, internally crisp; a fine copy. Large octavo. Original black cloth, titles and decoration gilt to spine First edition, first printing, signed by Oliver on the front free and front cover, top edge gilt. Illustrated title, 15 plates with text and endpaper. “Mary Oliver, winner of the Pulizer Prize for poetry, illustration and captioned tissue guards. Minor rubbing to ends and is one of the most celebrated poets in America. Molly Malone corners, cloth otherwise fresh and the gilt bright, sound and clean within, Cook, who died in 2005, was Oliver’s partner for many years, a excellent condition. pioneer gallery owner and photographer” (front flap). Signed First Sett edition, one of 250 copies, and a particularly fresh copy, of copies are uncommon. this scarce privately printed Rubáiyát illustrated by Parsee artist Mera This posthumous tribute brings together Cook’s photography Kavas Sett. Sett’s decadent envisioning of Khayyám’s great celebration and selections from her journals with the poet’s extended writing of love and sensual indulgence gained the favourable notice of Rupert in “an intimate revelation of their lives and art”. Brooke (who died early in 1915): “If Mr Sett has not been universally acclaimed as the greatest draughtsman and decorator living, the fault £500 [145298] lies with his own exclusive and publicity shunning nature. His Omar will have the pride of place in my library”. In his lengthy foreword Sett stakes his claim that his Rubáiyát “is original in being the interpretation of a Persian (Parsee)”, and also notes that “Some of the English publishers found the work “too shocking” and “one likely to hurt the susceptibility of the decent- minded English people”. They were ready to bring out my Omar if I changed a few pictures at their dictate and tastes, but I would not so much as a single line or a dot. It seems the English (according to the publishers) would rather have the conventional fig-leaf than a cluster of roses. I stated my case to my generous father. With his usual kindness and generosity, he offered to stand the piper to the tune of a private publication.” At the bottom of one of the plates, Sett has incorporated the following colophon into the illustration, in the manner of the Oriental scribes: “In the name of Auhra Mazda; the compassionating of the compassionate. Written & pictured by the humble citizen of Bombay Mera ben Kavas ben Jat Sett. Begun in 1912 finished in 1914 in the reign of George V of England, on whom be peace”. 116 £950 [145425]

All items are fully described and photographed at peterharrington.co.uk 61 118 118

118 1957 in collaboration with Mouton, but had not signed a contract. PASTERNAK, Boris. Doctor Zhivago. Milano [the Hague]: De Ridder, perhaps thinking that a contract with Feltrinelli was all but signed, went ahead without the Italian publisher’s consent; Feltrinelli [Mouton], 1958 he later said he had both tried and failed to reach Feltrinelli, who Octavo. Original blue cloth, spine lettered in gilt. Without jacket, as issued. was on holiday at the time, and that he was warned the CIA would Text in Russian. Spine slightly faded, extremities rubbed, some faint marks go elsewhere if he did not take the deal, which would scupper the to boards, book block gently cracked between pp. 630–1 but still firm, planned Mouton-Feltrinelli edition regardless. De Ridder added evidence of the occasional pencil mark to margins, now erased; in all a very Feltrinelli’s imprint to the title page (but omitted the copyright good copy. notice) in a last-minute decision after a small number of copies True first edition in Russian, one of 1,160 copies, printed as were printed without acknowledgement of the Italian publisher; part of a covert CIA publishing and propaganda programme for the title page is in fact glued-in, as seen in this copy, reflecting the distributing banned material to the Soviet Union and Eastern hasty addition. Unaware of the CIA’s involvement, Feltrinelli saw Europe. John Maury, the Soviet Russia Division chief, wrote in a it as outright fraud and considered legal action, though he later memo in July 1958 that “Pasternak’s humanistic message – that settled. The black market books were ready by early September every person is entitled to a private life and deserves respect as 1958 – just in time for the Brussels Exposition, where 365 copies a human being, irrespective of the extent of his political loyalty were distributed through a backroom at the Vatican pavilion: or contribution to the state – poses a fundamental challenge to “Soon the book’s blue linen covers were found littering the the Soviet ethic of sacrifice of the individual to the Communist fairgrounds. Some who got the novel were ripping off the cover, system” (Finn & Couvee, p. 115). dividing the pages, and stuffing them in their pockets to make the The book was originally published in Italian in 1957 by the book easier to hide” (ibid., p. 142). The rest were distributed to Italian publisher Feltrinelli; in January 1958 the CIA accepted CIA stations and assets in Western Europe, and 200 copies were through British Intelligence microfilm copies of the Russian sent to the CIA headquarters in Washington. manuscript which Feltrinelli had received from Pasternak. The Pasternak was deeply disappointed with the copy he saw, as CIA’s intention was to publish the book in Russian and distribute it was based on an early, uncorrected manuscript, and deplored copies to Soviet visitors at the Brussels Universal and International the errata in a letter to Feltrinelli. In late April or early May 1959 Exposition, as it was one of the few occasions when large numbers Feltrinelli released an edition in Russian, the third overall. The of Soviet citizens travelled to the West for an event. With the first official publication of the work in Russia occurred in 1988 by assistance of the Dutch intelligence service (BVD), they secured a way of a serial publication in the journal Novy Mir. European publisher in order to conceal the publication’s American Peter Finn & Petra Couvee, The Zhivago Affair, 2014; Paulo Mancosu, Inside the sponsorship. The CIA made a deal with Peter de Ridder, an Zhivago Storm, 2013. executive of the Dutch academic publishing company Mouton, and supplied him with the proofs. Feltrinelli, with Pasternak’s £15,000 [134827] support, had discussed the publication of a Russian edition in

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119 PATCHEN, Kenneth. The Love Poems. San Francisco: City Lights Books, 1960 Quarto. Publisher’s deluxe binding in pink cloth, titles in blue to spine and front board. Title printed in red and black. The binding firm and bright, internally crisp; a fine copy. First edition thus, first printing, 1 of 300 “Gift Edition” copies 120 bound in cloth, of the Beat poet Kenneth Patchen’s small selection of love poems. Number 13 in Lawrence Ferlinghetti’s Pocket Poets the best wishes of the author, Tony Powell Oct. 11 1932. In the Series, it is uncommon in the deluxe binding. hope that she will forgive the borrowing of her name”. Powell was This collection includes poems selected from nine of Patchen’s a reluctant and at times ungracious signer of his own books, even books published between 1939 and 1954, and the “new” poem for friends; this is a remarkably intimate inscription. “When all that changes is the World”. Hayes was “a great love and lifelong friend” of Anthony Powell’s Kenneth Patchen (1911–1972) “had been heavily involved with father Philip, whom she met in the early 1920s. Violet Powell, the jazz/poetry movement since its conception, one facet of his reminiscing about Philip, her father-in-law, noted that “he had not own move towards interdisciplinarity, of which jazz/poetry was been without his partisans, mostly ladies with whom he had been just a part. [He notably associated with the jazz bassist Charlie on flirtatious terms” (A Stone in the Shade, 2002). Anthony Powell Mingus (1922–1979) in the late March 1959 to] bring jazz music “accepted their relationship and was fond of Lucy. She greatly into the poetry arena, to make it both accessible and ‘hip’ at the enjoyed his novels”. He inscribed several of his books to her. Lucy same time” (Farrington). Hayes (1878–1965) served as a nurse in the First World War. She Cook pp. 39–41; Holly Farrington, “I improvised behind him . . . ahead of worked at the Dimitri Palace in St Petersburg, the main Anglo- time”: Charles Mingus, “Kenneth Patchen and Jazz/Poetry Fusion Art”, Journal of Russian Hospital, and a photograph album relating to her time American Studies, Vol. 41, No. 2, 2007. there is held by the Imperial War Museum. £675 [144589] Loosely inserted is a typescript of a letter from Harold Nicholson to Powell, dated 8 October 1932, stating that “I have read [Venusberg] with the utmost enjoyment . . . Your deftness of 120 composition makes all my fingers feel like thumbs . . . I envy you POWELL, Anthony. Venusberg. London: Duckworth, 1932 your gifts and opportunity . . . ” Octavo. Original grey cloth, spine lettered in gilt. With the dust jacket Lilley A.2 (a). designed by Misha Black. Spine rolled, spine ends and a couple of tips lightly rubbed, a little toning to foot of spine, one tip slightly bumped. A £3,750 [126592] very good copy in the slightly soiled and rubbed jacket, spine panel toned, chips and short closed tears to spine ends, text unaffected, a couple of ink splashes to rear panel, a few nicks and creases to extremities. First edition, first impression, presentation copy, inscribed by the author to his father’s lover on the front free endpaper, after whom he named the book’s female protagonist: “For Lucy Hayes, With

All items are fully described and photographed at peterharrington.co.uk 63 121 122

Pound’s annotated copy of “the most beautiful book in Directions, 1964), in which a complete story from Golding’s Ovid, our language” “Philemon & Baucis”, was included without abbreviation since it was apparently Pound’s favourite. 121 £12,500 [142420] (POUND, Ezra.) OVID. Shakespeare’s Ovid. London: De La More Press, 1904 Pushkin’s final work, a very nice copy in bright cloth Quarto. Original buckram backed boards, blue paper to sides, printed paper title label to spine, top edge gilt, others untrimmed. Housed in a 122 custom black cloth folding case. Etched frontispiece by Blanche McManus. PUSHKIN, Aleksandr. Eugene Onéguine. A romance of Splitting to front joint and inner hinge, though holding, spine label somewhat chipped and browned, some wear to ends and corners, fresh Russian life. London: Macmillan and Co., 1881 within, good condition overall. Octavo. Original green cloth, title to spine gilt, vignette to front cover gilt, Ezra Pound’s own annotated copy of Ovid’s Metamorphoses in brown coated endpapers, fore edge untrimmed. Housed in a dark green the Elizabethan translation of Arthur Golding (first published cloth flat-back box by the Chelsea Bindery. Pencilled ownership signature to half-title and title page. Spine gently rolled, hinges cracked but firm, 1567). Known as “Shakespeare’s Ovid”, this was the translation tips just a touch worn, couple of spots of foxing to outer leaves, otherwise Shakespeare knew and used. internally clean. A very nice copy in bright cloth. Pound, too, was greatly influenced by Golding’s translation, First edition in English of Pushkin’s final and greatest work, a calling it “the most beautiful book in our language (my opinion satirical yet deeply felt romance, anatomizing the Byronic ennui of and I suspect it was Shakespeare’s)” (ABC of Reading, p. 113). This Russia’s aristocracy in the early 19th century. is number 286 of 350 copies on handmade paper; there were 12 “Perhaps because it was the first, Spalding’s translation is often additional copies printed on vellum. set down as a pioneer version, which we naturally expect to have The front endpaper has Pound’s ink ownership inscription dated all the faults of an initial attempt ... but the remarkable fact is that 15 October 1917, the rear endpapers carry his extensive pencil notes, it has not more” (Simmons). and there are also occasional marginal notes to the text. The translator Henry Spalding apparently learned Russian This is a significant early date, showing his engagement while stationed at the British Embassy in St Petersburg. His other with this ancient text even as he and T. S. Eliot were leading the translations include Suvoroff, Khiva and Turkestan, On the Island of Modernist vanguard, the very year that Pound’s Egoist Press Saghalin, and The Tale of Frithiof (translated from Swedish). published Prufrock and Other Observations. Four decades later, in 1957, holding court during his loose imprisonment at St Elizabeth’s Line-Ettlinger-Gladstone, p. 29. Simmons, The Slavonic and East European Review, Volume 17. hospital, Pound would read aloud the entire text of Golding’s Ovid to the students of his Ezrology class. £7,500 [129124] This copy first emerged in the collection of Marcella Spann Booth (b. 1932), who visited Pound at St Elizabeth’s and began a significant friendship, moving with Pound to Italy after his release in 1958. They collaborated on a poetry anthology, eventually published in 1964 as Confucius to Cummmings: An Anthology of Poetry (New

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The highly controversial lesbian novel, in the uncommon Reviewed by Oscar Wilde dust jacket 124 123 RAFFALOVICH, Marc-André. Tuberose and RADCLYFFE-HALL, Marguerite. The Well of Meadowsweet. London: David Bogue, 1885 Loneliness. London: Jonathan Cape, 1928 Octavo. Original green cloth, spine and front cover lettered in gilt, spine and covers ruled in black, top edge gilt, others uncut. Parisian bookseller’s Octavo. Original black cloth, spine lettered in gilt, top edge black, others ticket (Librairie Gagliani) to the front pastedown. Very minor bumping and uncut. With the dust jacket. Extremities lightly rubbed, spine ends bruised, scuffing at extremities, endpapers lightly foxed, half-title and final page contents tanned with occasional foxing, overall an excellent copy in the toned. A near-fine copy. uncommon dust jacket, soiled with some loss to extremities, neat tape repairs to verso. First edition, presentation copy, inscribed by the author on the First edition, first impression, with “whip” on page 50, line 13. half-title “A M. J. J. Weiss hommage affectueux de l’auteur”. The This famous and highly controversial lesbian novel went through recipient was likely Jean-Jacques Weiss (1827–1891), French man only two small printings in Britain due to its controversial of letters, professor, and literary critic. This is the author’s second publication. First editions in the dust jacket are distinctly book of Uranian poetry, very scarce inscribed, and especially uncommon. desirable in such nice condition. It was the focus of vicious criticism from the editor of the Sunday Oscar Wilde reviewed the book anonymously in the Pall Mall Express, James Douglas, who vilified Hall’s work as pornographic Gazette: “To say of these poems that they are unhealthy and bring “moral poison”. Government officials pressured Jonathan Cape with them the heavy odours of the hothouse is to point out neither into withdrawing the novel and when Cape slyly leased the rights their defect nor their merit, but their quality merely”. The poem to a Parisian press, who smuggled copies into Britain, those too Piers Gaveston sees what might be “the first use of the word ‘shame’ were seized by the police and the publisher was prosecuted at trial. to imply homosexual love” (D’Arch Smith, p. 249). The Well of Loneliness “was subsequently banned in England . . . This “Although his work may seem typical of the Uranian – a term led to the order of the chief magistrate, Sir Chartres Biron, that all adopted by homoerotic writers of late-nineteenth-century copies be destroyed, and that literary merit presented no grounds England to denote homosexual but more specifically, pederastic, for defence. Despite protests from literary figures such as Virginia love – writers of the 1880s and 1890s, Raffalovich demonstrates a Woolf, Leonard Woolf, and John Buchan, Biron’s judgement was surprising and subversive inventiveness. The most sensuous of his upheld by a Court of Appeal” (ODNB). It was not republished until books, Tuberose and Meadowsweet (1885), includes the image of the 1949. decadent orchid of late Victorian writing and references to a love seen by others as shame, but it also cleverly revises the language of £3,250 [120049] flowers, a traditional nineteenth-century discourse of heterosexual courtship” (Malti-Douglas). Timothy D’Arch Smith, Love in Earnest, 1970; Fedwa Malti-Douglas, Encyclopedia of Sex and Gender, 2007. £5,750 [135467]

All items are fully described and photographed at peterharrington.co.uk 65 125 126

“This small photobook has come to be regarded as one of Octavo. Original green wrappers and purple card jacket. Jacket spine somewhat faded, small split at foot neatly repaired, very minor rubbing the iconic French photobooks of the 1930s” to edges, light scratch to rear panel, contents clean and bright, a more than usually attractive copy, very good. 125 First edition, first printing, published simultaneously in the RAY, Man, & Paul Éluard. Facile. Poèmes de Paul Eluard. present translation and by Jean-Jacques Pauvert in the original Photographies de Man Ray. Paris: Editions G.L.M., 1935 French as Histoire d’O in June 1954. The work was an immediate, Quarto. Original photographic wrappers, unbound sigantures. Housed in although controversial, success, facing obscenity charges in March a custom grey cloth solander box. With 12 heliogravure images. Wrapper 1955 for its vivid descriptions of sadomasochistic sex. This edition edges slightly rubbed, with a couple of small creases, rear wrapper and is scarce, especially in collectable condition. contents lightly toned but still fresh. A near-fine copy. Anne Desclos (1907–1998), who lived and wrote under the name First and limited edition, number 695 of 1,175 copies, of one of the Dominique Aury, was renowned in literary France as a translator, most important works in the photobook canon. editor, and judge for several literary prizes. At some point during “Although Man Ray participated in and produced hundreds the 1930s she discarded her original name, erasing it entirely from of fruitful collaborative works in his life, Facile must be ranked her professional and largely from her personal life. She chose among the most successful. The book combines Paul Éluard’s “Dominique” for its gender neutrality and “Aury” was derived love poems to his wife Nusch with Man Ray’s photographs of her from her mother’s maiden name, “Auricoste”. She wrote the in an extremely elegant design, integrating Man Ray’s solarized, present work of erotica for her lover, Jean Paulhan, who provides superimposed, double-exposed and negative images into the page the preface, in response to his challenge that women could not spreads in a way that makes image and text appear to intimately write explicitly sexual literature, and to recapture his drifting embrace. It is a fluent but not at all facile collaboration between affections. The work, which won the Prix Deux Magots, “portrayed the poet, the photographer, the model and muse, and the explicit scenes of bondage and violent penetration in spare, publisher Guy Lévis Mano. Nusch Éluard had become one of Man elegant prose, the purity of the writing making the novel seem Ray’s most important models . . . and was also one of Picasso’s reticent even as it dealt with demonic desire, with whips, masks favourite models. She had just married Éluard the previous year. and chains” (Bedell). Desclos’s identity as the writer was not The Éluards remained in Paris throughout World War II and were revealed until 1994 in an interview with John de St Jorre published very active in the Resistance. In 1943 they were forced to hide out in The New Yorker. in the Saint-Alban psychiatric hospital, where, weakened and Geraldine Bedell, “I Wrote the Story of O”, for The Guardian, 2004. demoralised, Nusch Éluard died of exhaustion in 1946. In Facile, she lives” (Roth). £950 [144976] Parr & Badger I, pp. 104–05 (“this small photobook has come to be regarded as one of the iconic French photobooks of the 1930s by virtue of its inclusion in 127 many exhibitions devoted to the Surrealist movement”); Roth, 101, pp. 86–7; see also Renée Riese Hubert, Surrealism and the Book, 1988, pp. 73–83. RENAULT, Mary. The Last of the Wine. London: Longmans, Green and Co, 1956 £6,000 [122388] Octavo. Original brown boards, titles to spine gilt. With the dust jacket. Double-page map frontispiece. Light foxing to edges, an excellent copy in 126 the jacket with faded spine, light rubbing to extremities. RÉAGE, Pauline, pseud. of Dominique Aury. First edition, first impression, of the second of Renault’s historical The Story of O. A novel translated from the French, with novels to deal with male homosexuality as its key theme. A nice an essay by Jean Paulhan. Paris: Olympia Press, 1954 association copy, with the gift inscription of First World War poet

66 literature in love 128 129

Cecil Roberts on the front free endpaper, “To Alec Lacy, from his The front flap insisted that: “Ford Madox Ford is friend Cecil Roberts – Since you love Greece. June 1959”. discriminating; he does not trade in glittering generalities. So, Roberts privately claimed to have been a lover of Laurence Olivier, when he called Perversity a second Madame Bovary, he was not Ivor Novello, Baron Gottfried von Cramm, Somerset Maugham, and talking hokum. Of course, Mr. Ford is the translator and well – he Prince George, Duke of Kent. Renault’s “interest in sexuality and may feel a bit indulgent. Not a bit of it! Indefatigable man of letters specifically in homosexuality and fluid gender roles and identities that he is, he ranged through modern French literature until he may have contributed to her marginalization – yet these very happened onto Perversity. ‘By Jove, this must be translated.’ So he interests warrant a re-evaluation of her achievement in an era more went to it, and at length wrought a translation as admirable in its liberal than the one in which she began to write” (ODNB). way as his works of creation are in theirs”. Douglas Glover, “All the Sad Clowns: On Francis Carco’s Novel ‘Perversity’”, on £800 [119487] LA Review of Books, July 2020, accessed 14/12/20.

“A second Madame Bovary” – Ford Madox Ford £1,250 [144906] 128 Anne Rice’s copy of this fiendish erotic novel RHYS, Jean (trans.); CARCO, Francis. Perversity. 129 Translated by Ford Madox Ford. Chicago: Pascal Covici, 1928 (RICE, Anne.) MUSSET, Alfred de. Passions’ Evil. Paris: Olympia Press, 1953 Octavo. Original black cloth, titles in red to spine and front board, top edge red. With the dust jacket. The binding sharp, internally crisp. A fine copy Octavo. Original blue folding wrappers, titles in black to spine and front in the near-fine jacket, faint sunning to spine panel, small nicks to corners, cover. Spine sunned, extremities faded and rubbed, small nicks to spine slight surface abrasion to flaps, not price-clipped, otherwise bright. ends, the binding otherwise sound, else internally clean and fresh; still, a very good copy of a fragile production. First edition in English, first printing, of Carco’s Perversité, first published in French in 1925. This translation, although attributed First Olympia Press edition, first printing, number 2 of 750 to Ford Madox Ford, was actually by Jean Rhys. Ford’s lover and copies only, of Musset’s erotic novel, Gamiani ou deux nuits d’excess mentee, Rhys produced the translation with his encouragement (1833), translated by Austryn Wainhouse (as “Audiart”). This is when she lived with him and his wife in Paris during the mid-1920s a superb association copy of this fiendish book, with the signed while her husband was in prison for embezzlement. bookplate of erotic novelist Anne Rice, best known for Interview When the book was published crediting Ford with the With a Vampire (1976). translation, he “insisted this was a mistake on the part of the The Countess Gamiani, a young girl named Fanny, and a young publisher, Pascal Covici, and that he had not intended to take man named Alcide spend two nights together, sharing their the credit. But there has always been a suspicion that Ford intimate histories, which include abuse in a monastery and near- and Covici colluded to suppress the unknown Rhys’s name in fatal debauchery in a convent, as well as encounters with a variety order to promote the book. The whole thing was a mess. Ford of animals. Usually attributed to Alfred de Musset, the novel was protested. Perhaps out of guilt (he did have a disagreeable habit published anonymously, but the eponymous lesbian heroine is of patronizing young female writers in more ways than one), he thought to be a portrait of his lover, George Sand. quietly paid Rhys the money she was owed for the work when Wainhouse was an American author and translator, mainly of Covici failed to pony up. But the relationship between Ford and erotic literature, who joined the Olympia Press in the early 1950s, and Rhys soured (not the least because [Ford’s wife,] Stella Bowen for which he produced the first unexpurgated English translation of refused to relinquish Ford). Rhys’s first novel, Quartet (1928), the Marquis de Sade’s Justine (also published in 1953). fictionalized the sordid details” (Glover). £1,250 [145086]

All items are fully described and photographed at peterharrington.co.uk 67 130 131

One of 26 copies signed by the author Ouckama Knoop (1900–1919), whose death from leukaemia inspired the sonnets. The 19-year old dancer and musician was the 130 daughter of Rilke’s friend Gerhard Ouckama-Knoop, and a close RICH, Adrienne Cecile. Twenty-One Love Poems. friend of his own daughter Ruth. Emeryville: Effie’s Press, 1976 David Young notes in introducing his 1987 English translation of the Sonnets, that Rilke “does not center his poem on love for a Quarto. Publisher’s special binding in natural linen, titles in grey to front particular person, but writes instead a kind of extended love-poem board, green endpapers. Title and limitation pages printed in green and to the world, celebrating such diverse love-objects as mirrors, black. The binding clean and firm, internally crisp; a fine copy. dogs, fruit, ancient sarcophagi, roses, a strip of cloth, unicorns, First edition, signed limited issue, number “e” of 26 copies signed breathing and childhood.” by the author on the limitation page and specially bound at the Freedman, Life of a Poet: Rainer Maria Rilke, 1998, p. 479. press, from an edition of 1,026 copies. Adrienne Rich (1929–2012) was an American poet, essayist, £3,250 [101198] and feminist. Her New York Times obituary hailed her as “a poet of towering reputation and towering rage, whose work – The only book illustrated by Rodin distinguished by an unswerving progressive vision and a dazzling, empathic ferocity – brought the oppression of women and 132 lesbians to the forefront of poetic discourse and kept it there for RODIN, Auguste (illus.); MIRBEAU, Octave. Le jardin nearly a half-century” (Margalit Fox, 28 March 2012). des supplices. Vingt compositions originales de Auguste £1,500 [144525] Rodin. Paris: Ambroise Vollard, 1902 Large quarto (322 × 245 mm). Finely bound in contemporary brown Rilke’s masterpiece, deluxe issue, one of 100 copies morocco by Lucette H. Lévy, preserving the original pictorial wrappers, titles in gilt direct to spine, turn-ins with thick single gilt ruling and dots at 131 corners within blind double frames, marbled endpapers heightened in gilt, top edge gilt, others untrimmed. With 40 plates after 20 illustrations by RILKE, Rainer Maria. Die Sonette an Orpheus. Leipzig: Auguste Rodin (signed in the plate), each in two states and including 18 in Insel-Verlag, 1923 colour; first state plates with illustrated and captioned tissue guard. Spine a Octavo (214 × 139 mm). Bound for the publishers by H. Sperling in blue calf, touch sunned, a hint of rubbing to corners, the binding otherwise firm and titles to spine gilt with raised bands, boards ruled in gilt, gilt and green square, one gathering brown, else internally crisp; a near-fine copy. painted endpapers, turn-ins and top edge gilt. Housed in a custom blue First edition thus, first printing, of the only book illustrated quarter morocco solander box. Faint ink stamp to title page. Spine slightly by Rodin, number 16 of 30 on chine with an extra suite of the faded, a little wear to tips and spine, internally fine; an excellent copy. monochrome line drawing illustrations, giving a delicate alternative First edition, deluxe issue, number 7 of 100 copies specially bound, to the coloured plates, from an edition of 200 copies only. from a limited edition of 300 copies printed on handmade paper This controversial gothic and erotic novel was first published by W. Drugulin. Die Sonette an Orpheus (The Sonnets to Orpheus) is in 1899; its first edition in English was published in 1931 as Torture considered, along with the Duino Elegies, as Rilke’s masterpiece. Garden. Its influence is still felt today – Europe’s largest fetish They were composed in what the author described as a “savage club, “Torture Garden”, established London 1990, is named after creative storm” during February 1922. The dedicatee was Wera Mirbeau’s novel.

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Rodin’s “collaboration with his loyal friend and fervent First edition, second impression, inscribed by Vita Sackville-West champion, Octave Mirbeau (1848–1917), on [this work], sealed to her lover Evelyn Irons on the front free endpaper of the first their friendship for ever. In 1899, after a somewhat modest first volume, “Evelyn from Vita Xmas 1931”. edition, Rodin and Mirbeau signed a contract with the picture Evelyn Irons was a journalist who by 1931 was editor of the dealer Ambroise Vollard, for the illustration of a luxury edition Features page on the Daily Mail. In March of that year she arranged of Mirbeau’s novel. Rodin’s imagination was fired by the skilful to interview Vita Sackville-West in London. Three days later she mix of sinister violence and voluptuousness in this novel. He was invited to Sissinghurst and soon after the two became lovers. concentrated almost exclusively on the heroine Clara and the The sexual relationship itself was quite short-lived, but their theme of Sapphic love, which is known to have been a source of friendship persisted up to Vita’s death in 1962. inspiration for the artist’s drawings” (Musée Rodin). For Rodin, see item 132. £875 [45445] £15,000 [143265]

A gift to her interviewer, who became her lover 133 (SACKVILLE-WEST, Vita.) LAWRENCE, D. H. The Collected Poems. London: Martin Secker, 1929 2 volumes, octavo. Original brown cloth, titles to front boards and spines gilt, top edges brown. Some browning to endleaves but an excellent set.

133

All items are fully described and photographed at peterharrington.co.uk 69 135 (SAPPHO.) VIVIEN, Renée (trans.) Sapho. Traduction nouvelle avec le texte grec. Paris: Alphonse Lemerre, 1903 Octavo. Original blue-grey wrappers, titles printed in black, front cover with illustration by Lucien Levy-Dhurmer. Publisher’s device to title, decorative headers and culs-de-lampe. Spine restored with titles added in faithful facsimile, otherwise only some minor marks and toning to front and rear, internally very fresh, an excellent copy in the original wrappers. First edition, a rare survival, especially in the original Levy- Dhurmer illustrated wrappers, of the first “explicitly lesbian translation of Sappho’s poetry” (Mendès-Leite, p. 102) by the British-born exegete, and high-profile lesbian expatriated to the Parisian Belle Époque, Renée Vivien. It includes the original Greek verses, their literal translation, and their versification. Nicknamed “Sappho 1900”, Renée Vivien (1877–1909), born Pauline Mary Tarn, changed her name and moved to Paris around 1900. She had inherited her father’s fortune upon his death when she was nine years old and could now flee (and later in her writings lambast) the social conventions and demands assigned to her sex. She harboured a romantic relationship with her closest childhood friend and neighbour, Violet Shillito, who introduced Vivien to her next love interest, the American heiress Natalie 134 Clifford Barney (1876–1972). Known as the “Amazon” of Paris, she was one of the most influential lesbian and feminist writers of the period. Barney A characteristic “Napoleonic” imitation of Sappho promoted women’s writing and formed an Académie des femmes 134 in response to the all-male Académie française, while also supporting and inspiring male writers from Remy de Gourmont (SAPPHO.) IMPERIALE, Giovanni Vincenzo. La to Truman Capote. Her Paris salon at 20 rue Jacob was for 60 years Faoniade. Crisopoli [Parma]: Co’caratteri Bodoniani, 1792 the crucible of Left Bank culture (guests included Colette, Pierre Small octavo (138 × 98 mm). Contemporary Italian brown morocco, spine Louÿs, Mata Hari, Auguste Rodin, Ezra Pound, Jean Cocteau, T. gilt in compartments, sides bordered in gilt with Greek key and flower head S. Eliot, F. Scott Fitzgerald, Rainer Maria Rilke, Rabindranath rolls, decorative tools at inside corners, marbled endpapers, gilt edges. A Tagore, Nancy Cunard, Peggy Guggenheim, Caresse and Harry little rubbing, endpapers stuck down, some spotting, a very good copy. Crosby, Sylvia Beach, and Isadora Duncan). From 1900, she wrote First edition printed with the types of Bodoni (first published in and published lesbian poetry under her own name, and her love two parts at Naples in 1780–86), a beautifully produced book here affairs, with Vivien and others, were the inspiration for many in very attractive contemporary Italian morocco. writers, notably Radclyffe Hall’s The Well of Loneliness (1928) and “A Neapolitan general, Vincenzo Imperiale . . . presents La Pougy’s bestseller Idylle Saphique (1901). Both women “studied Faoniade: Inni ed odi di Saffo as a translation of a previously unknown classical Greek and wrote various versions of Sappho’s life . . . work by Sappho, newly discovered in true Ossianic fashion In 1904 Barney and Vivien moved briefly to Lesbos in order to by ‘the famous Russian scholar Ossur,’ who was visiting Cape establish a women’s school of poetry in imitation of Sappho, but Leukas and found some papyri in a stone box . . . When Imperiale the venture failed, and the two lovers parted” (ANB). presents what he claims to be ‘the only complete work we have “Vivien turned her idol into a diaphanous woman, crowned with of Saffo’ (xv), he is attempting to replace the Sappho corpus with violettes, Renée Vivien’s favourite flower. ‘Sappho 1900’ didn’t a ‘faoniade’, an epic poem to the glories of Aphrodite’s fickle look like a voluptuous and plump beauty. On the contrary, she was boatman. The Faoniade is actually a collection of poems, all of rather ethereal and androgynous as most of her female admirers them about Sappho’s love for Phaon, ‘hymns’ addressed less liked to depict her. Renée Vivien for instance talked about her frequently to the gods than to the physical beauty of the perfect ‘virginal body’ and Natalie Barney about her ‘ephebian hips’ . . . young male” (DeJean). This hero-worship was characteristic of [associating] her virility and androgyny with a certain kind of the “Napoleonic” fictions of Sappho that multiplied at this time, uncommon but striking beauty” (Mendès-Leite, pp. 89–90). transferring power from Sappho to Phaon, or some other man. For Natalie Clifford Barney, see items 8, 9, 10, and 168; for In later editions, Imperiale’s imitation was often paired with Renée Vivien, see item 135. Alessandro Verri’s Avventure di Saffo poetessa di Mitilene (1780). Rommel Mendès-Leite, Gay Studies from the French Cultures, 1993. Brooks 459. Joan DeJean, Fictions of Sappho, 1546–1937, 1989. £1,500 [145204] £1,750 [131990] “Heavens! What a woman!!!” – G. B. Shaw 136 (SAPPHO.) O’HARA, John Myers. The Poems of Sappho. Chicago: privately printed for the author by Smith & Sale, 1907

70 literature in love 135

Narrow octavo (196 × 98 mm). Contemporary brown sheep, raised bands to spine, title to front cover in gilt, initials “L.M.W.” to bottom turn-in of front pastedown, “K.A.O’L” to rear pastedown, top edge brown, others untrimmed. Title page printed in red and black. Board edges and joints rubbed, occasional light foxing, offsetting from turn-ins to endpapers; a very good, handsome, copy. First edition, number 84 of 100 copies printed on handmade paper and numbered by the poet. This richly sensual translation of Sappho’s poems was issued shortly after Bliss Carman’s Sappho, One Hundred Lyrics (1904), which is considered the first comprehensive and fully imagined rendering into English of the fragmentary poems. This work unsurprisingly uncommon, the sole copy appearing at auction being that of George Bernard Shaw, which held a note of thanks to the poet: “Many thanks for the Sappho. Heavens! What a woman!!! G. Bernard Shaw”. Sappho scholar Yopie Prins argues that the modern understanding of Sappho as an idealised feminine figure can be traced to works such as the present volume, remarking that “the Victorian period was a critical turning point in the history of Sappho’s reception” (Prins, p. 3). Yopie Prins, Victorian Sappho, 1999. £500 [139152] 136

All items are fully described and photographed at peterharrington.co.uk 71 137

The fourth folio, a tall copy in handsome diced russia gilt edges; the binding unsigned but quality work. Housed in a brown quarter morocco fleece-line folding case by Sangorski & Sutcliffe. Engraved 137 portrait by Martin Droeshout above the verses To the Reader on verso of the first leaf, title with fleur-de-lis device (McKerrow 263), double column SHAKESPEARE, William. Comedies, Histories and text within typographical rules, woodcut initials. Engraved bookplate of Tragedies. London: for H. Herringman, E. Brewster, and R. T. Allen, FSA. Small wormhole(s) in lower inner margin, from beginning Bentley, 1685 through to quire Uu and the extreme lower outer of corner of leaf Hhh5 to end, never touching text area; small hole in title leaf neatly repaired, not Folio (369 × 234 mm). Late 18th-century diced russia, spine divided in six touching letters, consequent to a bookplate being sometime removed from compartments by double raised bands, gilt-lettered direct in second, third the verso; small spill-burns in F3, Dd5,6, Eee1, Ttt5, and Vvv4 affecting the and fourth compartments, first, fifth and sixth with central ornament in odd word or letter; a few letters marked by a contemporary hand on Bb6r; blind; sides with wide borders of a thick-and-thin rule in gilt enclosing paper flaw in outer margin of *Ddd5, Ttt5 not affecting text; occasional a blind roll of leaves and acorns and a gilt wavy roll incorporating leaf sprays, gilt acorn roll to turn-ins and leather inner hinge, drab endpapers,

72 literature in love 137 138 faint browning; the odd isolated rust mark; notwithstanding these Earliest obtainable edition of Shakespeare’s love poetry relatively trivial flaws, an exceptionally good unsophisticated copy. A notably tall and handsome copy of the Fourth Folio, the last of 138 the 17th-century editions of Shakespeare’s works, and the most SHAKESPEARE, William. A Collection of Poems, in grandly produced. Two Volumes. London: for Bernard Lintott, [1710–11] This stately edition holds in a single volume many of the most significant love stories in all literature, including countless now- 2 volumes bound together, octavo (167 × 90 mm). Contemporary sheep, unlettered, sides with two-line gilt rules. Housed in a brown morocco- definitive lines: “My bounty is as boundless as the sea, / My love backed solander box. Without free endpapers. Bookplate of Robert Ball. as deep; the more I give to thee, / The more I have, for both are Corners repaired, joints starting at head but holding, occasional spotting infinite” (Romeo & Juliet), “There’s beggary in love that can be as usual, still a very good copy. reckoned” (Anthony & Cleopatra), “the course of true love never did Effectively the earliest obtainable printing of Shakespeare’s major run smooth” (Midsummer Night’s Dream), “Journeys end in lovers’ poetry, combining the complete uncorrupted text of the 1609 meeting” (Twelfth Night), to quote but few. Sonnets with Lucrece and Venus and Adonis. Benson’s 1640 edition The 1623 first folio was edited by John Heminge (d. 1630) and of Shakespeare’s Poems lacked both Lucrece and Venus and Adonis Henry Condell (d. 1627), and seven plays were added by Philip and its text of the Sonnets was both incomplete and bowdlerised Chetwin (d.1680) for the third folio of 1663, of which only one, – combining poems, mixing masculine and feminine pronouns Pericles, is today recognized as the work of Shakespeare. This etc. – but Lintott referred back to the original 1609 edition of Fourth Folio was a straight reprint of the Third, and was issued by the Sonnets, correcting Benson’s mistakes and including the two Henry Herringman in conjunction with other booksellers, with longer poems for the first time. Volume 1 was originally published three settings of the title-page. In common with the Third, the separately with a title page dated 1709; when Lintott completed the Fourth Folio dropped the final “e” from Shakespeare’s name, a second volume a new general title was issued and the dating of the spelling that persisted until the beginning of the 19th century. parts altered. The year 1709 was highly significant in Shakespeare Bartlett 123; Gregg III, p. 1119; Jaggard p. 497; Pforzheimer 910; Wing S–2915. scholarship, the year in which Rowe issued his first octavo edition £185,000 [133696] of the plays. As Rowe had not purchased copyright in the poems, Lintott, who was a keen rival of Rowe’s publisher Jacob Tonson, quickly issued these two volumes to supply the lack. ESTC T138086. £22,500 [134529]

All items are fully described and photographed at peterharrington.co.uk 73 139 140

Edith Craig’s copy, with a costume design for Viola Small octavo (130 × 104 mm). Contemporary vellum, hand-embroidered daisies in white, green, and yellow thread to spine and front cover with 139 hand-embroidered lettering and panelling in dark and light brown thread, edges gilt. Illustrated frontispiece by G. F. Watts, decorated title page, SHAKESPEARE, William. Twelfth Night.London: printed rubricated initials throughout. Gift inscription to front endpaper. A few for John Bell, and C. Etherington, at York, 1773 dark marks to vellum, pale foxing to prelims, otherwise a fine copy. Duodecimo in sixes (181 × 100 mm), pp. 315–375 extracted and bound A beautiful copy of the Temple Shakespeare Sonnets in a c.1930 in dark brown calf-backed purple cloth boards, titles in gilt to spine. charming and unusual arts and crafts-style needlepoint Illustrated frontispiece. Light rubbing to board edges, a little foxing and embroidered binding on vellum. First published in 1896, the occasional minor marks to contents, a lovely copy. Temple Shakespeare was edited by Shakespearean scholar Israel A lovely theatrical association copy of Shakespeare’s great comedy Gollancz (1863–1930) who aimed to “popularize Shakespeare and of love and cross-dressing, bound for the theatre director and other classics” (ODNB). The frontispiece is a reproduction of G. suffragist Edith “Edy” Craig (1869 –1947), with her bookplate F. Watts’s “Love Triumphant”, and the edition includes a 12-page (designed by her brother, Edward Gordon Craig) and with an glossary at the rear. original pen-and-ink sketch, likely by Edith Craig, of a costume for “Increasingly during the Edwardian era women became active Viola, pasted to the free endpaper. as amateur bookbinders”, with embroidered bindings especially Craig trained as a costume designer and worked on popular due to the spread of arts and crafts sensibilities and the numerous productions at the Lyceum Theatre designing publication of more readily available and cheaper editions of costumes for her mother, the renowned actress Ellen Terry. favoured works (AB Bookman’s Weekly, p. 1,370). Craig was noted for her rigorously researched and historically Jaggard, p. 455; AB Bookman’s Weekly: For the Specialist Book World, Volume 100, 1997; accurate costumes and gained recognition for her insistence on International Arts and Crafts, Victoria and Albert Museum, 2005. historically appropriate detailing. £2,500 [145474] After her mother’s death in 1929, Craig staged an annual commemorative performance of Shakespeare in the converted Barn Theatre at Smallhythe Place. This copy and the One of five printed on vellum accompanying sketch may well have been used for the production 141 of Twelfth Night there in July 1932, which featured John Gielgud as Orsino and Peggy Ashcroft as Viola. On the final line of text in this SHAKESPEARE, William. Sonnets. Leipzig: Ernst copy (“And we’ll strive to please you every day”), Craig has struck Rowohlt, 1910 through the final two words, writing in pencil above “all again”. Large octavo (260 × 176 mm). Near-contemporary green morocco by £750 [145692] Carl Sonntag jun., spine lettered in gilt in compartments, each tooled in gilt, Greek key roll frame in gilt to covers, turn-ins ruled in gilt, yellow cloth bookmarker. Printed on vellum. Prior cataloguing pasted to rear 140 pastedown. Joints and board edges rubbed, natural pale discolouration to SHAKESPEARE, William. Sonnets. With preface and first couple of leaves; else a near-fine copy. glossary by Israel Gollancz. London: J. M. Dent and Co., 1902 First Rowohlt edition, one of five copies printed on vellum, finely bound by the influential German binder Carl Sonntag jun. (1883–1930), who was instrumental in the emergence and

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printed in blue, head-piece of fleurons to each Act, Messel’s facsimile signature to dedication page. Spine ends a touch bumped with faint loss to lettering, the binding otherwise sharp and notably bright, light toning and foxing to edges, internally clean and fresh. A near-fine copy in the near-fine jacket, two small spots to rear panel, minor creasing to spine ends, not price-clipped, notably unfaded. First and sole edition thus, inscribed by the illustrator on the front free endpaper “With all best wishes to Mr and Mrs Carl, and all 141 congratulations for their Golden Wedding, Oliver Messel, 1939,” followed by three pages of signatures, dated 1949, from guests to the Carls’ diamond wedding anniversary, including that of ballet development of the German book art movement which preceded dancer and choreographer Frederick Ashton. Uncommon in the the First World War. jacket. Carl Sonntag jun. trained as a binder in the early 1900s in France Ashton had been appointed Resident Choreographer of Vic- and the UK, including at the workshop of the renowned Sangorski Wells Ballet (later The Royal Ballet) in 1935 and became Director & Sutcliffe. In the UK he encountered, and consequently rebelled of the Company in 1963. Then, “in addition to choreographing, against, binders espousing an overly ornamented binding style [Ashton] introduced several significant works, including which he felt treated bound books solely as prestigious objects Bronislava Nijinska’s Les Noces and George Balanchine’s Serenade, exclusive to a wealthy upper class. Sonntag jun. counteracted and commissioned Kenneth MacMillan’s Romeo and Juliet” (Royal this style in his own work by using readily accessible tools and Opera House). materials, reducing what he saw as unnecessary ornamentation, A most attractively produced book, it was published in “only and favouring simple designs executed at a high level, as in the a small edition” (front flap), reflecting the sumptuous nature of present example. its Hollywood counterpart. Messel’s designs for the 1936 MGM This collection is the sixth work in Rowohlt’s “Drugulin-Druck” production, directed by George Cukor, starring Leslie Howard and series, and was also released in a standard trade issue. Norma Shearer (the book’s dedicatee), brought, in the words of £6,750 [139564] noted columnist Diana Vreeland, “the most sophisticated British stage design to the movies” (McConathy & Vreeland, p. 106). Oliver Messel (1904–1978), along with Rex Whistler, was one A celebratory witness to a longer lasting relationship of the most important figures in inter-war theatre design. At 142 the beginning of his career he was confronted “with a general standard of decor that was competent but unimaginative. SHAKESPEARE, William. Romeo and Juliet. With Naturalism was then at a premium with theatrical management, designs by Oliver Messel. London: B. T. Batsford Ltd, 1936 and theatre design in London and the regions tended to reproduce Quarto. Original deep purple cloth, spine and front board lettered in upper-class late-Victorian and Edwardian domestic backgrounds. white and blue in imitation of Oliver Messel’s handwriting, front cover Working independently and in different styles, Messel and additionally decorated with blue stars. With the pictorial dust jacket. Whistler changed all that and raised the standard of stage decor Colour frontispiece and 7 similar plates mounted on captioned grey card into an eclectic and well-appreciated art” (ODNB). leaves, 31 half-tone plates, all after Messel, title page printed in black and blue with colour vignette and typographic border, decorative initials £1,250 [143172]

All items are fully described and photographed at peterharrington.co.uk 75 A precious relic of the great Romantic love triangle 144 SHELLEY, Mary & Percy Bysshe. Autograph letter signed to Claire Clairmont, with a clipped signature of Percy Bysshe Shelley. [24 South Audley Street:] 2 May 1837 Single leaf (235 × 185 mm), thrice folded. Some glue residue to blank portion from having been tipped into an album, a few other very faint marks, very good condition. Mary writes tersely to her stepsister, in response to a request, enclosing a clipped signature of her late husband, “Yours ever

144

143

Mary Shelley’s first book – a diary of her elopement honeymoon with Percy 143 [SHELLEY, Mary & Percy Bysshe.] History of a Six Weeks’ Tour. London: published by T. Hookham, Jun.; and C. and J. Olliver, [November] 1817 Small octavo (167 × 100). Finely bound by Root & Son in early 20th-century 144 blue half morocco, spine gilt in compartments with titles direct, blue cloth sides with double gilt rule border, blue coated endpapers, top edge gilt, faithfully – Percy B. Shelley” (here still pasted down, presumably others barely trimmed. With the half-title. With the armorial bookplate of F. E. Smith, 1st Earl Birkenhead (1872–1930), writer, wit, Conservative clipped by Mary from an earlier letter to her). This entrusted politician, and close friend of Winston Churchill, who attained the office treasure is accompanied by Mary’s note, “I hope the person to of Lord Chancellor; and the later library label of Pulitzer prize-winning whom you give it will appreciate it as it deserves – or I should not poet William Rose Benét (1886–1950) and his fourth wife the children’s like to part with it”. Given that the chief root of Mary’s dislike of writer Marjorie Flack. Some light scuffing to extremities, a few trivial spots Claire lay in Claire’s intrusion into Mary’s relationship with Percy within, otherwise a clean copy, notably tall with the fore edge and lower Shelley (Claire and he almost certainly had an affair, and may margin barely trimmed, a near-fine copy. even have had a child together), Mary’s gift to Claire of such a First edition of Mary Shelley’s first book, compiled at Marlowe, treasured relic of her not-so-faithful husband is remarkable. where she also finished Frankenstein, which was published on The relationship between the women had been, and continued 1 January 1818. It comprises Mary’s 81-page journal account to be, awkward. At the time of this exchange Mary was living of her travels through Europe after her elopement with Percy, in uncomfortable rented rooms in South Audley Street, still accompanied by her stepsister Claire Clairmont, from July to dependent on Sir Timothy Shelley’s whim, but Percy Shelley’s September 1814. To this she added her and Percy’s letters, his reputation was on the rise, his atheism forgotten, his radicalism all to Thomas Love Peacock, relating their second European beginning to look far-sighted, and his poetry widely read and sojourn, in the summer of 1816, around Lake Geneva and the discussed. Claire meanwhile was usually in Paris, working as a vale of Chamouni, Switzerland. The final addition is Shelley’s governess. It was perhaps to impress some contact there that she powerful and mysterious poem “Mont Blanc”, which finds its first wanted a sample of Shelley’s signature. appearance in print here. In the event, Claire did not give the signature away to another £6,500 [125127] person. Famously, in her later years she became the guardian of a significant amount of valuable Shelley memorabilia and the target of insincere suitors on account of it, the situation that inspired Henry James’s novella, The Aspern Papers. £25,000 [120615]

76 literature in love 145 146

In a fine contemporary binding couplet in defence of free love: “True love in this differs from gold or clay / that to divide is not to take away”. 145 Granniss 62; Wise, p. 59. SHELLEY, Percy Bysshe. The Poetical Works. Edited by £2,500 [143591] Mrs. Shelley. London: Edward Moxon, 1839 4 volumes, octavo (158 × 95 mm). Contemporary green half morocco, 147 titles and decorations to spines gilt, marbled sides ruled in gilt, edges gilt, marbled endpapers, red silk bookmarkers. Engraved portrait frontispiece SHELLEY, Percy Bysshe. The Banquet. Translated from in vol. I, publisher’s ads to vols. I, II and IV. A little rubbing to spine ends, Plato. London: L.C.C. Central School of Arts and Crafts, 1909 vol. II foot of front board bumped, contents clean. A fine, fresh set. [colophon: 1912] First collected edition, highly desirable in a contemporary Quarto (229 × 170 mm). Original red quarter sheep, marbled boards, titles binding in such nice condition. Mary Shelley’s collected edition in gilt direct to spine, untrimmed. Title printed in red and black. Gift of her husband’s poetical works established Shelley finally and inscription to front free endpaper from Scottish artist William Johnstone, irreversibly amongst the great poets of the English language. later principal of Central School of Arts & Crafts. Lightly rubbed, narrow Dunbar, Shelley Studies 345; Granniss 88; Wise, p. 87; Wiliam St Clair, The Godwins waterstaining and minor chipping to some fore edges, else internally crisp; and the Shelleys: The Biography of a Family, 1989. a very good copy. £1,250 [140275] First edition thus, first impression, of one of the great classical texts on love translated by one of its most enthusiastic exponents, in a fine press edition under the direction of J. H. Mason who “True love in this differs from gold or clay worked for the Doves Press. That to divide is not to take away” A particularly compelling passage in Plato’s text relates the genesis of love and gender, explaining that humankind 146 was originally a spherical eight-limbed creature of rebellious SHELLEY, Percy Bysshe. Epipsychidion. London: intelligence, warring against the gods and punished by Jupiter Published for the Shelley Society, by Reeves and Turner, Oct. in being sundered, for ever missing their other half, and thus 1887 creating man and woman: “From this period, mutual love has naturally existed between human beings; that reconciler & bond Octavo. Original blue boards, printed paper label to spine. Very light wear of union of their original nature, which seeks to make two, one, at head of spine. A near-fine copy. and to heal the divided nature of man” (p. 28). The thought First facsimile edition, this one of only three copies printed on clearly influenced Shelley’s own passionate apprehension of love, vellum and signed by the printers Richard Clay & Sons, this from exhibited in many instances but perhaps most strenuously in the library of the edition’s publisher and editor H. Buxton-Forman, the erotic Epipsychidion: “We shall become the same, we shall be President of the Shelley Society, with his illustrated bookplate. one / Spirit within two frames, oh! wherefore two? / One passion Epipsychidion (the title means “to/for a little soul/Psyche”) was in twin-hearts, which grows and grew, / Till like two meteors of Shelley’s intense lyrical love poem addressed to the “poor captive expanding flame, / Those spheres instinct with it become the bird” Teresa “Emilia” Viviani, a beautiful Italian countess of 19 same, / Touch, mingle, are transfigur’d . . . ”. years who was “imprisoned” in St Anna convent while her father sought her a suitable husband. The poem includes his notorious £900 [143848]

All items are fully described and photographed at peterharrington.co.uk 77 148 149 150

148 Tall narrow quarto. Original wrappers. Housed in a custom black cloth box, black calf label to spine. Lightly rubbed, else a near-fine copy. SMITH, Lillian. Strange Fruit. A Novel. New York: Reynal First French edition, signed by both authors on the rear wrapper & Hitchcock, 1944 and scarce thus. This collaborative work, containing 22 numbered Octavo. Original dark blue cloth, titles to spine and front board in white poems (11 by each poet), was first published in a limited edition and yellow. With the dust jacket. A little loss of size to lower edges, but chapbook by Aloes Books in London the same year. The text is overall cloth bright and fresh. An excellent copy in the crisp dust jacket. printed in both French and in English. The poems originate from First edition, first printing, a beautiful copy of this important the time that Smith and Verlaine were lovers and associates in the novel dealing with interracial romance and lynching in the New York punk and poetry scene. Southern United States. Immediately controversial, it was banned in a number of cities and prohibited from being mailed through £975 [136067] the US Postal Service. Though the title may have been inspired by the Billie Holiday song of the same name, the author reported Spenser’s great romance, bound as a wedding gift that she used the term “strange fruit” to describe the way that the culture of racial prejudice twisted and destroyed the lives of 151 everyone it encompassed, black or white. SPENSER, Edmund. The Faerie Queene. Pictured and £475 [80469] decorated by Louis Fairfax-Muckley. London: J. M. Dent & Co., 1897 149 3 volumes, quarto. Contemporary full vellum, titles in gilt to red morocco spine labels, floral motifs in gilt to spines, boards with floral motifs in gilt SMITH, Patti. Devotions to Arthur Rimbaud. [New York: to corners and forming a central diamond-shaped medallion within double The Gotham Book Mart, 1973] gilt fillet panelling, foliate motifs in gilt to turn-ins, marbled endpapers, top edges gilt, others untrimmed. With numerous woodcut illustrations Original broadside (355 × 215 mm). Text and illustration reproduced from and decorative borders, printed in red and in black. Small stains to upper holograph printed in black. A fine copy. right corners of front boards, the bindings otherwise fresh and firm, First edition, number 88 of 200 copies signed by the author. very occasional foxing or toning to contents, else internally clean and This is a beautiful example of this early broadside by Smith, unmarked; an attractive set in very good condition. printing a valediction for Rimbaud in French above Smith’s First edition illustrated by Fairfax-Muckley, one of 100 large paper poem, which surrounds a large illustrated portrait of Rimbaud copies issued in three volumes rather than two, of this great by Smith. This evocative broadside showcases Smith’s formative Elizabethan chivalric romance, originally published 1590–96. literary adoration for the iconic poète maudit Arthur Rimbaud. It is Louis Fairfax-Muckley (1862–1926) studied at the Birmingham uncommon; seven institutional holdings listed on OCLC. School of Art, going on to contribute both to the Symbolist and £2,250 [145130] Arts and Crafts schools. This attractively bound copy was evidently presented as a wedding gift, having an 1898 gift inscription for Edith Rose 150 Richards (d.1942) on the occasion of marrying Sir Richard SMITH, Patti, & Tom Verlaine. The Night / La Nuit. Augustine Studdert Redmayne (1865–1955), a mining engineer, [Paris]: Edition Fear Press, [1976] from her “old friend, Edward J. L. Scott”, very likely the historian

78 literature in love 151 153

Edward John Long Scott (1840–1918), Keeper of Manuscripts 2 volumes, octavo (196 × 138 mm). Finely bound by René Kieffer (with at Egerton, Librarian at the British Museum, and Keeper of his ticket to versos of front free endpapers) in green morocco preserving Muniments at Westminster Abbey, who notably authored the Index the original pink wrappers, art deco decorative motifs blocked in blind to to the Sloane manuscripts in the British Museum (1904). boards and spine end compartments, titles in gilt direct to spines, marbled endpapers, white silk bookmarkers, top edges gilt, others untrimmed. £1,500 [144768] Printed in black and blue. Occasional light pencil marks. Joints sometime expertly and discreetly repaired and touched up, spines and edges sunned, the bindings otherwise sound and clean, internally fresh; an attractive set. 152 First Kieffer edition, in a striking Kieffer binding, number 50 of SPENSER, Edmund. Prothalamion & Epithalamion. 50 copies on japon, from an edition limited to 1050 copies only, of Boston: Houghton Mifflin and Company, 1902 this art deco edition of Stendhal’s great study of love, which was Small folio (295 × 188 mm). Finely bound by Riviere & Son in contemporary originally published in 1822. red crushed morocco, titles in gilt direct to spine, raised bands, In De l’Amour, known in English as On Love, Stendhal shared compartments finely tooled in gilt, elegant double and triple gilt fillet his concept of “crystallization” as “the process whereby the lover frames to boards with ornate floral motifs to corners, turn-ins richly gilt, discovers new perfections in the beloved. This first crystallization marbled endpapers, top edge gilt, others untrimmed. Housed in custom is most often reinforced by a second [one]” (Schehr). An pink cloth slipcase (corners a little bumped). Title vignette and two argument, however, can be made that “Stendhal’s crystallization large illustrations printed in red mounted in the text. Engraved pictorial has mainly been read from the masculine subject position, bookplate of Pennsylvanian historian and poetry collector Christopher Magee Steel (1900–1976) to front pastedown. Small splits to joints, some however sympathetically . . . In the formula for crystallization, with old expert repairs, lower tip slightly bumped, the binding otherwise Stendhal counts five steps to the completeness of [it], the fifth sound and clean, internally fresh and unmarked; an attractive copy. culminating in ‘proof of love’. That is when the beloved, loaded First edition thus, first impression, number 16 of 400 copies, with all the imaginary perfections with which he can endow her, from an edition limited to 419 copies designed by Bruce Rogers grants him sexual access, le don de merci in courtly terms. This for the Riverside Press, two years after his appointment as head moment marks, of course, precisely when a negative crystallization of the Department of Special Bookmaking, and a notably early begins – for her. Having ‘given herself ’ as ‘proof ’ of love to him, publication featuring the involvement of this great book designer. she finds that his final step is her first one into the state of the This is a highly attractive edition of Spenser’s famous marriage cruellest doubt (did he just use me?). Masculine and feminine poems, in a superb Riviere binding. positions within crystallization thus overlap only at this step and take opposing attitudes toward the same central experience” £675 [145313] (MacCannell). René Kieffer (1875–1964), worked for ten years at the famed Stendhal’s study of love, in a superb art deco Chambolle-Duru bindery in Paris before establishing his own workshop in 1903 and going on to become one of the leading Kieffer binding binders in Paris. 153 Juliet Flower MacCannell, The Hysteric’s Guide to the Future Female Subject, 2000, p. 310; Lawrence Schehr, Rendering French Realism, 1997, p. 38. STENDHAL. De l’Amour. Bandeaux, lettrines et cabochons dessinés spécialement par Aug. H. Thomas. £1,750 [145085] Paris: René Kieffer, Éditeur et Relieur d’Art, 1924

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Inscribed in Florence to the author of the blackmailer’s friendship with Irving’s exuberant mistress Ellen Terry are of a charter that doomed Oscar Wilde piece with that. Talia Schaffer notes that Stoker began writing Dracula one month after Wilde’s conviction, and asserts that the 154 book “explores Stoker’s fear and anxiety as a closeted homosexual man during Oscar Wilde’s trial.” STOKER, Bram. Personal Reminiscences of Henry Labouchère (known to one and all as Labby) might have been Irving. London: William Heinemann, 1906 surprised to find his name mentioned only once in the book, at 2 volumes, octavo. Original red cloth, titles and decoration to front vol. I, p. 318, although he counted Irving as a close friend and he boards and spines gilt, all edges untrimmed, some gatherings unopened. and Stoker were well known to each other through the theatre Frontispieces (that to vol. I in colour) and 34 plates. Boards affected by world. Labouchère had been involved with Irving’s career in his damp to lower edges on vol. I and fore edges on vol. II, some silverfishing former guise as a theatrical producer when, in 1867, he and his to spines, but the case bindings firm and square, the contents clean and partners founded Queen’s Theatre, Long Acre. A new company unaffected by damp except for a small corner of dye-transfer at the end of the index; despite the unalluring outward appearance, still a good copy. of players was formed, including Irving, Ellen Terry, Charles Wyndham, the diminutive comedian J. L. Toole, and Henrietta First edition, first impression, inscribed by the author “Right Hon. Hodson, whom Labouchère ran off with and much later married. Henry Labouchere, P. C. with the love and respect of his old friend However, the episode predated Stoker’s involvement with Irving Bram Stoker 4.5.09”. and so presumably did not count as a “personal reminiscence”. A resonant association copy: the radical MP Henry Labouchère The inscription dates from Labouchère’s retirement from was the author of the 1885 Labouchère Amendment (known by parliament, when, hurt not to be offered political office when the its critics as the Blackmailer’s Charter), which newly classified Liberal party took power in December 1905, he left the following “acts of gross indecency” between men as “misdemeanours” month. He chose not to stand at the 1906 general election, though punishable by up to one year in prison with or without hard he was given some political reward in the form of the privy labour. Sodomy had been a capital offence from 1583, but at a councillorship politely noted in Stoker’s inscription. Enormously stroke the Labouchère Amendment outlawed all male homosexual rich, he retired to a villa near Florence, where presumably the activity of any kind, both public and private. A decade after the book was inscribed, as Stoker was an occasional visitor to that city, bill was passed, it was employed in the successful prosecution of and this copy has remained in Italy until now. Oscar Wilde. Labouchère expressed regret that Wilde’s two-year Talia Schaffer, “‘A Wilde Desire Took Me’: The Homoerotic History of Dracula”, sentence was so short, and would have preferred the seven-year ELH, vol. 61, no. 2, 1994, pp. 381–425. term he had originally proposed in the Amendment. In the post-Labouchère era, hidden and not so hidden expressions £2,750 [144090] of dangerous homosexual desire found outlets in contemporary gothic novels like Stevenson’s Dr Jekyll and Mr Hyde (1886), Wilde’s The The rare first issue of the most sensationally controversial Picture of Dorian Gray (1891), and Stoker’s Dracula (1897). Bram Stoker’s shared history and interests with Oscar Wilde, book of English poetry of its century as well as his intense adoration of Walt Whitman, Henry Irving, 155 and Hall Caine, have built something approaching a scholarly consensus that he was a repressed homosexual. His almost sexless SWINBURNE, Algernon Charles. Poems and Ballads. marriage to the notable society beauty, Florence Balcombe, London: Edward Moxon & Co., 1866 whom he courted under Wilde’s nose, and his flirtatious but safe

80 literature in love 156 157

Octavo. Original green cloth, spine lettered in gilt, covers panelled in 156 blind with publisher’s monogram in blind to front cover. Housed in a custom green cloth chemise within green half morocco slipcase, green TAGORE, Rabindranath. Chitra. A play in one act. cloth sides, spine lettered in gilt. With 8 pp. of publisher’s advertisements London: The India Society, 1913 inserted at front, as issued, the text of the advertisements conforming Octavo. Original white buckram, titles to front board and spine gilt, top to Wise’s first issue point. With the bookplate to the front pastedown of edge gilt. Some toning to spine and minor marks to cloth, sound and Edward Joseph Dent (1876–1957), British writer on music, and the loosely internally fresh, very good. inserted bookplate, designed by Rockwell Kent, of Robert J. Hamershlag (1894–1973), sometime governor of the New York Stock Exchange. Hinges First edition, first impression, one of 500 copies (of which 250 split though holding, very minor rubbing to joints, very faint stain at head were for sale), and now scarce. This romantic mythical drama of first few leaves, otherwise a bright, clean copy. concerning the love story of Chitra and Arjuna was published First edition, first issue (with Moxon imprint), first state with Wise’s in English in the year that Tagore received the Nobel Prize for textual errors uncorrected, of the most sensationally controversial Literature, becoming the first non-Westerner to be awarded it. The book of English poetry of its century, its contents being a heady mix story is drawn from the epic Mahābhārata, and the play was staged of sadomasochism, necrophilia, egalitarianism, and blasphemy. without scenery, with the actors surrounded by the audience. The “It was a dazzling collection. Swinburne had developed an original list of characters in this publication glosses the deity Madana as poetic voice, lyrical and possessed of an energy only matched in the equivalent to Eros. period by Gerard Manley Hopkins . . . The book was learned and cosmopolitan in outlook. It established Swinburne as not only the £1,000 [145050] leading new poet of the day but an international icon for progressive thinkers. In the late 1860s and 1870s Swinburne’s very name seemed 157 a trumpet blast for those who wanted a more liberal, less puritanical TENNYSON, Alfred, Lord. Maud, and other poems. society” (ODNB). The first reviews, on 4 April, were hostile, and London: Edward Moxon & Co., 1855 Moxon, frightened by rumours of imminent prosecution, withdrew the book from sale the very next day. Octavo (167 × 100 mm). Finely bound in early 20th-century dark green morocco, title gilt to spine direct and elaborate gilt tooled decoration to The book was reissued by John Camden Hotten later in the year spine and boards, gilt-rolled turn-ins, marbled endpapers, all edges gilt. with their imprint, which is the issue usually found. Swinburne With the half-title, and single page publisher’s advertisements at the rear. corrected various errata while the book was in print, leading to Spine lightly sunned, some very minor scuffing, but the binding sound and corrected and uncorrected sheets, this being the former, but the highly attractive, some light spotting within, excellent condition overall. variant sheets were apparently issued together, and Hotten also First edition of Tennyson’s first published collection following bound up some uncorrected sheets for their issue. “It is doubtful his appointment as poet laureate in 1850, including the titular whether many unaltered copies of the book got into circulation. “Maud”, a long poem of psychologically troubled romance Even with the Moxon title and the corrected leaves the book is by no and Victorian ennui, and also the famous “Charge of the Light means common. But an absolutely genuine example, with every leaf Brigade”. This lavishly bound copy was gifted, with a presentation excepting N.3 in the original state [as here – N3 is always cancelled] is inscription to the first blank, in 1931 to the wealthy Zurich of extreme rarity, and is very seldom to be met with” (Wise, p. 115). aristocrat Anna Vogel von Meiss (1858–1942). Wise 25. New Cambridge Bibliography of English Literature, vol. III, 415. £2,000 [136507] £675 [145553]

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An attractively bound copy of Thackeray’s classic satire An elegant manuscript copy of the author’s epic romance 158 159 THACKERAY, William Makepeace. Vanity Fair. London: TIGHE, Mary. Psyche, or the Legend of Love Bradbury and Evans, 1848 [manuscript copy, with two commonplace books]. Octavo (205 × 132 mm). Attractively bound in recent red morocco by [c.1820s] Bayntun-Riviere, titles to spine in gilt in compartments, raised bands Together 3 volumes. Psyche: small octavo (157 × 100 mm), contemporary tooled with floral design in gilt, double ruled frame in gilt to covers, dark red straight-grain roan, smooth spine lettered and ruled in gilt, wide turn-ins tooled in gilt, marbled endpapers, edges gilt. Etched single gilt fillet border to boards, edges gilt. First commonplace book: frontispiece with tissue guard, vignette title page, 38 plates, wood-engraved octavo (180 × 115 mm), contemporary dark green diced roan, smooth vignettes and similar initials after Thackeray. Bound without the initial spine unlettered and ruled in gilt, boards with concentric single gilt fillet advertisement for Great Hoggerty Diamond. Spine a little sunned, faint foxing border and blind anthemion roll, turn-ins gilt with looping roll, pink- to prelims and plates; a near-fine copy. coated endpapers, edges gilt. Second commonplace book: octavo (181 First edition in book form of Thackeray’s masterpiece, a story in × 112 mm), contemporary dark red straight-grain roan, smooth spine which love is leveraged for the self-advancement of the narcissistic unlettered and ruled in gilt, boards with concentric Greek key roll and Becky Sharp, the novel’s extraordinary protagonist. “Modern interlocking drawer-handle tool in gilt, pale blue moire silk endpapers patterned with wavy ribbon and lozenges, edges gilt. With 2 further loose editions of this classic novel almost invariably omit Thackeray’s manuscript groupings (2 small square bifolia containing 6 pp. text; 5 vignettes and often give only a selection from his etchings. The octavo-sized bifolia containing 20 pp. text) and 2 loose sheets of red moire reader is deprived thereby not only of much amusement but also of silk, sometime the endpapers for the second commonplace book. Skilful important clues to the meaning of the story” (Ray). restoration to bindings, colour and gilt improved. First commonplace book This copy with the points traditionally taken to denote first rebacked to style, spine a little slanted, pencil trials to front endpapers. issue – the drop-head title in rustic lettering to page 1 and the Second commonplace book remains a little frayed along extremities and “Marquis of Steyne” vignette on page 336, later suppressed edges of moire endpapers. The occasional smudge or ink blot to contents, a – although, as the novel was originally published in 20 parts few dog-eared corners, presumably to mark favourite poems, else crisp and clean; overall a very handsomely presenting set. between January 1847 and July 1848, such points would have been amended before serialization was complete. (The point often A beautiful fair copy of Psyche (1805), the author’s celebrated given, “Mr. Pitt” at p. 453, line 31, is not indicative, as the reading allegory in Spenserian stanzas, of great influence on the is common to the entire first edition; the change to “Sir Pitt” was young Keats; transcribed in the elegant hand of one Harriet not made until the second edition of 1853.) Agnes Elliot (c.1799–1845), and fittingly accompanied by two Ray, The Illustrator and the Book in England from 1790 to 1914, 121; Wolff 6699. contemporary commonplace books of the same provenance, the first with Elliot’s ownership inscription, the second gifted to her £1,750 [129551] by a female friend. Tighe’s (1772–1810) major work Psyche circulated in a number of manuscript copies within her small regional coterie prior to its publication in 1805, in a private edition of 50 copies for family and friends. Prefaced by a sonnet to her mother, the long poem retells the mythic love affair between Psyche and Cupid, focussing in particular on Psyche’s quest for Cupid after his

82 literature in love 159 departure, assigning her far more autonomy than in Apuleius’s Guy Chandos Harcourt (1903–1976) and Mary Felice (née Thwaite) narrative, from which it draws inspiration. Tighe called it her Harcourt; Harriet Agnes Elliot was the great-grandmother of the “first wild song”. former. Given the gradual composition of commonplace books Following Tighe’s death, Psyche was reprinted in 1811 alongside it is difficult to say whether the differences in handwriting stem a set of previously unpublished poems. This edition established from several hands or simply from natural variation across time her literary reputation and attracted a rush of attention: the and writing implements. Psyche and Elliot’s inscription dated 1829 Quarterly Review’s article remarked that many passages were “as are in the same hand. flowing and as musical as the finest in the Fairy Queen” (cited in The first commonplace book (its contents in English and ODNB). Felicia Hemans wrote three poems in Tighe’s memory, French) comprises extracts from works by the likes of Henry including “The Grave of a Poetess”; Thomas Moore praised Psyche Neele, Burns, Byron, Shakespeare, Erasmus, Dante, Sir Mathew in verse; and John Keats, an early admirer, famously transcribed Hale, Young, Dryden, Goethe, Horace Walpole, and Voltaire. The one of Tighe’s sonnets to send to his brother in the US and paid second draws from a similar pantheon but has a much firmer tribute to her in “To Some Ladies” (1815). Tighe’s influence is focus on women writers, featuring L.E.L. (Letitia Elizabeth especially apparent in Keats’s “Endymion”, “Ode to Psyche”, and Landon), Hemans, Montague, Edgeworth, Lady Willoughby’s “Eve of St Agnes”, though by 1818 he claimed to have outgrown Diary, and Stickney (“Poetry of Life”). The two loose manuscript her writing. Critical opinion now holds that Psyche is “among the gatherings record similar commonplace content, both poetry most notable allegorical epics by any Romantic poet, male or and prose. female” (Chakravarti, p. 99). Here Psyche takes up the majority of Little is known of Harriet Agnes Elliot beyond scant the first volume’s contents (title page plus 207 numbered pages) biographical information: the daughter of Hugh Elliot and and is followed by a selection of poems by Tighe (“The Lily”; “The Margaret Jones, one of seven siblings, and later married to Shawl’s Petition”) and Charlotte Smith. Sir James Hanway Plumridge KCB MP (c.1787–1863). Gertrude Much of Tighe’s work “acquired fame through private MacFarlane is even less traceable; a slim possibility lies in Lady circulation among admirers who copied manuscript versions Maria Gertrude MacFarlane of 11 Chesham Street, Belgrave into each other’s family albums, commonplace books, journals, Square, who married General Sir Robert MacFarlane in 1815. and diaries” (Linkin, p. xvi). This pairing of Psyche in manuscript Regardless, the present set is an excellent example of with two contemporary commonplace books is, therefore, Psyche’s circulation in manuscript and sketches the outline of especially fitting. The first commonplace book is inscribed on an affectionate friendship between two contemporary female an opening blank “Harriet Agnes Elliot April 1829 London”; poetry aficionados. the second inscription, “Harriet Agnes Elliot from her friend Debnita Chakravarti, “The Female Epic and the Journey Toward Self-Definition Gertrude MacFarlane August the fifteenth 1821. Burton Park in Mary Tighe’s Psyche”, in Bernard Schweizer, ed., Approaches to the Anglo and Sussex”, appears on the front free endpaper of the second book, American Female Epic, 1621–1982, 2006; Harriet Kramer Linkin, ed., The Collected written within a ‘hidden’ window created by moire cloth. All three Poems and Journals of Mary Tighe, 2005. volumes share the same provenance, being from the library of £2,750 [136935]

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160 162 TOLSTOY, Leo. Anna Karénina. New York: Thomas Y. VALENTINE. Cupid’s Annual Charter; or, St. Valentine’s Crowell & Co, 1886 Festival. London: W. Perks, [early 19th century] Octavo. Original brown cloth, titles to spine and front gilt, floral patterned Small octavo, 24 pp. Stab-sewn in original printed blue-grey wrappers, endpapers. Spine ends and board edges rubbed (ends with loss to cloth laid paper, uncut. Engraved frontispiece with contemporary hand- as often), the cloth and gilt otherwise unusually sharp, internally sound colouring, as issued. Wrappers a little soiled but generally clean, loose and clean, very good indeed, considerably better than most. Tiny split at at sewing (the top stitch sometime lost), chipped at extremities, rear bottom of title page discreetly repaired, small early ownership inscription wrapper with loss along top, contents crisp and unmarked; a good copy to front blank. of an ephemeral publication. First edition in English, first issue. Tolstoy’s tragic love story was A prime example of a “valentine writer”, a popular holiday booklet first published in book form in 1878. This edition is translated by published to provide aspiring poets with ready-made verses, Nathan Haskell Dole, an American editor and translator noted in serious and comical, for use on St Valentine’s Day. particular for his translations of Tolstoy’s works, including the 20 Valentine writers were a genre of chapbook prevalent from volume Collected Works published in 1899. Dole translated works from the late 18th century onwards, shadowing the transformation Russian, Spanish, French, and Italian, and was a popular member of of Valentine’s Day into a commercial celebration. “For about the Boston social and literary set alongside Ralph Waldo Emerson, two decades they were available but not abundant, though it Henry Wadsworth Longfellow, and Julia Ward Howe. £3,500 [144979]

161 VALENTINE. A True Lovers Knot. [Undated, after 1806] Single sheet watermarked 1806, manuscript in English in black ink. Presented mounted and framed (447 × 417mm). Creased where originally folded, a little browning to edges, in excellent condition. A delightful and rare survival of a “True Lover’s Knot” manuscript Valentine poem. Designed to be rotated so that the reader can enter or leave the text at any point, the words twist through a maze of linear bands to create both a love letter and an intricate work of art. Such poems were part of a long tradition of exchanging hnadmade tokens or letters for Valentine’s Day, predating mass- produced Valentines cards. They were popular in the late 18th and early 19th century, with many designs influenced by the fraktur of the Pennsylvania Germans. £1,250 [145285]

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84 literature in love 163 is impossible to know exactly how many rolled off of English 163 presses at the end of the 18th century . . . around 1800 they VALENTINE. “Unrequited Love” suite of plates. 1830s began appearing annually in greater numbers, judging by dates of publication at least, and they remained common through the Suite of 13 illustrated plates on embossed quarto-sized paper (257 x 206 1830s” (Geiger, p. 21) mm), central aquatint to each, within floral embossed and hand-coloured lithograph frame, each with a love poem caption printed in black. Minor The verses in Cupid’s Annual Charter are tailored to profession toning and occasional hint of creasing to edges, else bright and clean, in (verses “to a gentleman”, “soldier”, “sailor”) and to character excellent condition. types (“faithless lover”, “old maid”, “miser”, “prude”, “coquette”). Some were evidently intended to accompany a gift – “valentine A remarkable suite of 13 of these uncommon valentine plates, with flowers”, “valentine with a book” – and others are paired with these examples in beautiful condition. Although unsigned, they responses, both positive and negative. are likely to have been done by Joseph Addenbrooke in the late Institutions variously date Cupid’s Annual Charter from 1798 1830s, with some examples known to be stamped with his brand. (British Library) to 1821, the Harvard copy watermarked 1807. Addenbrooke is also credited with the invention of openwork lace Historically cataloguers have attributed the frontispiece to paper in 1843, which he developed while working for the London George Cruikshank – it being in the style of similar early work embosser Joseph Mansell. of his from this period – or, less frequently, to his father Isaac Seven of the engravings that were used as inspiration for these Cruikshank. plates have now been identified, each of them dating from the 1830s. It is notably uncommon to find such an extensive run of the Geiger, English Valentine Writers census, no. 13. Brian Keith Geiger, “‘In praise of Bishop Valentine’: The creation of modern Valentine’s Day in antebellum suite, which when complete is 14 pieces, or a “valentine’s dozen”. America”, Dissertations, Theses, and Masters Projects, 2007; Sally Holloway, “Love, Custom & Consumption: Valentine’s Day in England c.1660–1830”, The Journal of £1,250 [145261] the Social History Society, vol. 17, issue 3, 2020. £575 [125459]

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164 here are early examples by George Whitney, with his “W” printer’s VALENTINE. Collection of poetic Valentine’s Day Cards. mark to the rear. Michele Karl, Greetings with Love: The Book of Valentines, 2003. [USA: 1870–1900] 8 cards of embossed paper, the majority overlaid with intricate lace paper £950 [143932] designs. Various sizes: 2 of which 150 × 95 mm; 2 of which 120 × 160 mm; 125 × 90 mm; 170 × 80 mm; 60 × 80 mm; 75 × 95 mm. Minor creasing to 165 edges, a couple of instances of tape residue stains, never affecting image; overall a notably well-preserved collection in very good condition. (VALENTINE.) CAREW, Thomas. Valentine Rebus. 11 A charming collection, in remarkable condition, of eight poetic Wallbrook, London: Rock & Co., [c.1850] Victorian Valentine’s Day cards, exemplifying the popularisation Single sheet (75 × 115 mm) with steel-engraved poem and rebus symbols and commercialisation of the romantic uses of poetry in this to recto only. Fine. Presented in a black stained ash frame with museum period, and the creation of what we know as the Valentine’s Day acrylic glazing. card today. A rare and charming Victorian printing of the 17th century poet The Valentine’s Day card phenomenon can be accredited largely Thomas Carew’s popular love poem, here in the form of a rebus to two key competitors, Esther Howland and George Whitney. puzzle, perhaps produced for the Valentine market. Rock & Co. Howland, of the stationer S. A. Howland & Sons, popularised the printed these and others like it using a steel engraving process use of lace, flowers, and colour papers in cards, having received from the late 1830s until about 1880. The rebus transliterated a Valentine’s card from the UK in 1848 decorated in English lace. renders the poem thus: Whitney founded the Whitney Valentine Company in 1865 and “He t[hat loves] a [rose]y [cheek], introduced the idea of printing a poetic verse inside the card. Like Or [coral lips] admires, other companies of the same period, Whitney imported intricate or from [star]like [eyes] doth seek lace papers from England. Later, to cut the costs of shipping, Fuel [toe] maintain his [fires]; he developed his own lace paper machinery in Worcester, As old [Time] makes these decay, Massachusetts, a move that was one of the contributing factors So his [fires] must [waist] away. to his success. He purchased the Howland company in 1881. At [Butt] a smooth [hand] steadfast mind, this point Whitney began to outsource production to Europe, Gentle tho[u]ghts [hand] calm desires, in particular Germany, where developments in printing had [Hearts] with equal [love] combin’d, progressed far faster than in America. In doing so, he was able Kindle never dying [fires]; to increase production by thousands of cards each day, lowering Where these [hare knot, eye] des[pies] the cost and allowing affordable Valentine’s cards to flood the [Love]ly cheeks, or [lips], or [eyes].” market. At the turn of the century, Whitney was one of the leading manufacturers of Valentine’s cards. The majority of the examples £475 [144934]

86 literature in love 165

“Regret for the fast decreasing observance of St Valentine’s Day has led me to attempt a revival of interest in its celebration” 166 VALENTINE. In Praise of Bishop Valentine. London: printed for private circulation, 1893 Octavo. Original vellum, titles to spines and front cover in gilt, yapp edges, edges uncut, ties lacking. Engraved frontispiece. Engraved bookplate of Michael Tomkinson (1841–1921) to front pastedown: Kidderminster carpet manufacturer and collector of rare books and manuscripts, “he acquired a national reputation as a collector of Japanese 167 ivories and lacquer work . . . and was a keen gardener, creating a notable rose garden at Franche Hall” (ODNB). Vellum faintly soiled but bright, covers slightly bowed, some offsetting to free endpapers, contents fresh “If our gods and hopes are nothing but scientific and unmarked. A very nice copy. phenomena, then it must be said that our love is scientific First edition, one of 25 copies on Japanese paper, from a total as well” edition of 125 copies, of this anthology of poetry, printed at the Chiswick Press. The compiler Frank Bliss writes: “Regret for the 167 fast decreasing observance of St Valentine’s Day has led me to VILLIERS DE L’ISLE-ADAM, August, Comte de. L’Ève attempt a revival of interest in its celebration” (preface). future. Paris: M. de Brunhoff, Éditeur, Ancienne Maison £475 [139590] Monnier, de Brunhoff, et Cie., 1886 Octavo. Original illustrated wrappers. Housed in a black morocco backed book-form slipcase and chemise. Wrappers illustrated by François Gorguet. Some minor wear to wrappers at spine ends, general slight dust soiling, but still extraordinary survival in near-fine condition and without restoration. First edition of this very scarce and highly unusual symbolist science fiction novel, which popularised the word and concept of the “android”, this a rare survival in the original wrappers. L’Ève future is the first of two truly influential works by Villiers, a proudly penurious French aristocrat, the other being his Romantic play Axël (1890). Situated somewhere in the nexus between the classical myth of Pygmalion, Mary Shelley’s Frankenstein, and Fritz Lang’s Metropolis, L’Ève future figures a caricature of the futurist inventor, Thomas Edison, who creates an ideal mechanical woman. Then a key text of the decadent movement, the work is still influential – the 2004 Studio Ghibli sequel to Ghost in the Shell opens by quoting the first line of the novel: “If our gods and hopes are nothing but scientific phenomena, then it must be said that our love is scientific as well.” £7,500 [144125]

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“Sapho 1900” on lesbian love island, writings lambast) the social conventions and demands assigned rare presentation copy to her sex. In the short decade she spent in Paris, she had a tumultuous relationship with Barney, who was openly homosexual 168 and had been writing and publishing lesbian poetry under her own name from 1900, and harboured a longer-lasting one with VIVIEN, Renée. Les Kitharèdes. Traduction nouvelle the immensely rich Baroness Hélène de Zuylen. Vivien, however, avec le texte grec. Paris: Alphonse Lemerre, 1904 seemingly never recovered from the heartaches of the break ups, Octavo. Original pictorial blue-grey folding wrappers printed in black and in particular from the loss in 1901 of her first love, Violet untrimmed. With 7 colour plates after Lucien Lévy-Dhurmer, each with a Shillito, whom she had left for Barney but in whose memory she decorative captioned title page on blue paper. A few splits along spine with wore purple. The hardships of Vivien’s end of life are recounted in minor loss to head, light browning and spotting to spine and joints, the Colette’s Le Pur et l’Impur (1932), and in Barney’s Souvenirs indiscrets binding otherwise remarkably well-preserved, internally fresh and clean; a (1960), but her legacy lives on, with the Prix Renée-Vivien awarded superb copy of a fragile production. every year. First edition thus, first printing, presentation copy inscribed on For Natalie Clifford Barney, see items 8, 9, 10, and 135; for the front free endpaper “A Léon Bocquet, avec mes très sincères Renée Vivien, see item 135. remerciements de son aimable accueil littéraire, Renée Vivien”. This wonderful translation of the female lyric poets of classical £1,750 [145267] Greece (imagined as the “Cythereans” of the island of Aphrodite) followed Vivien’s groundbreaking translation of Sappho published “And the ghost of your memory is the thistle in the kiss” in the preceding year, which was the first translation of Sappho by a lesbian. The poets included here are: Corinna, Myrtis of 169 Anthedon, Telesilla, Erinna, Damophila, Telesippa, Nossis, WAITS, Tom. “Blue Valentines”, original draft Praxilla, Anyte of Tegea, Moero, and Cleobulina. manuscript lyrics. [LA Tropicana Motel, Los Angeles?: 1978] This collection was published the year Vivien and her then-lover, the American heiress Natalie Clifford Barney (1876–1972), known as Five sheets (216 × 279 mm), manuscript lyrics in blue felt-tip, a loose hand the “Amazon” of Paris and one of the most influential lesbian and with authorial corrections throughout. All pages intact, some rather finger- feminist writers of the period, “moved briefly to Lesbos in order to marked, generally very good. establish a women’s school of poetry in imitation of Sappho, but the Highly evocative original working manuscript lyrics for the title venture failed, and the two lovers parted” (ANB). Vivien died in 1909 track of Tom Waits’s album Blue Valentine (1978), the song itself a at the age of 32 and inscribed copies of her books are very scarce. haunted lament for a tragically (and possibly violently) terminated The poet and novelist Léon Bocquet (1876–1954) was also a proof- love affair. Waits was living at the notorious LA Tropicana Motel in reader of classical languages, who may well have helped Vivien with Los Angeles at the time, and in the midst of his brief but intense this translation of eight classical women poets. relationship (1977–9) with the singer Rickie Lee Jones. Nicknamed “Sapho 1900”, Renée Vivien (1877–1909), born After the album was released in September 1978, Waits’s Pauline Mary Tarn, changed her name and moved to Paris around biographer Hoskyns notes that “Waits told Circus that most 1900. She had inherited her father’s fortune upon his death of the stories on Blue Valentine took place in Los Angeles in the when she was nine years old, and could now flee (and later in her last few months”, with the song “Wrong Side of the Road” in particular, full of a Bonnie & Clyde camaraderie, being “half an

88 literature in love 169 170 account of Waits’ wild romance with Rickie Lee.” The lugubrious tears to rear page near staples but all remarkably intact, and generally an “Blue Valentines” however, seems to reflect a darker side to their exceptional copy. relationship, and to Waits’s general mood in this down-and-out First edition of this rare issue of Ed Sanders’s erotic counterculture point of his life. magazine, with the coveted and fragile thermofaxed front cover This working manuscript, soiled in places with Waits’s dirty here in particularly crisp condition. The cover features a still fingerprints, captures several revealing changes to the lyrics at from Warhol’s banned pansexual art-porno Couch (1964), showing this compositional stage. Of particular note in the last verse, Gerard Malanga, Rufus Collins, and Kate Helicser making love where the recorded version has “And I cut my bleedin heart out on the Factory couch. It also includes the significant pirated first every night / and I die a little more on each St. Valentines day”, appearance of a long homoerotic poem by W. H. Auden. the words here originally appeared: “I’d cut my bleedin’ heart out A powerhouse of the mimeograph revolution, Sanders’s Fuck if only I had a knife – [“to show you” / “prove to you”, both struck You magazine consisted of 13 issues between 1962 and 1965, through] so you’d see you’re not the only one that had to pay”, advocating free love as a political weapon, and celebrating it this being more strongly suggestive of a murderous back-story to by printing erotic poetry of every persuasion. In his editorial the song’s narrative, and perhaps cut from the published version introduction to this issue, Sanders declared the Fug Press to for that reason. be “representing three years of quality printing and aggressive A signed letter dated June 2011 is included from Jeffrey Gold of innocence in the pornography industry”. This was the penultimate RECORDMECCA, authenticating this working manuscript and issue, and perhaps the most sought after for its notorious but noting the provenance “from the collection of Marty Perellis, fragile Warhol cover. It also is notable for containing the first Waits’ former road manager”. publication (entirely unauthorised) of an important homoerotic Barney Hoskyns, Lowside of the Road: A Life of Tom Waits, 2009, pp. 207–209. poem by W. H. Auden. Written in 1948 and never intended for publication, this long and explicit celebration of a gay encounter £8,750 [144263] was apparently snatched from Auden’s notebooks at the Morgan Library and given the title “Gobble Poem” by Sanders, though Aggressive innocence later known as “The Platonic Blow”. Also included are pieces by Allen Ginsberg, Lawrence 170 Ferlinghetti, Michael McClure (described in Sanders’ editorial as WARHOL, Andy (illus.); SANDERS, Ed (ed.) FUCK “an eternal San Francisco ‘Meat Phantom’ and cock Hawk. His YOU / a magazine of the arts, our third anniversary Mad poetic energy level is just shy of the left spurting freak-tube of Motherfucker issue! . . . Number 5, volume 8. March the Eye of Horus”), LeRoi Jones, Gerard Malanga (“Has fucked 1000s of New Yorkers in his Total Apertural Assault . . . Chief Spurt 1965. A secret location on the Lower East Side, New York City: Phantom in the Harpers Bazaar Cunt Conspiracy”), Gregory Corso, Ed Sanders, Fug Press, 1965 Claude Pellieu, Ted Berrigan, Sanders himself (self-advertised as Quarto size, 76 varicoloured sheets, side-stapled, mimeographed text. “a wan tremulous psychopath & multi-sexual cock phantom. His Original thermofax printed front cover from a film by Andy Warhol. penis has the whole of ATALANTA IN CALYDON tattooed on & Housed in a red cloth folding case by the Chelsea Bindery. Occasional around it”), and others. line drawn illustrations in the mimeograph. Long shallow chip to middle thermofax cover fore-edge, and some very minor creasing, a few tiny £9,500 [144817]

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Presentation copy jacket. Housed in a custom brown cloth solander box. Slight rubbing to extremities, small bump to foot of front board, foxing to book block edges, 171 faint offsetting to endpapers; a very good copy in the jacket with sunned spine and edges, creasing and nicks to spine ends and tips, a couple of WELLS, H. G. Ann Veronica. A Modern Love Story. scuffs to panels. London: T. Fisher Unwin, 1909 First edition, first impression, presentation copy, inscribed by the Octavo. Original brown cloth, titles to spine and front cover in gilt, vignette author on the front free endpaper, “‘The Young Mistress’s Tale’ design in gilt to front cover within frame blocked in blind. With the dust to Arnold Bennett. With love from his nephew, H. G. Wells”, with Bennett’s bookplate to the front pastedown. Signed copies of Ann Veronica are uncommon, with just three copies traced at auction, none with such an appealing literary association. Ann Veronica is commonly believed to be inspired by Wells’s 1908–9 extramarital affair with feminist author Amber Reeves (1887–1981), a fact to which he seems to be referring in his genial inscription. It was the first of a series of Wells’s novels aimed at addressing the taboos surrounding sexual desire in Edwardian England, and features vignettes of the women’s suffrage movement in Great Britain, including a chapter inspired by the 1908 attempt of suffragettes to storm Parliament. Bennett, a close friend of Wells’s from 1897 until his death in 1931 “was clearly alert to the same issues . . . especially women’s rights, and the ‘new woman’. Hence he produced two important novels which turn on married infidelity and divorce (Leonora, 1903, and Whom God hath Joined, 1906)” and “all through his career Bennett showed remarkable insight into the plight of women caught in marriages or by emotional circumstances which bring them little satisfaction but which they nevertheless try to manage in ways that allow them some freedom” (ODNB). Wells 38. £4,500 [131700]

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90 literature in love 173

One of 250 signed copies A compromising exhibit in the trial of Oscar Wilde 172 173 WILDE, Oscar. The Picture of Dorian Gray. London: Ward WILDE, Oscar. The Chameleon. Vol. I. Number I. Lock & Co., 1891 London: Gay and Bird, [1894] Small quarto. Original parchment-backed grey paper bevelled boards, title Quarto. Original green paper wrappers printed in dark green. Loss to spine to spine and front cover in gilt, design to covers by Charles Ricketts in gilt, and wrapper edges, most notably to head of front wrapper, front wrapper green endpapers, top edge gilt, others untrimmed. With a custom brown neatly secured, wrappers faintly browned, internally clean; a good copy of paper wrapper, titles to spine in manuscript, likely provided by bookseller this fragile work. Ifan Kyrle Fletcher in the 1960s. Spine toned, a couple of faint marks to The first and only number of The Chameleon to be published, boards, wear to very tips, tiny spray of foxing to final leaves else contents fresh and clean, a very good copy in lovely condition, in the slightly creased number 25 of 100 copies (annotated so in manuscript to the front and nicked jacket. wrapper), containing the first appearance of Wilde’s “Phrases and Philosophies for the Use of the Young”, two poems by Lord Alfred First edition in book form, signed limited issue, number 150 of 250 Douglas, and the editor John Francis Bloxam’s anonymous and copies signed by the author, notably uncommon in such attractive contemporarily controversial “The Priest and the Acolyte”, which and well-preserved condition. was used as a comprising exhibit in the trial of Oscar Wilde. The story was first published in Lippincott’s Monthly Magazine, The story details the love affair between a priest and his male July 1890, and was substantially revised for book publication, with lover and sparked public outcry upon publication, causing the six new chapters. The misprinted “nd” for “and” on line 23 of p. cessation of The Chameleon after just one issue. The work was wrongly 208 in the trade issue is corrected here. attributed to Oscar Wilde and included as evidence against him in Provenance: from the library of brewer and noted Pre- his libel case against the Marquis of Queensbury in 1895. Raphaelite collector Laurence W. Hodson, with his Kelmscott Copies of this journal are now notably uncommon, with seven Press Golden-type book label to the front pastedown; traced institutionally worldwide and thirteen copies traced at subsequently part of the Hodson sale at Sotheby’s in 1906; auction since 1905. purchased by book dealer and co-founder of the Society for Provenance: contemporary ownership inscription “RAF Festing, Theatre Research Ifan Kyrle Fletcher, with his neat pencil note E. Coll Reg.” to head of front wrapper; purchased Ifan Kyrle Fletcher recording the Sotheby’s sale on the front pastedown; sold by (see previous item), with his notes in pencil on the front wrapper and Fletcher to Helen Hambro, née Boyson (1936–2004), an editorial postal envelope addressed to him; sold by Fletcher to Helen Hambro assistant for the Society’s Theatre Notebook; acquired from the (see previous item); acquired from the Hambro estate. Hambro estate. Mason 329. £12,500 [144072] £37,500 [144066]

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One of 30 on japon, one of a handful of copies personally inscribed to his closest supporters 174 WILDE, Oscar. The Ballad of Reading Gaol. By C.3.3. 174 London: Leonard Smithers, 1898 Octavo. Original quarter Japanese vellum, mustard yellow cloth sides, accompanied by a printed compliments slip supplied by Smithers. spine lettered in gilt, top edge gilt, others untrimmed. Contents printed on Japanese vellum. Light rubbing to backstrip, a few superficial flecks to The limitation notice was completed in purple ink by Smithers. A cloth, corners gently bumped, internally fine: an excellent copy. further 800 unnumbered copies printed on handmade paper were also issued. The first edition sold out rapidly, and the second was First and limited edition, number 5 of 30 copies printed on japon, issued within weeks. presentation copy, inscribed by the author on the verso of the half- An unusual detail to add to the bibliographical record is that the title, “To Mr. and Mrs. Dal Young, from the author, in gratitude material used for the backstrip in this copy is Japanese (imitation) and regard. Oscar Wilde ‘98.” Dalhousie Young (1866-1921), an vellum, whereas the backstrip in copy number 6, which was in the English composer and pianist, had published a sympathetic library of the avid collector Laurence W. Hodson, is vellum proper. pamphlet urging tolerance at the time of Wilde’s conviction; after The Hodson copy is uninscribed and was presumably offered for Wilde’s release he remained a strong supporter who offered to pay open sale by Smithers. The bindings of the regular unnumbered for a house in France in which Wilde could live and commissioned copies are quarter cloth. a libretto from him, which was never written. Provenance: Marjorie Wiggin Prescott (sale, Christie’s NY, 6 In his letter of [? 20 February 1898] to Robbie Ross (Hart-Davis February 1981, lot 389). p. 705), Wilde mentions the Youngs among four people who Ross Hayward 312; Mason 372. should ensure receive copies of the newly published book. As the letter makes clear, most presentation copies (even those to his £75,000 [145836] closest friends) were not inscribed by Wilde himself but merely

174

92 literature in love 175 175

With very scarce contemporary clippings of the trial and when, hard pressed by the prosecution to explain “then what is conviction of Oscar Wilde the love described?”, that Wilde gave vent to his now-famous bout of eloquence and emotion: 175 “‘The ‘Love that dare not speak its name in this century’ is such a great affection of an elder for a younger man as there was WILDE, Oscar. The Importance of Being Earnest. between David and Jonathan, such as Plato made the very basis London: Leonard Smithers and Co., 1899 of his philosophy, and such as you find the sonnets of Michael Square octavo. Original pale purple cloth, title to spine in gilt, gilt floral Angelo and Shakespeare – that deep, spiritual affection that is as motifs from designs by Charles Shannon to spine and covers, untrimmed. pure as it is perfect, and dictates great works of art like those of Housed in a purple cloth flat-back box by the Chelsea Bindery. An Shakespeare and Michael Angelo and these two letters of mine, exceptionally fresh copy, sound, internally clean but for some minor such as they are, and which is in this century misunderstood – occasional spotting, near-fine. so misunderstood that on account of it I am placed where I am First and limited edition, number 39 of 1,000 copies, this copy with now. It is beautiful, it is fine, it is the noblest form of affection, the significant inclusion of four clippings from The Daily Telegraph it is intellectual, and it repeatedly exists between an elder and a (1, 2, 24, and 25 May 1895) giving a transcript of the trial and younger man when the elder man has intellect and the young man conviction of Oscar Wilde. These clippings, complete with Wilde’s has all the joy, hope, and glamour of life. That it should be so the famous outcry in defence of “the love that dare not speak its world does not understand. It mocks at it, and sometimes puts name”, are a rare and valuable find today, intriguingly preserved one into the pillory for it.’” in this copy by August Willem Johan van Lanschot (1867–1923), a The clipping also records the reaction in the courtroom: “At respectable Dutchman and the mayor of Vught, whose purple ink this stage there was loud applause in the gallery of the court, ownership stamp appears on the front endpaper. and the learned judge at once said, speaking very sternly, ‘I shall The Importance of Being Earnest, Wilde’s last play, opened to great have this court cleared if there is the slightest manifestation of acclaim on Valentine’s Day 1895 but was withdrawn after Wilde’s feeling’”. The 25 May clipping, furthermore, reports the tragic failed libel suit against Lord Queensbury led to his arrest. The scene of Wilde’s conviction: “‘. . . that you be imprisoned and kept subsequent “utter social destruction of Wilde” (ODNB) meant to hard labour for two years.’ Prisoner Wilde: ‘Can I say anything, that the play was not published in book form until February 1899, my lord?’ Mr. Justice Wills raised his hand deprecatingly, and the after Wilde’s release from prison. Richard Ellmann comments prisoners were then conducted from the dock, amidst some cries that Smithers’s handsome editions of Earnest and An Ideal Husband of ‘Shame’ and hisses from the public gallery” – the same gallery “brought Wilde a little money”. which had applauded Wilde’s speech earlier that month. The crux of Wilde’s trial turned upon the prosecution These clippings, tucked into a first edition of Wilde’s key play by identifying two poems by Lord Alfred Douglas from the Oxford a contemporary fan, preserve an important record, including, in University magazine The Chameleon (see item 173), including his its earliest publication, the text of Wilde’s witness defence which “Two Loves” and its closing line “I am the love that dare not speak remains one of the most famous and significant explicit defences its name”. Wilde had described these poems as “beautiful”, along of homosexual love in literary history. with another anonymous and equally homoerotic piece “The Priest Mason 382. and the Acolyte” which the prosecution insinuated (wrongly) was by Wilde himself. The transcript shows Wilde having for the most £7,500 [144143] part of the trial kept his cool, giving only terse responses. It is only

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176 lesbianism positively (though the story was originally conceived WILLIAMS, Emmett. Sweethearts. New York: Something as a novel, the play and film appeared in 1930 and 1931, before the novel was published). Else Press Inc., 1967 Octavo. Original blue cloth, title to spine red. With the dust jacket. A near- £675 [88883] fine copy, only the slightest rubbing to extremities and a few very minor nicks, small overprice sticker on the rear flap. 178 First hardback edition, first impression, with a sharp example of WOLFF, Charlotte. An Older Love. London: Virago, 1976 the dust jacket bearing Duchamp’s Coeurs Volants design (1936). Octavo. Original purple boards, titles to spine in silver, purple endpapers. Sweethearts was a pioneering work of concrete poetry (also With the dust jacket. Minor rubbing to spine ends, a fine and bright copy in published in wrappers in Stuttgart earlier in the same year) by the attractive jacket with sunned spine, negligible creasing to top edge, not American Fluxus poet and artist Emmett Williams, presented as price-clipped. an erotic “kinetic metaphor”. First edition, first impression, of the author’s first novel, Fellow artist Richard Hamilton’s endorsement, printed on presentation copy, inscribed by the author to Audrey Lilian “Pat” the dust jacket, declares: “Sweethearts is a breakthrough. It is Barker, who provided the preface to this work, on the half-title, to concrete poetry as Wuthering Heights is to the English novel; “For my friend Pat, with love from Charlotte”. This edition as Guernica is to modern art. Sweethearts is the first large scale is now notably uncommon, especially signed, and in such lyric masterpiece among the concrete texts, compelling in its attractive condition. emotional scope, readable, a sweetly heartfelt, jokey, crying, The work, one of the first published by feminist press Virago, laughing, tender expression of love.” explores the entangled love lives of four lesbians in London and is £675 [145264] told by an unnamed narrator who shares Wolff ’s own life history. It was widely acclaimed and cemented Wolff ’s new-found celebrity with German lesbian organisations based in Berlin such as L.74, An early pro-lesbian novel who invited her on her first return to the city since she was forced 177 to flee Germany as a Jewish refugee in 1933. The recipient Audrey Lilian Barker (1918–2002) was an English novelist and short WINSLOE, Christa. The Child Manuela. New York: Farrar story writer whose debut collection of stories, Innocents, won the & Rinehart, 1933 inaugural Somerset Maugham award in 1947. Barker and Wolff Octavo. Original blue cloth, titles to spine and front board in black, top were close friends, Barker writing in Wolff ’s obituary that “she edge red. With the dust jacket. Cloth just a little rubbed and faded at was unique; possessed of a fierce intellectual energy, genuine extremities, spine faded. An excellent copy in the lightly rubbed jacket with compassion, and a profound understanding of human nature” some light marks and spots and toned spine panel. (The Times, 30 September 1986). First edition in English, first printing, in a lovely example of the Wolff (1897–1986) was born in Riesenburg (now Prabuty, scarce jacket. The Child Manuela, based on its author’s experiences Poland) and studied literature and philosophy at the University at the strict boarding school Kaiserin-Augusta-Stift in Potsdam, of Freiburg before graduating in medicine. She then worked as a was originally published in German in 1934. Dealing frankly with physician and psychotherapist in the predominantly underserved the subject of homosexuality among teenage girls, it was also working-class districts of Berlin. In 1933 she fled Germany for made into a hit play and an important film, the first to depict the artist’s community of Sanary-sur-Mer in Paris where she

94 literature in love 179 180 befriended Aldous Huxley and started studying the psychiatric This signed edition preceded the first trade edition, published properties of hands. She travelled with Huxley to London in in the UK, by nine days, and consequently constitutes the first 1935 where his wife Maria “devoted all her time and energy to publication of the novel. Crosby Gaige’s publishing firm was a introducing me into her and Aldous’s circle” (Wolff, p. 87). In 1936 pioneer in publishing modern literature in fine-press editions, she published her first work Studies in Hand Reading, which featured continued by Wells after his take-over of the firm. an analysis of the hands of many of those in her new social circle Kirkpatrick A11a. including Virginia Woolf and George Bernard Shaw. Wolff then settled in London, taking British citizenship in 1947 and working £4,750 [144816] as a psychologist. Wolff is widely respected for her pioneering works on lesbianism and bisexuality; both her 1971 work Love An exceptionally bright copy Between Women and her 1977 work Bisexuality: A Study are seen as the first serious academic studies to be published on the topics. 180 Charlotte Wolff, On the Way to Myself: Communications to a Friend, 1969. WOOLF, Virginia. The Waves. London: published by £500 [141605] Leonard and Virginia Woolf at The Hogarth Press, 1931 Octavo. Original purple cloth, spine lettered in gilt. With the dust jacket designed by Vanessa Bell. Housed in custom green cloth chemise in The true first, signed by Woolf, in the original glassine matching green morocco-backed slipcase with titles in gilt and decorative 179 blind tooling to spine. From the library of Bloombury collector William Beekman, with his bookplate. A fine copy in an extraordinarily bright and WOOLF, Virginia. Orlando. A Biography. New York: sharp jacket, two tiny patches of archival tissue to upper corners stabilizing Crosby Gaige, 1928 minor tears, trivial nicks to edges, but nonetheless exceptional. First edition, first impression, rare with the Vanessa Bell jacket Octavo. Original black cloth, titles and English rose decoration to spine in gilt, publisher’s device to front cover in gilt, cream endpapers, top in such bright condition, of Woolf ’s most ambitious and edge gilt, others untrimmed. With the original glassine (split at front experimental novel, hailed by Cyril Connolly as her “masterpiece joint, slight wear to corners and front panel edges). Frontispiece and 7 . . . It is one of the books which comes nearest to stating the photographic illustrations, including one of Virginia Woolf as Orlando. mystery of life and so, in a sense, nearest to solving it” (Connolly, From the library of Bloombury collector William Beekman, with his p. 49). The text is woven from the interior voices of its six bookplate. The binding sharp, internally crisp; a fine copy. protagonists, who were in part modelled on E. M. Forster, Lytton First edition, signed limited issue, number 58 of 800 signed by the Strachey, T. S. Eliot, Mary Hutchison, Vanessa Bell, and Woolf author in her customary purple ink on the verso of the half-title. herself, revealing their respective loves and loneliness. The edition is scarcely found with the glassine wrapper surviving, Kirkpatrick A16a; Woolmer 279; Cyril Connolly, Enemies of Promise, 2008. and generally in such fresh condition. Woolf ’s Orlando is widely recognized as a masterpiece of modernist and feminist literature £5,000 [144813] and remains among her best-known works. Dedicated to Vita Sackville-West, whose androgynous personality inspired the character, the book was described by her son Nigel Nicholson as “the longest love letter in history”.

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Trekkie Parsons’s copy, inscribed by Leonard Inscribed by Yeats to James Healy, Irish-American 181 stockbroker and patron of Irish writers WOOLF, Virginia. A Writer’s Diary. London: The Hogarth 182 Press, 1953 YEATS, W. B. The Wanderings of Oisin and other Octavo. Original orange cloth, gilt titles to spine, top edge orange. With poems. London: Kegan Paul, Trench & Co., 1889 the dust jacket designed by Vanessa Bell. Housed in a custom orange Octavo. Original blue cloth, titles to spine and front board in gilt, black cloth chemise in matching slipcase with titles in gilt to black calf spine coated endpapers. Housed in a black cloth box by the Chelsea Bindery. labels. From the library of Bloombury collector William Beekman, with his Bookplate to front pastedown. A few scratches to cloth, head of front inner bookplate. Spine faded, slight spotting to boards, the binding otherwise hinge split, rear inner hinge cracked but holding. A very good copy. firm and square, scattered foxing to first and last few leaves, else internally fresh and unmarked. A very good copy in the like jacket, slight creasing to First edition, first impression, a scarce inscribed copy of Yeats’s upper front panel, minor nicks to spine ends, spine panel a little toned but first major publication, an epic romance in which the ancient Irish otherwise bright, not price-clipped. hero Oisin travels to the land of Faerie with his supernatural lover First edition, first impression, presentation copy, inscribed by Niamh. Presentation copies of this landmark Yeats volume are of Leonard Woolf on the front free endpaper to his lover, the artist the utmost scarcity: the only other recorded at auction in the last and lithographer, Marjorie Tulip (Trekkie) Ritchie Parsons, “T.R. 30 years was a copy of the second issue inscribed to Maude Gonne, from L.W.”. This is a moving association copy of Virginia Woolf ’s selling for €57,600 in 2018. posthumously published diary, marking the transferring affections The front free endpaper is inscribed, “To James A. Healy, most of her bereaved husband. of the subscribers for the book were found by John O’Leary, the Trekkie and Leonard met several months after Virgina Woolf ’s Fenian leader. W. B. Yeats.” James Augustine Healy (1890–1975) death in 1941. They began corresponding and occasionally was an Irish-American stockbroker, bibliophile, and patron of met but it was not until Trekkie wrote to Leonard, asking him Irish writers who donated the James Augustine Healy Collection to welcome her for the night at his country house (Monks of 19th and 20th Century Literature to Colby College in Maine. House) to alleviate her loneliness while Ian, her husband, was He had an extensive correspondence with Elizabeth C. Yeats and overseas, that their story became serious. “By the end of 1943, George Yeats, from whom he obtained all the Dun Emer and Cuala the two were deeply in love. Leonard, over the next twenty-odd Press books, a great number of which were inscribed by their years, often traveled and vacationed with Trekkie, leaving Ian authors or by W. B. Yeats. (apparently not too unhappily) behind. [She] would also go on It was printed in an edition of about 500 copies, this being one alternate vacations with Ian and then with Leonard. Trekkie of the first issue (73 remainder copies were published in a second and Leonard shared many interests, especially an impassioned issue by Unwin in 1892). This copy has the variant binding noted fascination with gardens” (Shengold, pp. 116–7). by Roth, without the publisher’s monogram to the rear cover. One Kirkpatrick A31. Leonard Shengold, Haunted by Parents, 2006. of 500 copies issued. Hayward 295; Wade 2. £5,000 [144819] £8,500 [112219]

96 literature in love 183 184

“Tread softly because you tread on my dreams” 184 183 YEATS, W. B. The Shadowy Waters. London: Hodder and Stoughton, 1900 YEATS, W. B. The Wind Among the Reeds. London: Elkin Quarto. Original blue vertical-grain cloth over bevelled boards, titles to Mathews, 1899 spine, flower design to front board, top edge gilt. Cloth a little rubbed, Octavo. Original blue cloth, design by Althea Gyles stamped in gilt on wear to extremities, faint spotting and tanning to endpapers, two small spine and covers, white endpapers, edges untrimmed. Housed in a tape shadows to front free endpaper, occasional light finger mark to custom blue cloth solander box, paper label to spine and front board. contents. An excellent copy. Sydney bookseller’s ticket to front pastedown. Gilt faded to spine and a First edition, first impression, one of 500 copies printed, of little to covers, minor bumps to spine ends, else cloth sharp, offsetting to endpapers, light foxing to contents; a very good and attractive copy. Yeats’s lyrical, visionary play which tells a story of love between Forgael, a dreamer-pirate, and Dectora, a proud queen whose First edition, first impression, of Yeats’s third volume of poetry. ship he captures. “This remarkable book will be, in the judgement of posterity, the Symons, p. 11; Wade 30. sole rival of A Shropshire Lad for the position of the most significant verse production in England in the 1890s” (Norman Colbeck). £750 [91808] The striking cloth design by fellow poet and artist Althea Gyles is generally considered her best work for Yeats (Cevasco). 185 The Wind Among the Reeds reflects the start of Yeats’s love affair and lifelong friendship with Olivia Shakespear and contains some of YEATS, W. B. (pref.); HYDE, Douglas (trans.) The Love his most striking and haunting love poetry such as “Aehd Wishes Songs of Connacht. Being the Fourth Chapter of the for the Cloths of Heaven”, “The Shadowy Horses” and “Michael Songs of Connacht, Collected and Translated. [Preface Robartes Remembers Forgotten Beauty”. Other “answering” poems by W. B. Yeats.] Dundrum: The Dun Emer Press, 1904 in the collection like “Aedh Wishes his Beloved were Dead” clearly Octavo. Original beige linen-backed blue paper-covered boards, titles evoke his hopeless passion for Maud Gonne. printed in black on paper labels to spine and front board, matching blue This copy is from the library of Australian poet, critic, follower endpapers, untrimmed, partly unopened. Limitation, dedication, and of Annie Besant, and Professor of English at the University of colophon printed in red. Binding a little toned, two small dents to upper Sydney John Le Gay Brereton (1871–1933), with his bookplate to edge of rear board, minor loss to spine label, the binding otherwise firm the front pastedown, and a gift inscription from his close friend and square, free endpapers toned, else internally fresh and unmarked; a and fellow poet Christopher Brennan (1870–1932): “J. Le Gay very good copy indeed. Brereton, 13 July 1899, from C. B.”. Brennan has added neat pencil First edition, first impression, one of 300 copies only. This copy annotations to the margins of “Hanrahan Laments Because of has a rare single-sheet prospectus loosely inserted, dated January his Wanderings”, supplying the gloss that the original title of the 1905 and advertising the press. This is the third of 11 books poem was “O’Sullivan the Red Upon his Wanderings” in The New published by Yeats and his sister Elizabeth under this imprint, Review in August 1897, and to the Notes at p. 65. renamed the Cuala Press in 1908, after the Gaelic name of the Wade 27. G. A. Cevasco, ed., “Desire and Apocalypse: The Wind Among the south Dublin area before the Norman conquest. Reeds” in The 1890s: British Literature, Art, and Culture, 1993. Wade 260. £2,000 [145132] £500 [144499]

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