christmas 2019 Peter Harrington london We are exhibiting at these fairs: Christmas 2019 opening hours: 15–17 November 2019 boston Fulham Road Hynes Convention Center 900 Boylston St, Boston, MA Mon 25 Nov – Mon 23 Dec http://bostonbookfair.com Mon–Tue: 10am–6pm Wed–Sat: 10am–7pm hong kong Sun: closed Sadly the China in Print fair has been cancelled. Tue 24 Dec: 10am–2pm 11 January 2020 Wed 25 Dec – Thu 26 Dec: closed york (pbfa) Fri 27 Dec – Sat 28 Dec: 10am–6pm York Racecourse Sun 29 Dec: closed Knavesmire Road, York https://www.pbfa.org/fairs/york-1 Mon 30 Dec: 10am–6pm Tue 31 Dec: 10am–2pm 24–26 January Wed 1 Jan 2020: closed stuttgart Württembergischer Kunstverein Thu 2 Jan: Normal business Schlossplatz 2, Stuttgart hours resume http://www.stuttgarter-antiquariatsmesse.de/ 7–9 February Dover Street california Pasadena Convention Center Mon 25 Nov – Mon 23 Dec 300 E. Green St, Pasadena, CA Mon–Fri: 10am–7pm https://www.cabookfair.com/ Sat: 10am–6pm Sun: closed Tue 24 Dec: 10am–2pm Wed 25 Dec – Wed 1 Jan 2020: closed Thu 2 Jan 2020: Normal business hours resume Front cover image from Mick Rock’s The Rise of David Bowie 1972–1973, item 10. VAT no. gb 701 5578 50 Illustration opposite from James Lamont’s Yachting in the Arctic Seas, item 166. Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, Design: Nigel Bents. Photography: Ruth Segarra. 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Registered in England and Wales No: 3609982 Peter Harrington 1969 london 2019 catalogue 157 main catalogue Pages 2–73 antarctica 74–76 bindings 77–84 giFt selection 85–97 all items from this catalogue are on display at dover street mayfair chelsea Peter Harrington Peter Harrington 43 dover street 100 FulHam road london w1s 4FF london sw3 6Hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 www.peterharrington.co.uk usa 011 44 20 7591 0220 1 2 3 1 edition often come with original drawings, this is the 3 ADAMS, Richard. Watership Down. Har- first copy we have handled with a fore-edge painting. AUSTEN, Jane. Pride and Prejudice. London: Lawrence’s original watercolour is also notable for mondsworth: The Paradine Press, 1976 running across two pages, normally limited to one. George Allen, 1894 Large octavo. Original dark green crushed morocco by San- Octavo. Finely bound by the Chelsea Bindery in green mo- gorski & Sutcliffe, raised bands forming compartments to £6,000 [134691] rocco, centre tool to spine gilt, raised bands, inner dentelles spine, titles direct to second and third in gilt, fleurons to gilt, marbled endpapers, gilt edges. With numerous black first and fifth and rabbit motifs to fourth and sixth in gilt, 2 and white illustrations throughout. The occasional minor rabbit vignette to front cover in gilt, edges and turn-ins gilt, blemish, an excellent copy in a fine binding. AUSTEN, Jane. The Novels: Sense and Sen- green and yellow endbands, marbled endpapers. In the mar- first fully illustrated edition. This was the bled slipcase as issued. Original watercolour to the front free sibility; Pride and Prejudice; Mansfield Park; endpaper verso and first blank, and colour fore-edge paint- first edition to feature illustrations accompanying the ing. Colour frontispiece, numerous illustrations to the text Emma; Northanger Abbey; Persuasion; A text, as Bentley’s 1833 edition and subsequent print- in colour and black and white, folding colour map tipped-in Memoir of Jane Austen by her nephew J. E. ings had featured only a frontispiece. Thomson’s at rear. Spine faintly sunned, very minor central crease to Austen Leigh, sixth edition to which is added “light touch and feeling for period manners provide first 12 leaves. A near-fine copy. Lady Susan and fragments of two other un- a charming and accessible gloss to the author’s work” (ODNB). first illustrated edition, signed limited finished tales by Miss Austen. London: Richard issue, number 244 of 250 specially bound copies £2,250 [134194] signed by both the author and the illustrator, John Bentley & Son, 1886–92 Lawrence. This copy has an original watercolour de- 6 volumes, octavo (184 × 120 mm). Near-contemporary blue 4 picting four rabbits, drawn and initialled by the il- half morocco by Roger de Coverly, blue marbled paper sides, spine lettered in gilt in compartments, gilt-tooled raised lustrator, to the front free endpaper verso and first spines, blue marbled endpapers, all edges gilt. Engraved AWDRY, Wilbert Vere. Tank Engine Thomas blank; it also has a contemporary fore-edge painting frontispieces with scenes from the novels by Greatbatch Again. Leicester: Edmund Ward, [1949] depicting two rabbits executed by the pre-eminent after Pickering, engraved portrait frontispiece of Jane Aus- Oblong duodecimo. Original blue cloth, titles and illustra- fore-edge artist Don Noble. Although copies of the ten in the Memoir. Spines evenly, lightly faded, a touch of tion to front cover in gilt. With the dust jacket. Illustrations shelfwear, faint offsetting from frontispieces, occasional throughout by C. Reginald Dalby. A near-fine copy in the light foxing to endmatter. A very good, clean and fresh set. jacket, price-clipped, but otherwise in very nice condition, A very handsomely bound set of Austen’s novels, ap- with some light rubbing at extremities and to front panel, parently a reprint of the 6-volume Steventon edition of but without the chipping and soiling normally seen. 1882, the last complete edition of Austen’s works to be first edition. This is the fourth book in the Rail- published by Bentley. Both Keynes and Gilson note the way Series, and the second featuring Thomas the existence of this reprint but report having not seen it. Tank Engine, who has become synonymous with the Gilson D13; Keynes 32. series. 1 £3,000 [127521] £2,000 [135341] 2 Christmas 2019: Peter Harrington van Langeren. Based on pictures by Maerten de Vos, these were the most-widely available biblical illustra- tions in England during the 1640s and 1650s, issued with dedicatory verses to Charles I by William Slatyer, treasurer of St David’s. The practice of binding pic- tures with the English text of the Bible was theologi- cally suspect in the eyes of many, attacked as Popish and idolatrous at the trial of Archbishop Laud, and, again, by the bookseller Michael Sparke in the 1650s. It is fitting therefore that they should be bound here with the Bible printed in the Restoration year by Henry Hills, who many scorned as a turncoat, one who “ever made it his business to be of the rising side”. Hills thrived during the interregnum through a close personal relationship with Cromwell. In March 1656, with John Field, Hills secured a monopoly in 4 5 printing English Bibles and psalms, privileges that formerly belonged to the king’s printers and the Sta- 5 (Acts 5) with marginal paper loss not encroaching beyond tioners’ Company respectively. The two men walked plate mark, overall a pleasing copy. in Cromwell’s funeral cortège, and continued to prof- BANKSY. Wall and Piece. London: Century, A very attractive octavo Bible handsomely bound in it as printers to the government until the Restoration. 2005 the Regency era with silver furniture. This copy is ex- ESTC R16969; Darlow & Moule 669; Wing B2256. Quarto. Original illustrated boards, titles to spine and front tra-illustrated with the engravings of Jacob Florensz cover in black. With the dust jacket. Photographs and illus- £3,000 [134535] trations throughout. A near-fine copy in the dust jacket. first edition, in the rare dust jacket (most copies were issued without one). The book collects together photographs of Banksy’s street art, with his own commentary. £1,500 [133883] 6 (BIBLE; English, Authorized.) The Holy Bi- ble, Containing the Old Testament and the New. London: printed by Henry Hills and John Field, 1660 Octavo (161 × 113 mm). Signatures: A–2Z8 3A4. Attractively bound in late 18th-century black straight-grain morocco, spine with four low, wide raised bands with gilt decorative roll, spine gilt-lettered direct in two compartments, others with gilt-tooled devices, sides panelled in gilt and in blind, wide gilt turn-ins, pink moiré silk doublures and endpapers, gilt edges, black-and-white silk triple headbands; silver-gilt metal furniture, corners, engraved centre plates, clasps and catches. Letterpress title page within border of typographic ornaments; New Testament has separate dated title page on leaf 2N3r. Ruled in red throughout. Extra-illustrated with 148 (of 149) engraved plates by van Langeren, lacking plate 9 of Genesis. Bernard Quaritch pencilled collation notes at end. Spine ends and joints rubbed, cut rather close affect- ing last line on a few leaves (O1, Oo1, Ss2, Ss7–8), A3 and Bb6–8 torn, plate The Hypocrisie of Ananias & Sapphira 6 6 All items are fully described and photographed at peterharrington.co.uk 3 Given that Blake was also a health food pioneer, and appeared in dozens of Hollywood movies early in his career, this is a very fitting association copy. Af- ter a childhood spent in Santa Monica, Clark Irvine (1892–1975) became a Hollywood screenwriter, re- porter, and publicist—he was Charlie Chaplin’s first publicity director—before launching California Health News in 1933, one of the first California natural food industry periodicals. Irvine has annotated the title page in red pencil, “11–21–35 With John Roy—C. I. Ackerman also to Mt. Hollywood”; similarly anno- tated, the front pastedown reads “p. 27 paragraph 2 for picture. 40—why I live here” (said paragraph is correspondingly marked).