Blackwell S rare books MODERNISMS

Transcription

1 Blackwell S rare books MODERNISMS

2 Blackwell s Rare Books Broad Street, Oxford, OX1 3BQ Direct Telephone: +44 (0) Switchboard: +44 (0) rarebooks@blackwell.co.uk Fax: +44 (0) rarebooks Our premises are in the main Blackwell s bookstore at Broad Street, one of the largest and best known in the world, housing over 200,000 new book titles, covering every subject, discipline and interest, as well as a large secondhand books department. There is lift access to each floor. The bookstore is in the centre of the city, opposite the Bodleian Library and Sheldonian Theatre, and close to several of the colleges and other university buildings, with on street parking close by. Oxford is at the centre of an excellent road and rail network, close to the London - Birmingham (M40) motorway and is served by a frequent train service from London (Paddington). Hours: Monday Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.) Purchases: We are always keen to purchase books, whether single works or in quantity, and will be pleased to make arrangements to view them. Auction commissions: We attend a number of auction sales and will be happy to execute commissions on your behalf. Blackwell s online bookshop Our extensive online catalogue of new books caters for every speciality, with the latest releases and editor s recommendations. We have something for everyone. Select from our subject areas, reviews, highlights, promotions and more. Orders and correspondence should in every case be sent to our Broad Street address (all books subject to prior sale). Please mention Modernisms Catalogue when ordering. Front cover illustration: Item 157 Back cover illustration: Item 13

3 1. Aldington (Richard) Pinorman. Personal recollections of Norman Douglas, Pino Orioli and Charles Prentice. Heinemann, 1954, FIRST EDITION, 8 plates of photographs, pp. viii. 218, 8vo, original black cloth with publisher s device blindstamped to lower board, a little rubbing to bottom corner of upper board, backstrip lettered in blue, light soiling to top edge, dustjacket lightly soiled overall with fraying along head and a few short closed tears, chipping at head of backstrip panel, number in ink at head of front flap, good 40 A cruel and unkind lampoon of Eliot 2. Aldington (Richard) Stepping Heavenward. A Record. The Lungarno Series, No. 7. Florence: Orioli, 1931, FIRST EDITION, 40/800 COPIES (of an edition of 808 copies) signed by the author, printed on Pescia handmade paper, pp. 125, 8vo, original quarter cream cloth with yellow sides showing a few light handling marks, panels of very faint browning to front endpapers, untrimmed and uncut, dustjacket very lightly soiled overall with some creasing at tips of backstrip and a few faint fospots to rear panel, very good (Kershaw 144) 150 Aldington s faux-scholarly depiction of Jeremy Pratt Sybba, afterwards Father Cibber, O.S.B., recently beatified by the Roman Curia is a savage caricature of T.S. Eliot, whom Aldington portrays as afflicted with both mental and physical forms of constipation. It was taken in the spirit that was intended by its target, who bemoaned the cruel and unkind representation of himself and his first wife in his posthumous tribute to Aldington. Aldington s gesture was one that ended an already strained friendship at that time. 3. Apollinaire (Guillaume) Bleuet. New York: Caliban Press, 2008, 85/100 COPIES (from an edition of 114 copies), printed on mouldmade paper, French to verso, English translation by Richard Stokes to recto, pp. [2], 12mo, original handmade paper wrappers printed in black to front, sewn endpapers using maps of the Middle East, prospectus laid-in at rear, fine 35 Written during the First World War and originally published in the Parisian journal Nord-sud in 1917, Bleuet is Apollinaire s poetic meditation on youth and war. The original title is a reference to the new French recruits and thier cornflower blue uniforms (Prospectus). Inscribed for his fellow Dadaiste, Théodore Fraenkel 4. Aragon (Louis) Feu de Joie. Avec un Dessin de Pablo Picasso. Paris: Au Sans Pareil, 1920, ONE OF 50 COPIES POUR LA PRESSE (from an edition of 1070 copies), printed on on Vergé Bouffant paper, pages lightly toned throughout, pp. [50], crown 8vo, original grey wrappers printed in black, backstrip lettered in black, edges untrimmed, protective tissue wrapper, very good 550 1

4 blackwell S rare books The author s first book, which brought him instant acclaim and marked him as a central figure of the Dada movement, inscribed by him on the half-title: A Théodore Fraenkel. Fraenkel was a doctor and writer, who had known André Breton since 1907 and became one of the inner circle of first Dada then Surrealism. Breton had first introduced him to Louis Aragon in 1918 and they became friends and collaborators: Fraenkel refused to sign the surrealist tract Paillasse against Aragon. 5. Beckett (Samuel) Compagnie. Paris: Éditions de Minuit, 1980, FIRST EDITION, pp. 92, foolscap 8vo, original printed white wrappers, fine 750 This was Kay Boyle s copy, with her signature on the front free endpaper. Samuel Beckett has inscribed the title-page for Kay with love from Sam. The parcel address label, the address written by Beckett, in which the book was despatched to Kay Boyle, is loosely inserted in the book. Kay Boyle, novelist and poet, was a close friend of Beckett, having first met him during her years in France in the nineteen twenties and thirties. Their friendship remained close, they continued a correspondence and Beckett occasionally had the opportunity of meeting her following her return to America after the war. 6. Beckett (Samuel) How It Is. John Calder, 1964, PROOF OF FIRST GATHERING for limited edition of 100 (hors commerce) copies in advance of the first edition, printed on handmade paper, signed by the author, pp. [vi], 16, 8vo, partially opened and untrimmed, fine (Federman & Fletcher ) Beckett (Samuel) Mal vu Mal dit. Paris: Éditions de Minuit, 1981, FIRST EDITION, pp. 80, foolscap 8vo, original printed white wrappers, near fine 700 This was Kay Boyle s copy, with her signature on the front free endpaper. Samuel Beckett has inscribed the title-page for Kay affectionately, Sam March Beckett (Samuel) Malone Dies. A novel translated from the French by the author. John Calder, 1958, FIRST UK EDITION, pp. [vi], 120, 8vo, original black boards lightly soiled overall, backstrip lettered in gilt, endpapers very lightly foxed, dustjacket frayed along edges with a few creases and short closed tears, light soiling to rear panel, glassine jacket, good (Federman and Flecher 375.1) Beckett (Samuel) Oh Les Beaux Jours. Paris: Éditions de Minuit, 1963, FIRST FRENCH EDITION, 108/412 COPIES printed on Velin Marqués paper, pp. 89, 12mo, original white wrappers printed in black, adhesive beginning to show through backstrip, untrimmed and unopened, tissue jacket, near fine (Federman & Fletcher 149) 100 Beckett s own translation into French of his 1961 play Happy Days. 2

5 MODERNISMS 10. Beckett (Samuel) Pas moi [on pages 2-9 of] Minuit 12. Paris: Minuit, January 1975, SOLE EDITION, pp. 72, crown 8vo, original printed blue wrappers, spine faded, near fine 200 Signed by Samuel Beckett at the head of page Beckett (Samuel) Sans. Paris: Éditions de Minuit, 1969, FIRST EDITION, XLVIII/100 COPIES, pp. 24, f cap.8vo., original printed white wrappers, untrimmed, fine 800 This was Kay Boyle s copy, with her signature on the front free endpaper. Samuel Beckett has inscribed the title-page for Kay with love from Sam. Paris Feb Beckett (Samuel) Waiting for Godot. A tragicomedy in two acts. New York: Grove Press, 1954, FIRST EDITION IN ENGLISH, with 4 photographic plates, pp. 61, [4], crown 8vo, original black cloth with title blind-stamped across both boards, a little faint soiling at head of upper board, backstrip lettered in silver and gilt, red endpapers with bookplate tipped in to flyleaf, dustjacket with minimal toning and a few small spots of repair around head and to corners, very good (Federman & Fletcher 373) 1,200 Inscribed and hand-coloured for F.S. Flint, with translations by Ezra Pound 13. Bosschère (Jean de) 12 Occupations. French Text, With Twelve Designs by the Author, and an English Translation. Elkin Mathews, 1916, FIRST EDITION, pp. 32, small 4to, original illustrated stitched orange wrappers with one or two small spots, near fine (Gallup B12) 1,000 Inscribed by the author at the head of the title-page: Colorié pour mon cher Flint, en pensant au poete et à l ami. JB. Oct The edition did include 50 signed and numbered examples that were also hand-coloured but this is a unique copy from the regular run, inscribed to his Imagist friend Flint. In the original envelope, with Flint s typed address to front, and further protected by stiff brown paper in between two pieces of card all seemingly original, the paper with a note in French written at the rear. The envelope has some light soiling and wear along its folds, but is still entire and the whole ensemble is remarkably well-preserved. Writing to Margaret Anderson of The Little Review in 1916, Ezra Pound (whose translations are featured here) declared de Bosschère the most modern writer Paris can boast, not excluding Apollinaire in fact, the Belgian painter and poet was by then living in London and was an established presence in Imagist circles. He was a particular favourite and friend of F.S. Flint, who would translate The Closed Door in This is a very notable Imagist association copy. 3

6 blackwell S rare books Inscribed for the poet and philosopher T.E. Hulme 14. Bosschère (Jean de) The Closed Door. Illustrated by the Author, With a Translation by F.S. Flint, and an Introduction by May Sinclair. John Lane, The Bodley Head, 1917, FIRST EDITION, frontispiece self-portrait, 15 further plates and additional tailpieces, occasional light foxing, pp. [x], 131, 8vo, original slate-grey cloth, title and horizontal rules stamped in pink to upper board and backstrip, tips of backstrip a little rubbed, a couple of wrinkles to cloth, dustjacket with rear flap advertising part II of Blast and Pound s Gaudier-Brzeska, backstrip panel darkened, lightly soiled and rubbed with a few chips to corners, faint trace of a bookseller stamp to rear panel and Net stamped after printed price at front, good 1,000 Inscribed by the author on the flyleaf: à T. Hulme, très cordialement, Jean de Bosschère Inscribed copies to Hulme are very rarely seen. In a note postmarked 19th September 1917 to the translator of this volume, Hulme s Imagist friend F.S. Flint, he requested that the latter pay him a visit in Frith Street in the company of Bosschère: with this evidence, we can venture the likelihood that this presentation copy dates from that visit during a brief period of leave for Hulme, who was killed at the Front a matter of days later (28th September 1917). 15. Bunting (Basil) Loquitur. Fulcrum Press, [1965], FIRST EDITION, ONE OF 200 COPIES (of an edition of 1,000 copies) printed on Glastonbury laid paper, pp. 80, imperial 8vo, original black cloth, backstrip gilt lettered, dustjacket, very good Bunting (Basil) The Spoils. Newcastle upon Tyne: Morden Tower Book Poem, [1965], FIRST EDITION, portrait frontispiece, pp. [16], foolscap 8vo, original sewn white wrappers, lettered in black, front cover illustration, fine Bunting (Basil) Version of Horace Officina Mauritiana, 1972, FIRST EDITION, 48/300 COPIES, single folded sheet, pp. [4], 16mo, in its original printed envelope, as issued, fine Conrad (Joseph) Almayer s Folly. A Story of an Eastern River. Fisher Unwin, 1895, FIRST EDITION, first state with title-page printed in black and red and with type missing in the last 2 lines on p. 110, very occasional light handling marks, pp. 272, crown 8vo, original green cloth, backstrip lettered in gilt, very light rubbing to extremities, t.e.g., others untrimmed, bookplate tipped in to flyleaf, very good (Smith 1; Cagle A1a1) 2,750 An exceptional copy of the author s first book. 4

7 MODERNISMS 19. Conrad (Joseph) The Arrow of Gold. Fisher Unwin, 1919, FIRST ENGLISH EDITION, with the full A in the headline of p. 67, light diagonal crease to the lower half of a few leaves, pp. x, 336, crown 8vo, original green cloth stamped in gilt to front, backstrip lettered in gilt, top edge green, one or two spots to fore-edge, a few small spots to endpapers with bookplate tipped in to flyleaf, dustjacket with light dustsoiling in places, a few nicks and light chipping to corners of front panel, very good (Smith 22) Conrad (Joseph) Chance. A Tale in Two Parts. Methuen, 1913, FIRST EDITION, second issue with cancel title-page, pp. [vii], 406, [8 & 31, ads dated Autumn and July 1913], crown 8vo, original green cloth, backstrip lettered in gilt, light rubbing to extremities, fore- and tail edge roughtrimmed, bookplate to flyleaf, very good (Smith 18) Conrad (Joseph) Conrad s Manifesto: Preface to a Career. The History of the Preface to The Nigger of the Narcissus, with Facsimiles of the Manuscripts. Edited with an Essay by David R. Smith. Northampton, MA: Gehenna Press, 1966, FIRST EDITION, 876/1,100 COPIES printed on Fabriano paper in black and red, woodcut portrait frontispiece by Leonard Baskin, 15 facsimile pages, pp.79, 4to, original marbled boards with printed label to front, rubbing along joints and edges, untrimmed, grey board folder, board slipcase with some light soiling, very good (Brook 49) 60 The slipcase label shows the name of Bodley Head, marking this as one of 250 copies given over to UK subscribers. Inscribed to Sir Hugh Clifford 22. Conrad (Joseph) Lord Jim. Edinburgh & London: William Blackwood, 1900, FIRST EDITION, light foxing to initial and ultimate pages with one or two spots throughout text, a faint waterstain at the head of the first 70 or so pages, pp. [iv], 451, crown 8vo, later Sangorski & Sutcliffe full crushed green morocco, single gilt fillet border to both boards, light mark to lower board, backstrip decorated and lettered direct in gilt with five raised bands and a little faded, a.e.g., green endpapers with bookplate tipped in to flyleaf, very good (Smith 5; Cagle A5a1) 8,000 Inscribed by the author to the flyleaf: To Hugh Clifford, With the author s most friendly regards. Pent Farm Clifford was a colonial governer stationed in Malaya, and an author whose literary circle included the eminent figure of Conrad. Conrad had met Clifford in 1899, and would later dedicate Chance to him. The inscription dates from Conrad s years at Pent Farm ( ), whose previous inhabitant had been Ford Madox Hueffer. 5

8 blackwell S rare books 23. Conrad (Joseph) The Mirror of the Sea. Memories and Impressions. Methuen, 1906, FIRST EDITION, title-page printed in black and red, scattered light foxing, pp. viii, 306, [40, ads dated August 1906], crown 8vo, original green cloth, backstrip lettered and decorated in gilt, rubbing to extremities, t.e.g., others untrimmed, a few small foxspots to endpapers with minor offsetting from adhesive tape to free endpapers, contemporary ownership inscription to flyleaf with later bookplate tipped in to same, good (Smith 12; Cagle A11a(a)) Conrad (Joseph) The Nigger of the Narcissus. A Tale of the Sea. Heinemann, 1898, FIRST ENGLISH EDITION, occasional light foxing and one instance of pencil annotation, pp. [vi], 259, [16, ads], crown 8vo, original slate-grey cloth, stamped in gilt to upper board, backstrip lettered in gilt, top corners a little bumped, textblock strained in a couple of places, edges untrimmed and toned with dustsoiling to top edge, free endpapers browned with bookplate to flyleaf, good (Smith 3; Wise p.3; Cagle A3c1(a)) 500 Published in America as The Children of the Sea. 25. Conrad (Joseph) Nostromo. A Tale of the Seaboard. London & New York: Harper & Brothers, 1904, FIRST EDITION, foxing to prelims with occasional foxspots to text, pp. [viii], 480, crown 8vo, original blue cloth stamped in light blue to upper board, backstrip a shade darkened and lettered in gilt with decorations in light blue, some light rubbing with a few marks to upper board, a little spotting to edges and endpapers, bookplate tipped in to flyleaf with bookseller stamp at foot of the same, good (Smith 11; Wise p.10; Cagle A10a1) 600 One of 2,000 copies in the first edition, with the first issue features described by Smith (e.g., p. 187 numbered as 871). 26. Conrad (Joseph) An Outcast of the Islands. Fisher Unwin, 1896, FIRST EDITION, title-page printed in red and black, one or two faint foxspots to prelims, a tiny brown liquid stain towards gutter of pp.46-7, a few handling marks, pp. [vii], 391, crown 8vo, original dark green cloth, backstrip lettered in gilt with a couple of nicks at tips, slight lean to spine, t.e.g., others untrimmed, endpapers lightly browned in places, bookplates to flyleaf and to pastedown with bookseller s blind stamp to former, good (Smith 2: Cagle A2a1) 950 The author s second book. 27. Conrad (Joseph) The Rescue. A Romance of the Shallows. Dent, 1920, FIRST ENGLISH TRADE EDITION, a single foxspot at head of prelims, pp. 416, crown 8vo, original green cloth with publisher s device and border blind-stamped to upper board with small spot of gilt to lower corner of border, backstrip lettered in gilt, top edge a trifle dustsoiled, tail edge roughtrimmed, rear free endpaper lightly browned, bookplate tipped in to flyleaf, dustjacket with light browning to rear panel, some creasing overall and a couple of closed tears around foot, very good (Smith 23) 220 6

9 MODERNISMS 28. Conrad (Joseph) The Rover. Fisher Unwin, 1923, FIRST ENGLISH EDITION, issue with g lacking from the word go in line 2 of p. 221, pp.318, crown 8vo, original green fine ribbed cloth stamped in gilt to front, bump to top and tail edge of upper board, backstrip lettered and bordered in green, partial light free endpaper browning, bookplate tipped in to flyleaf, dustjacket very bright with just a few small nicks, very good (Smith 25; Wise p. 47) 250 The colour used for the lettering on the backstrip varies from any copies described in the bibliographies where, as one might expect, it is consistent with the gilt lettering used on the front. An unrecorded variant binding of this classic Conrad tale 29. Conrad (Joseph) The Secret Agent. A Simple Tale. Methuen, 1907, FIRST EDITION, a few pencil marks and light foxing to prelims, very occasional light creasing to page-corners and some faint handling marks, pp. [vi], 442, 40 [ads, dated September 1907], crown 8vo, original[?] navy cloth with blind-stamped decorative border to both boards, edges rubbed with a spot of wear to corners, backstrip lettered in gilt above blind-stamped Art Deco-style design, spine leaning, endpapers spotted, ownership inscription to flyleaf, traces of label removed from front pastedown, good (Smith 13; Cagle A12) 400 Apparently a variant binding, not recorded in the bibliographies and bearing no relation to others found in terms of its colouring or design. 30. Conrad (Joseph) The Secret Agent. A Drama in Three Acts. Privately Printed for Subscribers Only by T. Werner Laurie, 1923, 107/1,000 COPIES signed by the author, portrait frontispiece, captioned tissue-guard present, pp. [ix], 185, 8vo, original quarter cream parchment with grey boards, edges darkened and a little wear to corners with a bump to tail edge of lower board, backstrip with printed paper label (spare label tipped in at rear), edges untrimmed and unopened, bookplate tipped in to flyleaf, dustjacket also with a printed label, backstrip panel a little darkened with light chipping and a few marks to corners, two small spots of white paint to front panel, very good (Smith p.112; Cagle A54b) 300 Dramatised in 1920 and first published in a privately printed edition of about fifty copies in The first performance was given in London in November 1922, followed by publication in its present form in

10 blackwell S rare books 31. Conrad (Joseph) A Set of Six. Methuen, 1908, FIRST EDITION, first issue, second state with the half-title and title-leaves conjugate cancels, pp. [viii], 312, [40, ads dated February 1908], crown 8vo, original blue cloth stamped in red to upper board, backstrip lightly faded and lettered in gilt with decorations in the same, a few faint marks and light rubbing, top edge a little dustsoiled and others lightly toned with tail edges roughtrimmed, a small amount of adhesive browning to borders of pastedowns with bookplate tipped in to flyleaf, good (Smith 14.2 [variant]; Cagle A13a2) 250 The cancel title and half-title pages were inserted to correct the formatting of the list of Conrad s publications, which did not originally make clear those books on which the author had collaborated with Ford M. Hueffer. Smith does not record any copies of the first issue with a February 1908 publisher s catalogue at rear, as here. 32. Conrad (Joseph) The Shadow Line. A Confession. Dent, 1917, FIRST EDITION, a little very faint foxing to prelims, small chip at the head of two leaves, pp. [vi], 227, 18 [ads], crown 8vo, original green cloth stamped in black to front, small spot towards fore-edge of upper board, backstrip lettered in gilt and black with decorations in black, slight lean to spine, top edge brown, free endpapers browned as usual, dustjacket with light chipping to corners and tips of backstrip panel, light handling marks, backstrip panel a shade darkened, very good (Smith 21; Cagle A21a1) 1, Conrad (Joseph) Suspense. With an Introduction by Richard Curle. Dent, 1925, FIRST ENGLISH EDITION, frontispiece after a drawing by Muirhead Bone, occasional light foxing, pp. x, 303, [4, ads], crown 8vo, original maroon fine-ribbed cloth with publisher s device and border blind-stamped to upper board, backstrip slightly faded and lettered in gilt now a little tarnished, slight lean to spine top edge green, others with light foxing flyleaf with erased ownership inscription and tipped in bookplate, dustjacket with very light chipping to bottom corners and at foot of backstrip, lightest of rubbing to extremities, good (Smith 28) 200 Conrad s final novel, published posthumously the English edition post-dating the American by a single day. 34. Conrad (Joseph) Tales of Hearsay. With a Preface by R.B. Cunninghame Graham. Fisher Unwin, 1925, FIRST EDITION, very faint foxing to prelims with one or two faint spots to text and the occasional handling mark, pp. 288, crown 8vo, original green cloth stamped in gilt to upper board, backstrip lettered in gilt and a little tarnished, light toning to edges, free endpapers with usual partial browning and a couple of adhesive spots, bookplate tipped in to flyleaf, dustjacket very bright with just a couple of nicks, very good (Smith 27) 250 8

11 MODERNISMS 35. Conrad (Joseph) Tales of Unrest. Fisher Unwin, 1898, FIRST ENGLISH EDITION, titlepage printed in black and red, page number fully present on p.36, pp. [viii], 298, [14, ads], crown 8vo, original dark green cloth, backstrip lettered in gilt, light rubbing to extremities and some faint scuffing to boards, t.e.g., others untrimmed, bookplate tipped in to flyleaf, very good (Smith 4) 800 With a signed holograph quotation laid in 36. Conrad (Joseph) Twixt Land & Sea. Tales. A Smile of Fortune, The Secret Sharer, Freya of the Seven Isles. Dent., 1912, FIRST EDITION, title-page printed in black and red, a little light foxing to prelims and the occasional foxspot to text, a couple of brief pencil notes to margin in opening pages, pp.viii, 264, crown 8vo, original green cloth stamped in black to upper board with blind-stamped border, a few small white marks, backstrip a little crooked and lettered in gilt with a small nick at head, top edge brown, very light browning to free endpapers, rear free endpaper slightly adhering to pastedown at gutter, bookplate tipped in to flyleaf, good (Smith 17(3); Cagle A16a1(c)) 500 In the third of the 3 variant bindings recorded by Smith, with the final story titled correctly on the upper board. With Conrad s signature beneath a holograph quotation from The Smile of Fortune laid in at front, on a card sometime folded and lightly spotted. 37. Conrad (Joseph) Typhoon and Other Stories. Heinemann, 1903, FIRST ENGLISH EDITION, a few spots to prelims with one or two faint foxspots to text, two small pencil marks, pp. [vi], 304, [32], crown 8vo, original slate cloth stamped in gilt to upper board, backstrip lettered in gilt with a short closed tear at head, and rubbing at tips, slight lean to spine, dried adhesive stain to gutter of front endpapers with bookplate tipped in to flyleaf and erased ownership inscription to the same, rear endpapers foxed, good (Smith 9; Cagle A8b1(b)) 400 The second of the two bindings described by Cagle, with all edges trimmed. 38. Conrad (Joseph) Under Western Eyes. Methuen, 1911, FIRST EDITION, pp. [vi], 377, [32, ads dated August 1911], crown 8vo, original red cloth with light soiling, backstrip lettered in gilt and slightly faded with joints a little rubbed, edges toned with one or two spots, tail edge roughtrimmed, rear hinge strained, very slight scuffing to front pastedown where bookticket has been removed, bookplate to flyleaf and pastedown, good (Smith 15; Cagle A14a1) 150 9

12 blackwell S rare books 39. Conrad (Joseph) Victory. An Island Tale. Methuen, 1915, FIRST ENGLISH EDITION, a single foxspot at head of prelims, pp. viii, 415, [4, ads dated Autumn,1915], [32, publisher s list dated 8/5/15], crown 8vo, original red cloth, backstrip lettered and decorated in gilt with a few faint spots and gentle fading, top edge lightly dustsoiled, some offsetting from adhesive tape to free endpapers, bookplate tipped in to flyleaf, very good (Smith 20; Cagle A19b1) 200 Includes an Author s Note not featured in the American edition, published six months earlier. 40. Conrad (Joseph) Within the Tides. Tales. Dent, 1915, FIRST EDITION, title-page printed in black and red, a single foxspot at the head of a few pages, light creasing to the top corner of a few of the final leaves, pp. [viii], 280, crown 8vo, original green cloth with publisher s device and border blind-stamped to upper board, backstrip lettered in gilt, a little light wear at extremities, top edge blue-green, usual partial browning to endpapers, rear hinge starting to strain, bookplate to flyleaf and to pastedown, good (Smith 19) Conrad (Joseph) Youth: A Narrative. And Two Other Stories. Edinburgh & London: William Blackwood, 1902, FIRST EDITION, one or two small foxspots to text and the odd handling mark, pp. [vii], 375, [32, first state ads dated 10/02], crown 8vo, original green cloth stamped in black to upper board with floral decoration, backstrip lettered in gilt and decorated in black with a little rubbing and a small black mark above the author s name, cloth a little grubby with brighter panel at foot of upper board (probably where library label has been removed, but no other library markings), fore-edges of boards a little crooked, rubbing to extremities, bookplate to flyleaf, good (Smith 8) 600 The two other stories are The End of the Tether and Heart of Darkness the latter a modern classic, appearing in book form for the first time here. 42. Cummings (E.E.) 50 Poems. New York: Duell, Sloan and Pearce, [1940], FIRST EDITION, 88/150 COPIES, leaves: [4], 52, crown 8vo, original fawn cloth, backstrip gilt lettered, gilt lettered large maroon leather label on the front cover, yellowing to the endpaper gutters, untrimmed, glassine-jacket, matching cloth slipcase and leather label, an unusually nice copy, near fine 800 Signed by the author on the front free endpaper. Is it true my daughter knows a Negro? 43. Cunard (Nancy) Black Man and White Ladyship. An Anniversary. Privately Printed, 1931, second printing, erratum slip printed in red tipped-in to p. 7, pp. 11, 8vo, original stapled pink wrappers lettered in black, a little fading around spine and creasing to corners, gift inscription in pencil inside front cover, good

13 MODERNISMS Cunard s impassioned and thoughtful dissection of the attitudes, actions, and words of her mother (and by extension the social group to which she belongs) grew directly from incidents around her own relationship with the jazz musician Henry Crowder, but goes beyond the merely personal to examine the colour question as part of a much larger picture of Anglo-American society. Inscribed by Nancy Cunard to French surrealist writer Georges Sadoul 44. Cunard (Nancy, et al.) Grand Man. Memories of Norman Douglas. With Extracts from his Letters, and Appreciations by Kenneth Macpherson, Harold Acton, Arthur Johnson, charles Duff, and Victor Cunard, and a Biographical Note by Cecil Woolf. Secker & Warburg, 1954, FIRST EDITION, frontispiece photograph of Douglas and 8 further plates, a handful of foxspots to inside border of half-title and title-page, pp. xviii, 317, 8vo, original brown cloth with light rubbing to tail-edges and corners, backstrip lettered in gilt, light foxing to edges with top edge a little dustsoiled, endpapers browned, dustjacket with a few spots of internal tape repair, a few short closed tears, a little chipping to extremities, a waterstain to backstrip panel, good 350 Inscribed by the author on the flyleaf, to the French surrealist and film writer Georges Sadoul: Au bien cher et grand ami Georges Sadoul, cet effort pour servir à une partie de l histoire de notre temps. Nancy Cunard. Londres, 9 Dec, Sadoul ( ), as the inscription would imply, was one of Cunard s closest Parisian friends it was he who found the premises for her Hours Press on the Left Bank, as well as working there as a rather elastic secretary and general factotum (These Were The Hours, p. 75); he also contributed an article on colonial stereotypes in French children s literature to her Negro Anthology, but as a writer came to be best remembered for his voluminous writings on the history of cinema. Either Sadoul or Cunard has amended in blue ink the typographical error that omits the last letter of his name in the author s biography on the rear flap. 45. Davidson (John) A Selection of his Poems. Preface by T.S. Eliot. Edited with an introduction by Maurice Lindsay, and with an essay by Hugh McDiarmid [sic]. Hutchinson, 1961, FIRST EDITION, frontispiece portrait by Sickert, pp. [xxii], 220, crown 8vo, original black cloth, backstrip lettered in silver with red decorations, top edge red, dustjacket with a little nick to top corner of upper board, near fine 45 Inscribed A René et à Georgette Magritte 46. Dumont (Fernand) La Région du Coeur. Mons: Groupe Surréaliste en Hainaut 1939, FIRST EDITION, 140/200 COPIES (of an edition of 213 copies), pp. [viii], 72, 24mo, original white wrappers with image to front and lettered in black, lightly soiled overall 11

14 blackwell S rare books with rubbing along edges and particularly to joints, backstrip lettered in black with a little chipping at tips and a small section starting to detach at foot, split to lower quarter of front joint, good 1,200 A presentation copy inscribed by the author to fellow Belgian surrealist René Magritte and his wife Georgette, De tout coeur, le 3 décembre Dumont, a pseudonym of Fernand Demoustier adopted in honour of his home town of Mons, died in the concentration camp at Bergen-Belsen in Eliot (T.S.) After Strange Gods. A Primer of Modern Heresy. The Page-Barbour Lectures at the University of Virginia. Faber and Faber, 1934, FIRST EDITION, a few unobtrusive pencil marks to margins, pp. 68, 8vo, original black cloth, backstrip lettered in gilt, a little dustsoiling to top edge, other edges untrimmed, a couple of small adhesive spots to free endpapers with bookplate to flyleaf, dustjacket, darkened backstrip panel with a few nicks along edges and a short closed tear at foot of rear flap-fold, very good (Gallup A25a) 200 A notorious work, primarily because of the reference to the undesirability of freethinking jews on p. 20 it was never reprinted, and disavowed by the author in probable recognition of the misconception that results in its awkward tenor. 48. Eliot (T.S.) Ash Wednesday. Faber and Faber, 1930, FIRST TRADE EDITION, light toning to page borders, pp. 21, foolscap 8vo, original terracotta cloth stamped in gilt to upper board, backstrip lettered in gilt with a touch of fading to tips, small water-stain at head of upper board and bump to tail-edge of lower, t.e.g., others untrimmed, a few small adhesive marks to free endpapers with bookplate tipped in to flyleaf, dustjacket with darkened backstrip panel, a few chips and short closed tears and some light scuffing at edge of front panel, very good (Gallup A15b) Eliot (T.S.) Charles Whibley. A Memoir [The English Association, Pamphlet No. 80.] Humphrey Milford, Oxford University Press, 1931, FIRST EDITION, pp. 13, [3], 8vo, original sewn printed wrappers, toned to borders, bookplate to inside cover, very good (Gallup A20a Eliot (T.S.) The Cocktail Party. A Comedy. Faber and Faber, 1950, FIRST EDITION, second issue with here corrected to her on first line of p. 29, a small amount of pencil underlining towards end of text, pp. 168, [3], 8vo, original green cloth with a small bubble at the head of upper board, backstrip lettered in gilt, free endpapers lightly foxed, dustjacket with backstrip panel a trifle faded and a few small nicks, very good (Gallup A55a) 40 12

15 MODERNISMS 51. Eliot (T.S.) Dante. [The Poets on The Poets No. 2.] Faber and Faber, 1929, FIRST EDITION, pp. 69, foolscap 8vo, original boards repeating Rex Whistler dustjacket design on upper board, backstrip lettered in black, slight lean to spine, top edge blue, others untrimmed, bookplate tipped in to flyleaf, first issue dustjacket with darkened backstrip panel, very good (Gallup A13a) 250 A splendid copy of one of Eliot s most celebrated essays, in the first issue dustjacket (without reviews). 52. Eliot (T.S.) The Dry Salvages. Faber and Faber, 1941, FIRST EDITION, pp. 16, 8vo, original printed pale blue-grey stapled wrappers, spine faded, untrimmed, good (Gallup A39) 2,500 Anne Ridler s copy, gifted to her by Eliot and inscribed by him on the half-title at the time of publication, to Anne Ridler from T.S. Eliot Sep Anne Ridler has pencilled through hermit (hermit crab) and placed in the margin horse-shoe/. 53. Eliot (T.S.) Eeldrop and Appleplex. Tunbridge Wells: The Foundling Press, 1992, FIRST SEPARATE EDITION, 144/150 COPIES printed on mouldmade paper at the Rampant Lions Press, decorations and initial letters printed in green, pp. [iv], 11, 8vo, original grey wrappers printed in green and black, edges untrimmed, fine 35 Originally printed in the May and September issues of The Little Review in 1917, this experiment in prose fiction by Eliot is unique amongst his oeuvre; somewhat in the vein of Flaubert s Bouvard et Pécuchet, the work s protagonists have been regarded as depictions of himself ( a sceptic, with a taste for mysticism ) and Ezra Pound ( a materialist with a leaning towards scepticism ). 54. Eliot (T.S.) The Elder Statesman. A Play. Faber and Faber, 1959, FIRST EDITION, pp. 108, [1], 8vo, original red cloth with nick to upper board, backstrip lettered in gilt, a little light foxing to top edge, panels of faint browning to free endpapers, dustjacket with backstrip panel a little faded, very good (Gallup A70a) Eliot (T.S.) Ezra Pound. His Metric and Poetry. New York: Knopf, 1917 [but 1918,] FIRST EDITION, frontispiece portrait of Pound by Gaudier-Brzeska, pp. 31, crown 8vo, original red boards lettered in gilt to upper board, light fading around backstrip, tipped-in bookplate and erased ownership inscription to flyleaf, a few small foxspots to rear endpapers, 13

16 blackwell S rare books original plain dustjacket with light dustsoiling and a few very small marks, chipped to corners and along backstrip panel with some tears and creasing, very good (Gallup A2) 700 The author s second book, and very scarce in the dustjacket. Published anonymously in an edition of 1,000 copies, Gallup notes that Pound made corrections and changes before sending it on to John Quinn for publication by Knopf. Quinn, a New York lawyer and important patron of modernist authors, had subsidised the publication of this and Pound s Lustra the collection that it was written to publicise. As a purely literary transaction, Eliot s short but thorough critical appreciation of Pound s influences and innovations was a reciprocal gesture for Pound s eagerness to, as he put it, boom Eliot during their first years of contact. 56. Eliot (T.S.) The Family Reunion. A Play. Faber and Faber, 1939, FIRST EDITION, pp. 136, 8vo, original grey cloth, backstrip lettered in red, slight lean to spine and toning to borders, top edge lightly dustsoiled with tail and fore-edge roughtrimmed, first issue dustjacket with backstrip panel a little darkened, very good (Gallup A33a) Eliot (T.S.) For Lancelot Andrewes. Essays on Style and Order. Faber and Faber, 1928, FIRST EDITION, initial blank and verso of final page partly browned as usual, pp.143, crown 8vo, original blue cloth, backstrip with printed label and a single spot of fading through hole in dustjacket, edges untrimmed with a little dustsoiling to top edge, contemporary ownership inscription in pencil to flyleaf and bookplate tipped in to pastedown, dustjacket with design by Bawden, backstrip panel darkened with light chipping at tips, very good (Gallup A12a) Eliot (T.S.) Four Quartets [East Coker; Burnt Norton; The Dry Salvages (2 copies); Little Gidding.] Faber and Faber, , FIRST SEPARATE FABER EDITIONS, some foxing to East Coker and Burnt Norton with a small amount of pen underlining to the former, pp. 15; 15; 15 (2 copies); 16, 8vo, original card wrappers lettered in black to front, some toning, light creasing and a few small marks, each protected within folded grey card and slipcase, good (Gallup A36c; A37; A39; A42) 400 East Coker first appeared, in two editions, as a supplement to the New English Weekly in Easter of 1940; Burnt Norton had been included in Eliot s Collected Poems from 1936; the latter two poems from the sequence are here in their first edition, with Little Gidding in the earlier sewn binding. 59. Eliot (T.S.) Four Quartets. [Printed at the Officina Bodoni for] Faber and Faber, 1960, 140/290 COPIES signed by the author, printed on Magnani paper using the Dante typeface, pp. [iv] (blanks), 56, [4] (blanks), sm.folio, original quarter cream vellum, backstrip gilt lettered, green and yellow Putois marbled boards, t.e.g., others untrimmed, matching marbled board slipcase rubbed and defective as usual, near fine (Mardersteig 119: Gallup T.S. Eliot: a Bibliography A43c) 2,700 14

17 MODERNISMS Inscribed by the author for his French publisher 60. Eliot (T.S.) Meurtre dans la Cathédrale. Traduit de l anglais et présenté par Henri Fluchère. Paris: Éditions de Seuil, 1946, ADVANCE REVIEW COPY, pages lightly toned, pp. 140, [1], original white wrappers printed in grey and black, backstrip lettered in black and white against a lightly faded grey ground, a couple of light marks to rear and very short split at foot of upper joint, very good (Gallup D85) 450 The first work of Eliot s to be published in book-form in French, Fluchère s translation was published by Neuchâtel in 1943 before being taken on by Éditions de Seuil in their Pierres Vives series. This advance review copy [a perforated S.P. (Service de Presse) stamp to rear cover and last few leaves identifying it as such] is inscribed by the translator on the half-title, dated , and by the author on the title-page for the founder of Éditions de Seuil: Inscribed for Henri Sjöberg by T.S. Eliot (en souvenir de Stockholm 1942). Eliot had been in Stockholm in 1942 on behalf of the British Council, to which visit his inscription presumably relates. 61. Eliot (T.S.) Murder in the Cathedral. Faber and Faber, 1935, FIRST COMPLETE EDITION, pp. 87, 8vo, original purple cloth, backstrip lettered in gilt, very slight lean to spine, small patch of foxing to pastedowns and one or two spots to free endpapers, dustjacket a little rubbed and creased, very good (Gallup A29b) Eliot (T.S.) Murder in the Cathedral. Acting edition for the Festival of the Friends of Canterbury Cathedral. Canterbury: H.J. Goulden, 1935, FIRST EDITION, pp. [ii], 38, foolscap 8vo, original printed wrappers, a couple of small marks to top and tail edge of textblock, custom box, near fine (Gallup A29a) 500 A near-pristine copy of one of only 750 copies of the first edition, for sale at performances of the play in Canterbury Cathedral the production used a shorter version of the text to that published by Faber later in the year. This is the only printing of the text in this form. 63. Eliot (T.S.) Old Possum s Book of Practical Cats. Faber and Faber, 1939, FIRST EDITION, pp. 45, 8vo, original yellow cloth with illustration by author stamped in red to upper board, some light dustsoiling to edges, backstrip lettered in red, edges untrimmed, bookplate tipped in to pastedown, contemporary gift inscription to flyleaf and a few faint spots and handling marks to the same, dustjacket price-clipped and somewhat rubbed overall, darkened backstrip panel with a little splitting to rear fold, chipping to corners and edges, good (Gallup A34a) Eliot (T.S.) Old Possum s Book of Practical Cats. Nicolas Bentley drew the pictures. Faber and Faber, 1940, FIRST ILLUSTRATED EDITION, 14 colourprinted plates and further line-drawings in the text by Nicolas Bentley, pp. 51, 8vo, original cream cloth 15

18 blackwell S rare books Items 63 and 64 with Bentley illustration in colour stamped to upper board, backstrip lettered in red with slight lean to spine, bookplate tipped in to flyleaf, dustjacket lightly toned and spotted, light dustsoiling overall with a couple of short closed tears and a few nicks around head, very good (Gallup A34c) Eliot (T.S.) Poems Faber & Gwyer, 1925, FIRST EDITION, small ink-spot at foot of half-title and half-title, one or two small foxspots to the same, pp. [ii], 99, crown 8vo, original blue cloth, backstrip very slightly faded with printed paper label a little browned, slight fading at head of lower board, free endpapers with marks from adhesive tape, bookplate tipped in to flyleaf, ownership stamp of Philip Gaskell (Librarian at Trinity College, Cambridge) to front pastedown, very good (Gallup A8a) 300 Notable as the first printing of The Waste Land to include the dedication to Ezra Pound. 66. Eliot (T.S.) A Presidential Address to the Members of The London Library. Printed for The London Library by the Queen Anne Press, 1952, FIRST EDITION, ONE OF 500 COPIES, pp. [8], crown 8vo, original sewn wrappers printed in red and black, a little fading around folds, bookplate tipped in to inside cover, very good (Gallup A59a) Eliot (T.S.) The Rock. A Pageant Play written for performance at Sadler s Wells Theatre 28 May 9 June 1934 on behalf of the Forty-Five Churches Fund of the Diocese of London. Faber and Faber, 1934, FIRST EDITION, pp. 86, crown 8vo, original grey wrappers printed in black, edges toned, ownership inscription to flyleaf, very good (Gallup A26a) 120 One of 2,000 copies in this binding from the first edition. 16

19 MODERNISMS 68. Eliot (T.S.) Selected Essays, Faber and Faber, 1932, FIRST EDITION, pp. 454, 8vo, original brown cloth, backstrip lettered in gilt with just a hint of fading at tips, top edge a little dustsoiled, others roughtrimmed, bookplate tipped in to pastedown, dustjacket with backstrip panel a trifle darkened, light rubbing to extremities with some chipping to corners and head of backstrip panel, very good (Gallup A21a) 275 With original Faber mailing card laid in at front. 69. Eliot (T.S.) Sweeney Agonistes. Fragments of an Aristophanic Melodrama. Faber and Faber, 1932, FIRST EDITION, pp. 31, foolscap 8vo, original blue boards, backstrip lettered in red and lightly faded, bookplate tipped in to flyleaf, dustjacket with light overall dustsoiling, a small nick at head of backstrip panel with a little creasing, very good (Gallup A23) Eliot (T.S.) Thoughts After Lambeth. [Criterion Miscellany No. 30.] Faber and Faber, 1931, FIRST EDITION, pp. 32, foolscap 8vo, original sewn wrappers over stiff card, very slight rubbing to extremities, bookplate tipped in to inside front cover, very good (Gallup A18) 45 With pamphlet advertising the Criterion Miscellany series laid in at front. 71. Eliot (T.S.) The Waste Land. Hogarth Press, 1922, FIRST ENGLISH EDITION, a little faint foxing, pp. 35, [1], crown 8vo, original blue marbled boards with printed label to upper board lightly browned, a few faint marks, rubbing to edges and light wear to corners, backstrip lightly faded with slight lean to spine and chipping at head, a little cracking along joints, edges untrimmed, bookplate to front pastedown with a little faint foxing to endpapers, very good 5,000 The printed label is in the 2nd of the 3 states described by Gallup, with horizontal rules either side of the title and author information. A beautiful example of this modernist calling-card. Inscribed by T.S. Eliot for Emily Hale 72. (Eliot.) THE EIGHTEEN-EIGHTIES. Essays by Fellows of the Royal Society of Literature. Edited by Walter de la Mare. Cambridge: Cambridge University Press, 1930, FIRST EDITION, occasional library stamps to pages, pp. xxviii, 271, 8vo, original green cloth stamped in gilt to front, backstrip lettered in gilt with shadow of previous library label, a few spots of cloth removal and scuffing to lower board, library labels (Leila Dilworth Jones Memorial Library, Connecticut) to pastedowns, dustjacket with a couple of nicks and some light chipping at head of backstrip, top corners and rear panel, good 10,000 17

20 blackwell S rare books The biography of T.S. Eliot is characterised by three important loves, all of which affected his life and work in very different ways: his first marriage to Vivien[ne] Haigh- Wood was a desperately unhappy arrangement, during and after which Eliot agonised and despaired over his decisions; his second marriage, to Valerie Fletcher, was an altogether happier affair that brought him contentment and stability in the latter phase of his life. Before and between both of these relationships came Emily Hale a childhood friend of his cousin Eleanor Hinkley, whom Eliot first met at family gatherings in his youth. Possibly emboldened by news of the disintegration of his first marriage, Hale as Lyndall Gordon describes it, in her biography of Eliot that deals extensively with Hale in its second volume re-established contact with Eliot in 1927, ostensibly to ask for his literary guidance in relation to her present teaching post, and by the late twenties they had become regular correspondents with numerous visits taking place on both sides of the Atlantic. One feature of their relationship that Gordon notes is his making a gift to Hale of each of his publications as they appeared Gordon has this beginning with Shakespeare and the Stoicism of Seneca in 1927, but at least one earlier publication exists that bears an inscription from Eliot to Hale [ Ara Vus Prec, with an inscription dated to 1923, sold at Sotheby s in 2011]. The majority of these were bequeathed by Hale to various institutions Harvard, Princeton, and Scripps College for reasons of necessity or in response to a turn in their relationship. This book has Emily Hale s holograph bookplate on the front pastedown, stating This book belongs to Miss Emily Hale, Abbot Academy, Andover, and so is likely to have been jettisoned by Hale following her retirement from that institution in This was in the same year that Eliot, to her surprise, married for the second time a break that proved decisive and terminal, removing once and for all the mutually cherished possibility of their friendship becoming a romance. Despite the abundance of possible material as well as his printed works, and their voluminous correspondence (his estate s embargo on Eliot s letters to her will be removed in 2020), Hale s bequests show her to have been the recipient of much work in manuscript and draft form very little has come up for sale; indeed, the above-mentioned copy of Ara Vus Prec is unique among auctions. Eliot s essay, The Place of Pater [pp ], appears here for the first time it was later retitled Arnold and Pater and ranks amongst his finest critical work. In terms of the gifts he made to Hale, it belongs very much in the category of her appeal to his literary authority by which their relationship experienced its rekindling, and dates from that first flush of their renewed contact. Hale s bookplate, and its subsequent fate as a library copy at Hale s own alma mater (Miss Porter s School, Farmington, Connecticut) in the seventies, supply further biographical reference points. In terms of the emotional life of the poet, there is no more significant association than the one to which this inscription refers. 18

21 MODERNISMS 73. (Eliot.) PERSE (St.-J.) Anabasis. With a Translation into English by T.S. Eliot. Faber and Faber, 1930, FIRST EDITION IN ENGLISH, 199/350 COPIES signed by the translator, pp. 75, royal 8vo, original green cloth lettered in gilt to upper board and backstrip, a couple of faint marks to cloth, t.e.g., others untrimmed, free endpapers browned as usual, original glassine jacket with chipping and loss at foot of rear panel, slipcase soiled and worn, very good (Gallup A16b) 325 Eliot also provides a 5-page Preface to his translation, which was made in collaboration with the author. 74. (Eliot.) RAINE (Kathleen) Defining the Times. Essays on Auden & Eliot. Enitharmon Press, 2002, FIRST EDITION, 30/90 COPIES (of an edition of 110 copies) signed by the author, title-page and fly-titles printed in black and purple, pp. 48, royal 8vo, original orange and green patterned wrappers with paper label printed in black to front, fine (Eliot.) RIDLER (Anne) Working for T.S. Eliot. A Personal Reminiscence. Enitharmon Press, 2000, XXIV/XXV hors commerce copies signed by the author, printed on 125gsm Canaletto paper, title-page printed in black and red, pp. 14, royal 8vo, original patterned wrappers with printed label to front, fine Faulkner (William) Absalom, Absalom! New York: Random House, 1936, FIRST EDITION, folded map tipped in at rear, this and the title-page printed in black and red, pp. 384, 8vo, original black cloth with five horizontal rules in red, author s signature in gilt to upper board, backstrip lettered in gilt, top edge red, bookplate tipped in to flyleaf, dustjacket with mild toning to backstrip panel, light rubbing to extremities and a few short closed tears, very good 2, Faulkner (William) Go Down, Moses and Other Stories. New York: Random House, 1942, FIRST EDITION, occasional light handling marks, pp, [viii], 383, 8vo, original black cloth stamped in gilt to upper board with horizontal rule in red, backstrip lettered in gilt with five horizontal rules in red, a few faint speckles to cloth, top edge red, a small amount of browning to gutter of front endpapers, bookplate tipped in to flyleaf, dustjacket price-clipped and lightly rubbed to extremites with light dustsoiling to rear panel and a few short closed tears, very good 2,000 In the first issue binding. 78. Faulkner (William) Light in August. New York: Harrison Smith & Robert Haas, 1932, FIRST EDITION, pp. [iv], 480, 8vo, original tan cloth, backstrip blocked in blue and orange, the first issue binding with the front cover blocked in orange, very faint endpaper browning, fore-edges roughtrimmed, the dustjacket in wonderful condition with just three very tiny tears to the head of the rear panel and one to the backstrip panel, light blue drop-down-back cloth box with gilt lettered mid blue morocco labels, near fine 4,000 19

22 blackwell S rare books Item 76 Item 77 Item Faulkner (William) Requiem for a Nun. New York: Random House, [1951,] FIRST EDITION, 188/750 COPIES signed by the author, title-page printed in black and white against a grey ground, pp. [vi], 286, crown 8vo, original half black cloth with marbled boards, top edge grey, bookplate tipped in to flyleaf, protective glassine jacket, near fine Faulkner (William) Requiem for a Nun. Chatto & Windus, 1953, FIRST ENGLISH EDITION, pp. 256, foolscap 8vo, original pale blue boards, gilt lettered backstrip, faint partial free endpaper browning, dustjacket with a design by Paul Hogarth in beautiful condition, near fine Faulkner (William) Soldiers Pay. New York: Boni & Liveright, 1926, FIRST EDITION, pp. 319, crown 8vo, original blue cloth stamped in yellow to upper board, backstrip lettered in yellow with blind-stamped publisher s device, very slight lean to spine, small indentation at head of upper board with very light rubbing to extremities, edges roughtrimmed and a little toned, patterned endpapers with bookplate tipped in to flyleaf, very good 550 The author s second book and his first novel, with a first printing of 2,500 copies. 82. Fitzgerald (F. Scott) Flappers and Philosophers. New York: Scribner s, 1920, FIRST EDITION, pp. [viii], 272, crown 8vo, original mid green cloth, tarnished gilt backstrip lettering faintly readable, front cover blocked in blind, ownership name on front free endpaper, roughtrimmed, good Fitzgerald (F. Scott) Preface to This Side of Paradise. Edited by John R. Hopkins. Iowa City: The Windhover Press and Bruccoli Clark, 1975, ONE OF 150 COPIES, 20

23 MODERNISMS printed on Rives Heavy mould-made paper, tipped-in frontispiece portrait of author by John Thein, title-page printed in black and red, pp. [11], tall 8vo, original olive green cloth with printed paper label to upper board, spotting around head of upper board with a handful of spots elsewhere, very good (Bruccoli A40) 60 Originally submitted with the novel to Charles Scribner s Sons, but jettisoned this is its first publication. An inscribed copy of one of the key Imagist texts 84. Flint (F.S.) Cadences. Poetry Bookshop, [1915,] FIRST EDITION, the title-page (original cover) illustration by John Nash hand-coloured by Alida Klemantaski and Charlotte Mew, foxing to opening and ultimate pages with the odd faint spot to head of text, pp. 31, crown 8vo, contemporary blue buckram stamped in gilt to upper board, preserving the original binding of stitched illustrated wrappers, a little soiled overall with a few marks and wear at head of upper board, endpapers browned, good (Woolmer A13) 95 Inscribed by the author on the reverse of the title-page, appended to the book s original epigraph: [Non canimus surdis], but for Dorothy Fraser Tait. Nerine Galatea, thymo mihi dulcior Hyblae,/ Candidior cycnis, hedera formosior alba. F.S. Flint. The quotation is from Virgil s Eclogues and translates as Sea-Nymph Galatea, sweeter to me than the thyme of Hybla, / Whiter than the swan, lovelier than pale ivy. A very affectionate inscription for someone with whom Flint would go on to work on a number of translations from the German. Flint s second collection is one of the high-spots of Imagism, indeed one of the few collections in a movement whose legacy has far outweighed its durability that can lay claim to being Imagist in the true sense, along with Aldington s Images, H.D. s Sea Garden and Pound s Lustra. Woolmer records having seen two presentation bindings of this book, inscribed to Harold Monro and Edward Marsh and notes that Aldington requested a couple more; this copy differs to those in terms of the materials used but, given Monro s tendency to keep his publications in sheets, variant bindings abound and it is possible that the cloth binding here is original. 85. Forster (E.M.) Abinger Harvest. Edward Arnold, 1936, FIRST EDITION, first issue with pages in uncancelled state, pp.viii, 351, 8vo, original dark blue cloth, backstrip lettered in gilt, top edge blue, other edges lightly toned, small amount of browning to free endpapers, bookplate tipped in to flyleaf, dustjacket with very light dustsoiling, near fine (Kirkpatrick A18a) 500 The first issue, with the article A Flood in the Office present. The inclusion of the article brought about a libel action; the publisher s unsold copies and those returned by booksellers were re-issued with the offending material removed and a cancel inserted. 21

24 blackwell S rare books A letter to the artist, requesting to buy his portrait 86. Forster (E.M.) ALS to Colin Spencer. July 20th 1960, written in black ink on both sides of a folded single sheet of King s College, Cambridge headed paper, pp. [2], in original envelope with holograph note in ink: I am told Jasper Rose is the authority for exhibitions here, very good 350 Forster writes to the artist Colin Spencer to let him know that Mrs Meredith (possibly the wife of his old Cambridge friend, Hugh Meredith) has decided not to buy the portrait of Forster, but if you have no other intentions for it, I should very much like to have it myself (at the price named in your letter). Forster is evidently very taken with Spencer s rendering, regarding his face as having been glorified and transfigured. The letter is signed, With all good wishes and I hope you have solved the studio problem, Morgan. 87. Forster (E.M.) England s Pleasant Land. A Pageant Play. Hogarth Press, 1940, FIRST EDITION, pp. 80, foolscap 8vo, original orange cloth, backstrip lettered in green, free endpapers with usual partial browning, bookplate tipped in to flyleaf, dustjacket with backstrip panel a little dulled and light overall dustsoiling, very good (Kirkpatrick A22; Woolmer 466) Forster (E.M.) The Hill of Devi. Edward Arnold, 1953, FIRST EDITION, photographic frontispiece and 6 plates, pp. [viii], 176, 8vo, original grey cloth, backstrip lettered in red with author s signature stamped in red to front board, dustjacket with very minor rubbing to extremities and light soiling, very good Forster (E.M.) A Passage to India. Edward Arnold, 1924, FIRST EDITION, pp.325, [3, ads], crown 8vo, original maroon cloth stamped in black to upper board, backstrip lettered in black and a trifle darkened at foot, very light browning to rear free endpaper, one or two tiny spots to edges, tail edge roughtrimmed, bookplate of H. Bradley Martin to pastedown with later bookplate tipped in to flyleaf, custom box, near fine (Kirkpatrick A10a) 1,200 Bradley Martin s copy of Forster s lauded novel. 90. Forster (E.M.) Two Cheers for Democracy. Edward Arnold, 1951, FIRST EDITION, pp.371, 8vo, original dark blue cloth, backstrip lettered in gilt, top edge maroon, a few foxspots to fore-edge, endpapers with light adhesive browning, bookplate tipped in to flyleaf, dustjacket with a few foxspots, very good (Kirkpatrick A28a)

25 MODERNISMS 91. Forster (E.M.) Where Angels Fear to Tread. Edinburgh & London: Blackwood, 1905, FIRST EDITION, pp.[iv], 319, [32, ads], crown 8vo, original blue cloth stamped in black to upper board, backstrip lettered in gilt with minimal fading, a few small spots to edges, red endpapers with bookplates of Michael Sadleir and H. Bradley Martin to pastedown, another bookplate tipped in to flyleaf, custom box, near fine (Kirkpatrick A1a) 3,500 A beautiful copy of the author s first book, with the ads at rear in the first state recorded by Kirkpatrick: dated 5/05 and without mention of Forster s work. 92. (Forster.) MACAULAY (Rose) The Writings of E.M. Forster. Hogarth Press, 1938, FIRST EDITION, pp. 304, crown 8vo, original blue cloth, backstrip lettered in black, a single faint spot to upper joint, top edge a trifle dustsoiled, dustjacket with backstrip panel a little browned, near fine (Woolmer 434) Frost (Robert) A Way Out. A One Act Play. New York: The Harbor Press, 1929, FIRST SEPARATE EDITION, 271/485 COPIES signed by the author at the foot of his preface, printed on laid paper, decorations to title and fly-title printed in brown, pp. [x], 19, foolscap 8vo, original quarter black cloth with double wave-rule in gilt and orange boards, backstrip lettered in gilt, a little soiling around head, dustsoiling to top edge, edges untrimmed, bookplate detached from pastedown, original tissue jacket with some chipping and creasing, very good (Crane A11) Frost (Robert) West-Running Brook. New York: Henry Holt, 1928, 789/1,000 COPIES signed by the author, woodcut frontispiece by J.J. Lankes and 3 further plates all with tissue-guards and signed by the artist in pencil, pp. viii, 58, 8vo, original quarter green cloth, with leaf-patterned boards, backstrip lettered in gilt, t.e.g., others untrimmed, small patch of browning to flyleaf, original tissue jacket with loss to backstrip panel, slipcase with printed label and some wear along edges, very good (Crane A10.1) Gascoyne (David) A Short Survey of Surrealism. Preface by Dawn Ades. Introduction by Michael Remy. Enitharmon Press, 2000, FIRST EDITION, 44/50 signed by the author, pp. 128, crown 8vo, original terracotta cloth with illustration inset to upper board, backstrip lettered in gilt, fine 160 A signed, limited copy of Enitharmon s reprint of this seminal work. 23

26 blackwell S rare books Inscribed by Gide to John Lehmann, and from Lehmann to Angus Stewart 96. Gide (André) Attendu Que... Alger: Charlot, 1943, FIRST EDITION, later printing, pages toned throughout, pp. 238 [1], 8vo, original wrappers browned and chipped overall, with portions missing around borders and at either end of backstrip, joints splitting and scrape across title to front, very fragile but sound 75 A double-presentation copy: the first inscription is from Gide to the author and publisher John Lehmann, en toute cordialité, Paris Septembre 45 ; Lehmann has subsequently inscribed his copy to the author Angus Stewart on the occasion of his marriage With love and in the hope that he will live happily ever after February Even allowing for the occasion of the latter presentation, this is an interesting association copy between three notable gay authors. It has been difficult to find evidence to support the fact that Angus Stewart actually married, but he and Lehmann were part of the same circle in Tangier making him the most likely recipient and the year of the inscription is that in which Stewart won the Richard Hillary Memorial Prize [to which the inscription perhaps cryptically refers?]. 97. Graves (Robert) The Common Asphodel. Collected Essays on Poetry, Hamish Hamilton, 1949, FIRST EDITION, frontispiece drawing, pp. xii, 335, 8vo, original red cloth with a few small spots, backstrip lettered in gilt with a touch of fading at tips, slight lean to spine, bookplate to flyleaf, dustjacket with a few tape repairs along head and foot, a little toned and rubbed overall, a small portion of loss at foot of rear panel, pen mark to front flap, good (Higginson & Williams A63) 20 The selection includes Graves s essays on modernism, written with Laura Riding. 98. Graves (Robert) The Feather Bed. Hogarth Press, 1923, FIRST EDITION, 39/250 COPIES signed by the author on a tipped-in limitation label, pp. 28, 8vo, original patterned boards with black paper label to upper board printed in white, untrimmed and unopened, borders a little faded, rubbing at tips of backstrip, a small amount of adhesive browning to endpapers, bookplate tipped in to pastedown, very good (Higginson & Williams A9; Woolmer 33) Graves (Robert) John Kemp s Wager: a Ballad Opera. British Drama League Library of Modern British Drama No.11, Oxford: Blackwell, 1925, FIRST EDITION, 21/100 COPIES printed on Kelmscott handmade paper and signed by the author, pp. xvi, 77, [3] (blanks), 16mo, original white vellum-backed cream boards with an overall repeat pattern in green, backstrip gilt lettered, tail corners rubbed, book label of Simon Nowell-Smith, untrimmed and partly unopened, very good (Higginson & Williams A13a)

27 MODERNISMS 100. Graves (Robert) Mock Beggar Hall. Hogarth Press, 1924, FIRST EDITION, occasional faint foxing to preliminary and final few leaves, pp. [iv] (blanks), 80, [4] (adverts), 4to, original dark grey boards, the imposing overall front cover design by William Nicholson printed in black, Simon Nowell-Smith s book label, untrimmed, very good (Higginson & Williams A10: Woolmer 46) Graves (Robert) Welchman s Hose. Fleuron, 1925, FIRST EDITION, ONE OF 525 COPIES, 8 wood-engravings by Paul Nash, light marginal browning, pp. x, 62, foolscap 8vo, original black cloth-backed boards, backstrip gilt lettered, white Curwen paper boards with an overall repeat design by Nash in black, untrimmed, good (Higginson & Williams A16) (Graves.) APULEIUS (Lucius) The Transformations of Lucius, otherwise Known as The Golden Ass. Translated by Robert Graves. Penguin, 1951, FIRST GRAVES EDITION, 1,076/2,000 COPIES signed by Robert Graves, pp. 302, 16mo, original quarter cream parchment, backstrip lettered in gilt, marbled black and red boards, t.e.g., near fine (Higginson & Williams A66b) 90 With two gift inscriptions, and an ALS, from Laura Riding 103. H.D. [Hilda Doolittle] Heliodora. Boston and New York: Houghton Mifflin & Company, 1924, FIRST AMERICAN EDITION, pp. 127, crown 8vo, original quarter beige cloth with blue boards, publisher s device blind-stamped to upper board, borders lightly sunned with a little wear at corners, backstrip browned with a touch of wear at tips and printed paper label a little chipped to borders, edges roughtrimmed and toned with fraying along upper hinge, good 400 The first American edition consisted of 520 copies, using the English sheets. Item

28 blackwell S rare books This was Laura Riding s copy, of which she twice made a gift: the first inscription, on the half-title, is to her half-sister Isabel Mayers, Isabel Love Laura, Egypt Bound. Dec this voyage of course being to join up with Robert Graves and his wife and family, from which impulsive adventure she became his mistress, muse, and collaborator for a period of almost fifteen years. In literary terms, this situates it at the origin of one of the most significant and creatively fruitful conjunctions in the modern era. The second inscription, on the front pastedown, in playful modification of the first, reads: Jim Love Laura, here. March 1978 [this probably being to James F. Mathias] the latter being accompanied also by a letter [laid in, in black ink on one side of three quarter-folded sheets] that explains the original inscription, and how the book came back into her possession: it had been found at her half-sister and brother-in-law s house by his second wife (who had now remarried following his death), and Riding immediately thought to send it to Jim for a little historical memento. Riding provides the backstory to the original inscription: In preparing to act on my accepting of the Graves-Nicholson invitation, she distributed her possessions, choosing this to send to her half-sister [h] ow the inscription reads of straight up-and-down hastiness of ready-to-go feeling! The choice of book is in itself interesting and in some ways not inappropriate, considering H.D. s immersion in Egyptian as well as Greek iconography, but also the fact that the title-poem s theme is the collaborative relationship between a male and female poet. It does, however, contradict our understanding of Riding s opinion of H.D.: in their Survey of Modernist Poetry, Graves and Riding reserved special scorn for H.D., whose work was so thin, so poor and notable for its insipidity... its superficiality, decreeing that her temporary immortality... came to an end so soon that her bluff was never called (p. 59). Here Riding professes an altogether different opinion, stating that I have had a special attachment to H.D. s writings. The effort there was to make something genuine of a mixture of the tragic and the beautiful both artistically[?] conceived of. An extraordinary volte-face, and a significant document both of the vigorously denied influence on Riding of imagism s high priestess, and in the circumstances of its original gifting of her impetuous coming-together with Robert Graves H.D. [Hilda Doolittle] Selected Poems. New York: Grove Press, 1957, FIRST EDITION, 3/50 COPIES signed and dated ( Küsnacht, Zürich. March 17, 1957 ) by the author, pp. [2], 128, crown 8vo, original quarter brown cloth lettered in gilt to upper board, backstrip lettered in gilt and slightly dulled, a trifle sunned to borders, very good (Boughn A25a.i.) 300 Inscribed to H.E. [Havelock Ellis] 105. H.D. [Hilda Doolittle] The Usual Star. [Dijon]: Privately printed, 1928 [but 1934,] ONE OF 100 COPIES, privately printed for the author s friends, pp. 116, crown 8vo, original white paper wrappers lettered in black with the lightest of dustsoiling overall, backstrip lettered in black and a little toned, edges untrimmed, protective glassine wrapper, very good (Boughn A14) 900 An exceptionally bright copy of what is itself a very scarce book, made all the more attractive for the association conveyed by the characteristically spare inscription on the title page: H.D. to H.E. the latter being the pioneering sexologist Havelock Ellis, 26

29 MODERNISMS who became part of H.D. and Bryher s circle in In a letter to Ellis [ Chiron ] from September 1934, H.D. mentions that I am trying to post you two little prose volumes of mine that Br. [Bryher] had set up for me as a birthday present [ The Usual Star and Kora and Ka ]... I do not want you to read these. But it helps me to get them into circulation. Initially, the author regarded their manner of publication and distribution as a simple unclogging ( I am so blocked with MSS ), but she later possibly buoyed by feedback from recipients that had disregarded her directive developed more affection for what she came to term her Peter Rabbit books. Something of an eternal initiate, H.D. gravitated towards a series of paternal teacher figures throughout her life amongst these, Havelock Ellis played a crucial role in the development of her thought and experience. Both she and Bryher had consulted him in 1919, and he travelled with them to Greece the following year; his theories affirmed and explained certain aspects of their complex sexual identities, whilst his own proclivities most salaciously, his urolagnia were satisfied in return. In time, although they remained on good terms until his death in 1938, his authoritative position in her affections would come to be supplanted by her more lasting interest in the theories, techniques and charisma of Sigmund Freud in fact, it was armed with a letter of introduction from Ellis that Bryher had first approached Freud in 1927, from which encounter arrangements for H.D. s analysis with him ensued. The place and date given on the title-page [London, 1928] refer to the story s setting, not its publication the details of which are given in a statement at the rear. The section-title for the second story in this volume [ The Two Americans, p. 91ff] carries an equivalent designation [Vaud, 1930]. Inscribed to Gordon Bottomley 106. H.D. [Hilda Doolittle] The Walls Do Not Fall. Oxford: Oxford University Press, 1944, FIRST EDITION, pp. 48, crown 8vo, original tan wrappers printed in black and brown with light dustsoiling overall, corners a little turned-in, a few small foxspots to edges, bookplate [ From the Emily & Gordon Bottomley Bequest ] to pastedown, very good (Boughn A19.a.i.) 350 The first part of H.D. s Second World War sequence Trilogy, inscribed by H.D. a few days after publication to Gordon Bottomley,... the keepers of the secret... / that binds all humanity / to ancient wisdom, / to antiquity May These lines from the poem refer to the role of poets during wartime. The extent of their acquaintance is obscure, but in the previous year they had both participated in The Poets Reading organised by the Sitwells, and this is a notable inscription from an Imagist to a Georgian poet despite the seemingly contrasting programmes of those two movements Hemingway (Ernest) Death in the Afternoon. New York: Scribner s, 1932, FIRST EDITION, colour frontispiece by Juan Gris, photograph printed to each recto pp pp. [xi], 517, 8vo, original black cloth with author s signature stamped in gilt to upper board, small bump to top edge of upper board, backstrip lettered and decorated in gilt, bookplate tipped in to flyleaf, dustjacket lightly toned with rubbing to edges, some light creasing and short closed tears, a little chipping to extremities, very good (Hanneman 10A) 2,000 27

30 blackwell S rare books Item Hemingway (Ernest) A Farewell to Arms. New York: Scribner s, 1929, FIRST EDITION, pp. [vi], 355, crown 8vo, original black cloth with gold paper label printed in black to upper board and backstrip, light rubbing to labels, fore-edge roughtrimmed, bookplate tipped in to front pastedown, dustjacket with some very light rubbing and one or two small nicks, attractive custom slipcase, very good (Hanneman 8A) 15,000 Inscribed by the author to flyleaf, to Hemingway scholar and biographer Michael Murphy: To Mike Murphy, Good luck, Ernest Hemingway. A loosely inserted note signed by Murphy explains that this copy was signed by Hemingway in Havana in A remarkably bright copy of this modern classic Hemingway (Ernest) For Whom the Bell Tolls. New York: Scribner s, 1940, FIRST EDITION, pp. [ix], 471, 8vo, original beige canvas with author s signature stamped in black to upper board, backstrip lettered in black against a red ground, top edge brown, light toning to rough-trimmed fore-edge with some minor browning to gutter of endpapers, bookplate tipped in to flyleaf, first issue dustjacket with very light rubbing and creasing to extremities, backstrip panel slightly faded with a few nicks at its tips, very good (Hanneman 18A) 900 With publisher s note To the Literary Editor laid in at front Hemingway (Ernest) The Green Hills of Africa New York: Scribner s, 1935, FIRST EDITION, decorations by Edward Shenton, pp. [viii], 295, 8vo, original light green cloth with author s signature stamped in gilt to upper board, backstrip lightly faded through dustjacket and lettered in gilt against a black ground with further decorations in gilt, fore-edge rough-trimmed, bookplate tipped in to flyleaf, dustjacket with the merest hint of rubbing to extremities and some light creasing at foot of backstrip panel, near fine (Hanneman 13A) 3,000 28

31 MODERNISMS Item 110 Item Hemingway (Ernest) In Our Time. Paris: Three Mountains Press, 1924, FIRST EDITION, 137/170 COPIES, printed on Rives hand-made paper, frontispiece portait of author woodcut by Henry Strater, pp. 29, [1], 8vo, original tan boards with newspaper design printed in red, lettered in black to upper board, light rubbing at tips of backstrip, edges untrimmed with usual browning to endpapers from adhesive, tipped-in bookplate to front pastedown, near fine (Hanneman 2A) 40,000 Hemingway s second book, and the final instalment in a series of 6 books described as The Inquest into the state of contemporary English prose, published by the Three Mountains Press under the stewardship of Ezra Pound Hemingway (Ernest) A Moveable Feast. New York: Scribner s, 1964, FIRST EDITION, 8 plates, one or two light handling marks to outer margin, pp. [x], 211, 8vo, original quarter terracotta cloth with author s signature stamped in gilt to upper board, top edge grey, bookplate tipped in to flyleaf, dustjacket with some light rubbing, soiling and creasing with a few nicks around edges and the odd small chip, very good (Hanneman 31A) Hemingway (Ernest) The Old Man and the Sea. New York: Scribner s, 1952, FIRST EDITION, pp. [i], 140, crown 8vo, original blue cloth with author s signature blindstamped to upper board and a few small spots, backstrip lettered in silver and very lightly sunned, edges tones, bookplate tipped in to flyleaf, first issue dustjacket, near fine (Hanneman 24A) 2, Hemingway (Ernest) Winner Take Nothing. New York: Scribner s, 1933, FIRST EDITION, pp. [viii], 244, crown 8vo, original black cloth with gold paper label printed in black to upper board and backstrip, light rubbing to labels and a few faint marks overall, top edge red with fore-edge rough-trimmed and lightly toned, bookplate 29

32 blackwell S rare books tipped in to flyleaf, dustjacket with a few small water spots, browning to backstrip panel and borders of flaps, rubbed to extremities with a small amount of light chipping, very good (Hanneman 12A) 1,600 With a letter from the publisher to the book s original owner (Mr A.W. Schwartz) laid in at front, thanking him for identifying an error in the first edition. Item 115 Inscribed by the translator to Michael Sadleir, and with the translator s copy of the original German text 115. Hesse (Hermann) In Sight of Chaos. Translated by Stephen Hudson. Zurich: Verlag Seldwyla, 1923, FIRST EDITION IN ENGLISH, pp. 64, foolscap 8vo, original grey boards printed in black, a little browned to borders, a few faint foxspots to endpapers, very good [with:] Hesse (Hermann) Blick ins Chaos. Berne: Verlag Seldwyla, 1921, FIRST EDITION, pp. [iv], 43, [1], foolscap 8vo, original boards printed in green and black, boards and textblock a little toned, a slight bump at head of backstrip and light rubbing to edges, endpapers browned, very good 800 The translation inscribed by Stephen Hudson [Sydney Schiff] on the blank preceding half-title, to bibliophile and author Michael Sadleir: with warm regard, Stephen Hudson. Oct This was the first of Hesse s works to be translated into English, two essays on Dostoevsky, and it had a profound impact. T.S. Eliot quoted from the work in his notes to the final section of The Waste Land, and explained the background to his citation: My attention was first drawn to Hermann Hesse by my friend Sydney Schiff, who was also known as a novelist under the name Stephen Hudson. He gave me Blick ins Chaos to read and I was very much impressed by it (Field, Hermann Hesse, p. 74). Eliot s contemporary account, in a letter to Hesse himself, reversed the chain of recommendation he described having come across Hesse s work whilst recuperating in Swtizerland and subsequently encouraged Schiff to undertake the present translation. 30

33 MODERNISMS Offered with it is Schiff s own copy of the original text, inscribed on the flyleaf: Sydney Schiff, Lye Green, Chesham James (Henry) In the Cage. Duckworth, 1898, FIRST EDITION, faint foxing to borders throughout, light creasing to top corner of one leaf, pp. [iv], 187, [14, ads], crown 8vo, original beige cloth stamped in black to upper board with telegraph pole design and publisher s device in same to lower, backstrip lettered in black and a little darkened, cloth lightly soiled overall with a few marks including a small red spot to upper board, free endpapers browned with bookplate tipped in to flyleaf, good (Edel & Laurence A51a) 100 An important novella in James s oeuvre, showing developments in his style and theme that were a significant influence on modernists. Eliot originally adopted the same title for the second section of The Waste Land James (Henry) The Spoils of Poynton. Heinemann, 1897, FIRST EDITION, second issue, pp. [ii], 286, [1], crown 8vo, original blue cloth with tulips in blind to upper board and publisher s device in same to lower, lettered in gilt to upper board and backstrip with publisher s name a little tarnished, lean to spine, a little rubbed to extremities with a few marks overall and a stain to bottom corner of upper board, a couple of small red spots to tail edge, bookplate tipped in to flyleaf, good (Edel & Laurence A48a(ii)) James (Henry) What Maisie Knew. Heinemann, 1898 [but 1897,] FIRST EDITION, title-page printed in black and red, light crease to top corner of one leaf, pp. [iv], 304, [32, ads], crown 8vo, original blue cloth with irises blind-stamped to upper board and publisher s device in same to lower, lettered in gilt to upper board and backstrip, backstrip a little darkened with slight lean to spine, light rubbing to extremities with a few small marks, bottom corner of upper board bumped, light spotting to endpapers with bookplate tipped in to flyleaf, very good (Edel & Laurence A49a(i)) James (Henry) The Wings of the Dove. [2 Vols.] New York: Scribner s, 1902, FIRST EDITION, pp. [iv], 329; [iv], 439, crown 8vo, original brown cloth, backstrips lettered in gilt with very light wear to tips, a little light bumping to corners, t.e.g., others untrimmed, bookplate tipped in to pastedown of Vol. I, a few light marks to cloth, very good (Edel & Laurence A56a) Jones (David) The Anathemata, fragments of an attempted writing. Faber and Faber, 1952, FIRST EDITION, 9 plates, one in black and red, two marginal corrections in pencil to Preface, pp. 243, 8vo, original tan cloth, backstrip lettered and bordered in gilt against a red ground, dustjacket a little sunned to backstrip and borders with very light creasing around head, a short closed tear at foot of joint on rear panel, very good

34 blackwell S rare books Will Carter s own copy, with his bookplate 121. Jones (David) The Fatigue. c.a.v.c. DCCLXXXIV Tantus Labor Non Sit Cassus. [Cambridge: Privately Printed at the Rampant Lions Press,] 1965, ONE OF 298 COPIES [this unnumbered], erratum slip tipped-in to final page, pp. xii, 20, original maroon wrappers over stiff card, printed label to front with a few very faint spots, original proposal letter and subscription form loosely inserted, very good 150 Will Carter s own copy, with his bookplate to the inside front cover. Signed by Jones and Eliot 122. Jones (David) In Parenthesis. (A Note of Introduction by T.S. Eliot.) Faber and Faber, 1961, 32/70 COPIES signed both by the author and T.S. Eliot, 3 plates by Jones, pp. xxii, 226, 8vo, original light blue buckram, backstrip lettered in blue on a pale grey ground within a gilt ruled border, t.e.g., glassine-jacket, fine (Gallup B85a) 1,400 The first edition to appear with Eliot s introduction (the book was first published in 1937). Of the seventy copies printed only fifty were for sale Joyce (James) The Cat and the Devil. Faber and Faber, 1965, PROOF COPY, colour and black & white illustrations by Gerald Rose, pp.[32], royal 8vo, original pictorial boards, publisher s rubber-stamp on flyleaf, endpapers with a few very small spots, dustjacket with fading to backstrip panel, very good Joyce (James) The Cats of Copenhagen. Glengarriff: Ithys Press, 2012, FIRST EDITION, 140/170 COPIES (from an edition of 200 copies) printed on Fedrigoni Vellum, line illustrations throughout text by Casey Sorrow, pp. [27], oblong imperial 8vo, original quarter red cloth with marbled sides, printed label inset to upper board, fine 260 Referred to in the Preface as a slightly younger twin sister to The Cat and the Devil, which Faber published in 1965 like that other work, it originates in a letter to his grandson, Stephen. Written in 1936, whilst Joyce was staying in Copenhagen, it is an extravagant postcard that offers a charming outlet for the author s characteristic playfulness and absurdity Joyce (James) Finn s Hotel. Edited & Arranged by Danis Rose. Introduced by Seamus Deane. Illuminated by Casey Sorrow. Typography by Michael Caine. Glengarriff: Ithys Press, 2013, FIRST EDITION, 55/140 COPIES (from an edition of 180 copies) printed on Fedrigoni Vellum, this copy signed by the editor, a full-page illustration accompanying each story pp. [97], 4to, original patterned boards with printed label inset to upper board, fine 300 A series of ten short pieces referred to as epiclets by Joyce begun in 1923 for an abandoned larger work called Finn s Hotel. The styles, themes and chronologies are diverse and many of the author s characteristic traits are well-exemplified here his delight 32

35 MODERNISMS in language, the ability to balance comedy and drama, a preoccupation with and expert representation of aspects of Irishness. Joyce s conception of the work had developed and diverged considerably by the time it became Finnegans Wake but the germ of that work is to be found in these prose pieces that follow closely after the publication of Ulysses, most directly in Here Comes Everybody where H.C. Earwicker is introduced Joyce (James) Finnegans Wake. Faber and Faber, 1939, FIRST EDITION, front flyleaf and final letterpress pages browned as usual, pp. [viii], 628, royal 8vo, original maroon cloth, backstrip lettered and blocked in gilt, free endpapers lightly foxed, yellow top edges, untrimmed and unopened, dustjacket chipped at backstrip panel and with minor chips to flap folds, tears to head and tail of backstrip panel front fold, split along front fold, good 3, Joyce (James) Portrait of the Artist as a Young Man. New York: Huebsch, 1916, FIRST EDITION, pp. [iv], 299, 8vo, original blue cloth with title and author blind stamped to front and a couple of very small light marks, backstrip lettered in gilt and very slightly dulled, very good (Slocum & Cahoon 11) 4, (Joyce.) BURGESS (Anthony) Joysprick. An Introduction to the Language of James Joyce. Andre Deutsch, 1973, FIRST EDITION, pp. 188, 8vo, original dark brown boards, backstrip gilt lettered, dustjacket, fine 60 Publisher s review slip loosely inserted. Item Lawrence (D.H.) Aaron s Rod. Secker, 1922, FIRST ENGLISH EDITION, light foxing to prelims, pp. 312, [8], crown 8vo, original brown cloth lightly soiled overall with blind-stamped double border, backstrip lettered in gilt and rubbed at tips, top and fore-edge trimmed, edges toned, free endpapers browned, corners bumped, good (Roberts A21) Lawrence (D.H.) Birds, Beasts and Flowers. Poems by D.H. Lawrence. With Wood- Engravings by Blair Hughes-Stanton. Cresset Press, 1930, FIRST ILLUSTRATED EDITION, 68/500 COPIES printed on mouldmade paper,10 full-page wood-engravings and 2 head- and tail-pieces by Blair Hughes-Stanton, occasional light foxing, title-page printed in black and red, pp.[iv], 196, foolscap folio, original quarter vellum with vertical gilt rule, marbled boards with a touch of light soiling and a light scratch to lower board, bump to bottom corner on lower board, backstrip lettered in gilt, top edge gilt, others untrimmed, endpapers lightly foxed, good (Roberts A27c) 375 With a prospectus for the same loosely inserted. 33

36 blackwell S rare books Item Lawrence (D.H.) Lady Chatterley s Lover Florence: Privately printed [by the Tipografia Giuntina,] 1928, FIRST EDITION, 27/1,000 COPIES, pp. [ii], 365, 8vo, original mulberry boards with Larewnce phoenix stamped in black to upper board, printed paper label to backstrip with small portion of loss to centre and a few spots to borders, a little cracking at head of upper joint, partially uncut, original plain cream dustjacket with small portion of loss in upper half of backstrip panel and a little chipping elsewhere, a few foxspots to folds of flaps, custom box, very good (Roberts A42a) 10,000 An outstanding copy of Lawrence s most famous work, with the very scarce plain dustjacket Lawrence (D.H.) Lady Chatterley s Lover. Florence [but elsewhere?], 1929, [but after 1930,] 173/500 COPIES, photographic frontispiece, foxing to prelims and the occasional foxspot throughout text, pp. [iv], 364, 8vo, original brick-red cloth with Lawrence phoenix stamped in black to upper board, backstrip darkened with a little rubbing to tips and along joints, corners bumped, top edge dustoiled and other edges toned, spine cocked, endpapers browned with ownership inscription to flyleaf and hinges a little strained, sound (Roberts Appendix I, BII) 85 An early pirated edition, listed as the Third on the limitation page. With a late 1970s Lawrence Society Christmas Card loosely inserted. 34

37 MODERNISMS 133. Lawrence (D.H.) Letters. Edited and with an Introduction by Aldous Huxley. Heinemann and New York: Viking, 1932, FIRST EDITION, 291/525 COPIES printed on Oxford India Paper, title-page printed in orange and black, pp. xxvi, 889, 8vo, original parchment with Lawrence phoenix stamped in black to upper board, backstrip lettered in black, a handful of pinprick foxspots to edges, very good (Roberts A61a) Lawrence (D.H.) The Lost Girl. Secker, 1920, FIRST EDITION, FIRST STATE with unaltered text on pp. 256 & 268, some browning to half-title, pp. 371, crown 8vo, original brown cloth with blind-stamped double border, backstrip lettered in gilt, top edge trimmed with a little dustsoiling, edges toned, browning to free endpapers, very good (Roberts A16) Lawrence (D.H.) The Lovely Lady. Secker, 1932, FIRST EDITION, pp. 248, foolscap 8vo, original mid brown cloth, backstrip gilt lettered, dustjacket with backstrip panel chipped and a little darkened, good (Roberts A63) 250 Contains one story, The Man Who Loved Islands, not present in the American edition Lawrence (D.H.) Mornings in Mexico. Secker, 1927, FIRST EDITION, a small amount of foxing at head of prelims, pp. 177, 8vo, original tan cloth a little soiled overall, backstrip lettered in gilt and slightly sunned, top edge green, others untrimmed and foxed, faint browning to endpapers, dustjacket with a few foxspots and some browning to flaps, good (Roberts A37) 350 With a contemporary review clipping loosely inserted Lawrence (D.H.) The Paintings of D.H. Lawrence. Mandrake Press, 1929, 131/500 COPIES printed on Arches mouldmade paper (of an edition of 510 copies), 26 colour reproductions of paintings of which 13 are oil and 13 water-colour, each with caption leaf and printed on recto, pp. [40], imperial 4to, original half brown morocco with green cloth boards, Lawrence Phoenix stamped in gilt to both, backstrip lettered in gilt with rubbing to tips and along upper joint, top corners bumped and all corners a little rubbed, black ink mark along foot of lower board, t.e.g., others untrimmed and a little toned, browning to free endpapers, good (Roberts A46a) Lawrence (D.H.) Pornography and Obscenity. [Criterion Miscellany, No. 5.] Faber and Faber, 1929, FIRST EDITION, pp. 32, crown 8vo, original orange cloth stamped in gilt to upper board, some light dustsoiling to upper board and usual browning to endpapers, very good (Roberts A49b) 45 An unread copy, with pages unopened. 35

38 blackwell S rare books 139. Lawrence (D.H.) Rawdon s Roof. Elkin Mathews, 1928 [but 1929,] 318/500 COPIES (of an edition of 530 copies) signed by the author, pp. 32, 8vo, original grey boards decorated in blue with backstrip a little sunned, top edge a little dustsoiled, illustrated endpapers with strips of browning to flyleaves, dustjacket sunned to borders with a few small nicks at head of rear panel, two strips of browning to each flap, light chipping to top corners and at head of backstrip, untrimmed, very good (Roberts A40) 325 Number 7 of the Woburn Books. Letters show that Lawrence was still signing these in early 1929, so they could not have been published in the listed year Lawrence (D.H.) Sons and Lovers. Duckworth, 1913, FIRST EDITION, cancel titlepage with date, very occasional light foxspots and a small nick to the edge of a few leaves, pp. [viii], 423, 20, 8vo, original blue cloth with a few light marks, stamped in gilt with a blind-stamped double-rule border to upper board and publisher s device to lower, backstrip lettered in gilt with a slender waterstain to centre and a touch of rubbing at tips, slight lean to spine, corners rubbed, free endpapers faintly browned with two ownership inscriptions to flyleaf, good (Roberts A4) 700 Roberts is unable to establish firm priority of the three states of the title-page, but it seems likely that the integral title-page without the date is the first, the cancel title-page with the date (as here) the second, and the integral title-page showing the date the third Lawrence (D.H.) St. Mawr Together with The Princess. Secker, 1925, FIRST EDITION, variant 1 with the text block 7/8 inch across, preliminaries a trifle foxed, pp. 240, foolscap 8vo, original chocolate-brown cloth, gilt lettering on lightly faded backstrip tarnished, roughtrimmed, very good (Roberts A31a(1)) Lawrence (D.H.) The Story of Doctor Manente. Being the Tenth and Last Story from the Suppers of A.F. Grazzini Called Il Lasca. Translation and Introduction by D.H. Lawrence. [Lungarno Series, No. 1]. Florence: Orioli, 1929, FIRST EDITION, 49/200 COPIES signed by the author and printed on Binda handmade paper (of an edition of 1200 copies), frontispiece portrait of Grazzini with two further plates at either end of text, pp. xxiv, 119, 8vo, original vellum with oval ornament stamped in red to upper board, a little browning and a few small foxspots to lower 36

39 MODERNISMS board, backstrip lettered in red and darkened, Lawrence phoenix bookplate to front pastedown and Stephen Gooden bookplate for John Raymond Danson to flyleaf, untrimmed, protective glassine jacket, good (Roberts A45) 350 Although the limitation states that the overall edition was 1200, Orioli himself recalls twice that being printed. Special copies, such as this, all feature the phoenix bookplate Lawrence (D.H.) The Story of Doctor Manente. Being the Tenth and Last Story from the Suppers of A.F. Grazzini Called Il Lasca. Translation and Introduction by D.H. Lawrence. [Lungarno Series, No. 1]. Florence: Orioli, 1929, FIRST EDITION, ONE OF 1000 COPIES printed on Lombardy paper (of an edition of 1200 copies), frontispiece portrait of Grazzini with two further plates at either end of text, pp. xxiv, 119, 8vo, original vellum with oval ornament stamped in black to upper board, some browning to edges, backstrip lettered in black and darkened, untrimmed dustjacket toned overall with a few very small nicks to edges, very good (Roberts A45) 100 This copy being unnumbered, it may well have been amongst the surplus that Orioli recalled being printed Lawrence (D.H.) Tortoises. New York: Seltzer, 1921, FIRST EDITION, title-page printed in black and red, patches of very faint browning to prelims, pp. 50, 8vo, original green boards with illustration to front, backstrip with slightly chipped printed label lettered in black, some fading overall and rubbed to extremities with a small hole at head of upper joint, free endpapers browned unevenly, untrimmed, good (Roberts A19) 240 This volume was never published in England, although the poems were included in the Secker edition of Birds, Beasts and Flowers Lawrence (D.H.) The Trespasser. Duckworth, 1912, FIRST EDITION, light creasing to top corner of a few leaves, pp. [iv], 292, 20, 8vo, original blue cloth rubbed and lightly soiled overall with bump to corners of upper board, stamped in gilt to front with publisher s device blind-stamped to lower board, backstrip lettered in gilt and rubbed, spine shaken, cocked and worn along joints, edges and endpapers browned, bookplate to front pastedown (Roberts A2) 200 Lawrence s second novel and a scarce book, of which this is a rather flawed example Lawrence (D.H.) The Virgin and the Gipsy. Lungarno Series, No. 4. Florence: Orioli, 1930, 307/810 COPIES printed on Binda handmade paper, occasional spotting to borders of text, pp. 216, royal 8vo, original cream boards with Lawrence phoenix stamped in red to upper board, lightly soiled overall, backstrip with paper label lettered in red, small dent to label with spare label tipped in at rear, slight bumping to corners and fore-edge, endpapers spotted, edges untrimmed and top edge a little dustsoiled, good (Roberts A54)

40 blackwell S rare books 147. Lawrence (D.H.) The White Peacock. Heinemann, 1911, FIRST EDITION, light foxing to half-title and occasional light foxing throughout, pp. [iv], 496, 8vo, original blue cloth stamped in black and white to upper board, publisher s device blind-stamped to lower board, edges rubbed and a touch of soiling with a single foxspot to lower board, top corner of lower board slightly bumped, backstrip lettered in gilt and a touch faded with rubbing at tips and along joints, edges and endpapers foxed with browning to free endpapers, good (Roberts A1b) 300 Published a day later than the American edition, this is one of the first 750 copies of Heinemann s original print-run of 1500 (with the publisher s device blind-stamped to lower board). Variant 3, with cancel title and cancel pp Lewis (Wyndham) Art in a Machine Age, [in The Bookman.Vol. LXXXVI, No July, 1934.] 1934, pp , 4to, original wrappers with a little creasing and some rubbing along spine, staples a little rusted, very good (Morrow & Lafourcade D206) 35 Lewis s contribution, the cover feature, takes up pp , and consists of an address delivered in the autumn of 1933 to a newly-founded society in the University of Oxford. It is accompanied by a full-page self portrait on p Lewis (Wyndham) The Role of Line in Art. With Six Drawings to Illustrate the Argument. Edited with an Introduction by Paul W. Nash. The Strawberry Press: Witney, 2007, 87/156 COPIES (from an edition of 166 copies) printed on mouldmade paper, title and opening letters printed in red, 12 plates by Wyndham Lewis showing 6 subjects in both black & white and colour, pp. 40, royal 8vo, original russet linen stamped in gilt to upper board, backstrip lettered in gilt, untrimmed, board slipcase, fine 85 This essay was originally intended for publication by Viscount Carlow s Corvinus Press, but the entire edition was destroyed in the Blitz excepting one copy, the sheets for which had been sent direct to Carlow and which he had bound. This version is based on that sole, surviving copy but incorporates some of Lewis s corrections that had not yet been carried out, and adds a hitherto unseen Tailpiece (Lewis.) A.J.A. Symons to Wyndham Lewis. Twenty-Four Letters. With comments by Julian Symons. Edinburgh: Tragara Press, 1982, 2/120 COPIES, frontispiece portrait of Symons by Lewis, pp. 21, 8vo, original marbled wrappers over stiff card with paper label printed in black to front, some very light creasing around head, very good (Halliwell 85) Lowell (Robert) The Voyage and Other Versions of Poems by Baudelaire. Illustrated by Sidney Nolan. Faber and Faber, 1968, 125/200 COPIES, signed by the author and 38

41 MODERNISMS the illustrator Sidney Nolan, colour frontispiece with 7 colour and 16 monochrome full-page illustrations beside text, pp. [viii], 60, 4to, original quarter blue buckram with bevelled edges, backstrip lettered in gilt, top edge purple, original slipcase and glassine wrapper, near fine Macaulay (Rose) Catchwords and Claptrap. [Hogarth Essays, Second Series, No. 4.] Hogarth Press, 1926, FIRST EDITION, light creasing to top corner of a few pages, pp. 45, [2], 12mo, original boards with lettering and design by Vanessa Bell, fading to borders and backstrip, some wear at tips of backstrip, a little dustsoiling to top edge and light spotting to endpapers, bookplate tipped in to flyleaf, good (Woolmer 101) Macaulay (Rose) Three Days. New York: Dutton, 1919, FIRST EDITION, AMERICAN ISSUE, with tipped-in label to change publisher information on title-page, pp. 68, crown 8vo, original wrappers with printed label to front, lightly dustsoiled overall, backstrip darkened with a little chipping at tips, good 50 Macaulay s second poetry collection features a number of striking examples of war poetry, from a unique perspective. During the war Macaulay served first as a nurse and land girl, before working in the British Propaganda Department and the War Office with responsibilities for exemptions from service and conscientious objectors (ODNB) Macaulay (Rose) Told by an Idiot. Collins, 1923, FIRST EDITION, pp. [viii], 315, [4, ads], crown 8vo, original blue cloth stamped in red to front, backstrip lettered in red and a little rubbed along joints and at tips, slight lean to spine, top edge lightly dustsoiled, bookplate tipped in to flyleaf, very good 80 A complex portrait of the war s effects occupies the novel s final movement MacDiarmid (Hugh) Direadh I, II and III. Frenich: [Stamperia Valdonega for:] Kulgin Duval & Colin H. Hamilton, 1974, 84/200 COPIES signed by the author, printed on Magnani paper at the Stamperia Valdonega, pp. [vi], 52, 4to, original quarter red morocco with vertical gilt roll, backstrip lettered in gilt top edge trimmed, slipcase, fine MacDiarmid (Hugh) The Kind of Poetry I Want. Edinburgh: [Officina Bodoni for:] K.D. Duval, 1961, 46/300 COPIES signed by the author, printed on handmade paper, initial letter in red, pp. 58, [iv], 4to, original quarter vellum with vertical gilt rule, patterned boards, backstrip lettered in gilt, t.e.g., others untrimmed, slipcase, fine Mann (Thomas) Der Kleine Herr Friedemann. Phantasus, 1920, 121/150 COPIES signed by the author and illustrator, 11 full page woodcuts by Otto Nückel with 4 39

42 blackwell S rare books small woodcuts decorating hand-coloured initial letters, pp. [viii], 59, 8vo, original quarter vellum with brown and beige decorated boards lightly soiled overall and toned unevenly, backstrip lettered in gilt, very good 1, Mansfield (Katherine) The Garden Party and other stories with coloured lithographs by Marie Laurencin. [Officina Bodoni for] The Verona Press, 1939 [1947], LIMITED EDITION, 672/1200 copies, title printed in red and black, with 16 coloured lithographs in the text (10 full-page) by Marie Laurencin, publisher s printed note tippedin after title-page, pp. [x], 315, [3], 4to, full red Harmatan goatskin with recessed onlays of embossed goatskin, coloured edges (simulating grass) and grey suede doublures, gold tooling using a floral tool, housed in a felt lined buckram drop back box, with a recessed parti-coloured lettering piece on the spine, by Glenn Bartley, with his ticket, fine (Kirkpatrick D6) 3,000 A most attractive binding by one of the leading Designer Bookbinders (the description of the binding above is the binder s own). Glenn Bartley says My designs do not make a personal statement as such, but I feel it is important to relate to the typography, design and theme of the text which, combined with the book s protective box, create a unified whole. Also, the challenge for me is to produce bindings that have a link with the past in their style and make up and which still arouse the simple visual/tactile pleasure and warmth of handling a well bound book. A selection of 14 of Mansfield s stories, only five of which had also been included in the earlier collection with the same title. Though printed in 1939, the Second World War delayed actual publication of this book until 1947, when it was distributed by William Collins. Praised by T.S. Eliot for its extraordinary cleverness 159. Monro (Harold) Milk for the Cat. Oldham, Incline Press, 2003, 59/180 COPIES on Velin Arches paper, with a signed Bert Eastman four-colour linocut tipped in opposite colophon page, pp. [5], imperial 8vo, original quarter blue cloth with patterned boards, bevelled edges, small paper label to front, fine 45 With a prospectus for the same laid in. This is probably the most anthologised of Monro s poems, praised by no less a judge of cat poems than Eliot, in The Egoist magazine, and presented here in a beautiful edition by the Incline Press. Inscribed by the author for Edith and Osbert Sitwell 160. Moore (Marianne) A Marianne Moore Reader. New York: Viking Press, 1961, FIRST EDITION, pp. xviii, 301, 8vo, original orange cloth with a small amount of very light 40

43 MODERNISMS Item 160 dustsoiling, backstrip lettered in gilt, dustjacket a touch faded around head of front panel and at backstrip, light soiling to rear panel and borders of flaps, very good (Abbott A18.a1) 700 Inscribed by Moore on the flyleaf: For Edith and Osbert, whom I read and read and envy and love. Marianne. November 1, Moore has additionally written the exact date of publication ( November 16th ) next to the year on the title-page verso. The selection includes Moore s essay Edith Sitwell, Virtuoso (pp ), whilst Sitwell s reciprocal approbation is recorded in the quotes on the dustjacket rear-panel, where she ranks Moore among the most exquisite and accurate observers of our time Muir (Edwin) First Poems. Hogarth Press, 1925, FIRST EDITION, light foxing to prelims with one or two spots to text, pp. 75, crown 8vo, original marbled boards, printed label to front with a few small spots, occasional light rubbing, foxing to front endpapers, edges foxed, good (Mellown A3a; Woolmer 70) O Hara (Frank) A City Winter and Other Poems. New York: (Printed by Ruthven Todd for) Tibor de Nagy Gallery, 1951, FIRST EDITION, 28/130 COPIES (of an edition of 150 copies) printed on French Arches paper with the 2 inserted illustrations by Larry Rivers printed on Japanese Shogun paper, the title printed in blue, unbound as issued, pp. [iv], 16, crown 8vo, original plain white wrappers, untrimmed, fine 1,800 Scarce. Frank O Hara s first book. O Hara took up residence in New York where he worked as Assistant to the Curator at the Museum of Modern Art. Whilst there he met and befriended several of the artists of the American Abstract Expressionists group, especially Jackson Pollock and Willem DeKooning. He was also a member of the New York School of Poets, other members of whom included John Ashbery, Kenneth Koch and Barbara Guest. 41

44 blackwell S rare books The Tibor de Nagy Gallery was founded in 1949 by de Nagy and J.B. Myers. Although initially a financial failure, funding from Dwight Ripley placed it on a more firm financial footing. A City Winter and Other Poems was the first in a series of books issued by this gallery Pound (Ezra) ABC of Reading. Routledge, 1934, FIRST EDITION, faint foxspot at head of a few pages, pp. xii, 197, crown 8vo, original red cloth, backstrip lettered in gilt, light dustsoiling to top edge, a hint of foxing to edges and endpapers, dustjacket lightly soiled overall with slight chipping to corners and backstrip panel, good (Gallup A35) Pound (Ezra) Canzoni. Elkin Matthews, 1911, FIRST EDITION, title-page printed in red and black, a small amount of foxing to half-title and occasional light handling marks, pp. viii, 52, [4], crown 8vo, original grey cloth stamped in gilt to front, backstrip lettered in gilt, a touch of wear at foot of upper joint, edges darkened and a few small stains, light handling marks to endpapers with some foxing to flyleaf, good (Gallup A7a) 200 Gallup records that 1000 sets of sheets were printed, with around half of these issued as part of Canzoni & Ripostes in 1913, making the present volume one of around 500 copies in this edition Pound (Ezra) Cathay. Translations by Ezra Pound for the most part from the Chinese of Rihaku, from the notes of the late Ernest Fenellosa, and the decipherings of the Professors Mori and Ariga. Elkin Mathews, 1915, FIRST EDITION, ONE OF 1,000 COPIES, a few faint foxspots to latter pages and two instances of pencil-marking in margins, pp. 32, crown 8vo, original brown wrappers printed in black with original Blackwell s sticker to rear panel, a couple of light creases at head of rear panel, darkened backstrip with some light creasing and a little nick at foot, untrimmed, edges and endpapers with a few faint foxspots, very good (Gallup A9) 700 This copy has the ownership inscription of Lorimer, Basrah 1916 this likely being that of either David Lockhart Robertson Lorimer, the British diplomat and linguist who was stationed in Basrah at this time, or his wife Emily Overend Lorimer who was then editor of the Basrah Times. Both were notable translators: Emily collaborated with her husband in his work on Persian dialects and the languages of the north-west frontier of India (ODNB), and produced numerous translations of German works including Hitler s Mein Kampf, of which she provided a perspicacious early critique Pound (Ezra) Thrones de los cantares. Faber and Faber, 1960, FIRST ENGLISH EDITION, title page printed in black and red, pp. [iv], 126, 8vo, original red cloth, backstrip lettered in gilt, top edge slightly dustsoiled, panels of light browning to free endpapers, dustjacket with a short closed tear at head of rear panel, small waterstain towards foot of backstrip panel and a short split at foot of upper joint-fold, very good (Gallup A77c) 35 42

45 MODERNISMS 167. Pound (Ezra) Umbra. The Early Poems. All that he now wishes to keep in circulation from Personae, Exultations, Ripostes, etc. With translations from Guido Cavalcanti and Arnaut Daniel and poems by the late T.E. Hulme. Elkin Mathews, 1920, FIRST EDITION, 97/100 COPIES signed by the author and printed on handmade paper, pp. 128, foolscap 8vo, original quarter white parchment, backstrip gilt lettered, grey boards, the parchment and boards lightly soiled, corners a touch rubbed and two a trifle bumped, tail of backstrip a little more so, cream cottonmarker, t.e.g., others untrimmed, good 1, (Pound.) RAINE (Kathleen) Visiting Ezra Pound. Enitharmon Press, 1999, FIRST EDITION, 53/90 COPIES (of an edition of 100 copies) signed by the author, printed on Teton paper, pp. 13, 8vo, original marbled wrappers with paper label printed in black to front, very slight fading around head of backstrip, near fine 40 With a compliments slip from Stephen Stuart-Smith of the Enitharmon Press to the previous owner laid in at front. Printed by Alan Anderson at the Tragara Press. Inscribed for the architect Maxwell Fry, with an ALS to the same 169. Read (Herbert) Lord Byron at the Opera. A Play for Broadcasting. North Harrow: Philip Ward, 1963, FIRST EDITION, printed on blue paper, a few foxspots at head of some pages, pp. 22, 8vo, original stapled self wrappers printed in black, a little fading to borders with a few foxspots and handling marks, good 80 Inscribed on the inside front cover: for Max & Jane [Drew], with love from Herbert & Ludo [Margaret Read]. Christmas With a 2-page ALS dated 17.xii.63 loosely inserted, written in black ink on headed paper, a little browned to margin: Read apologises for not having written sooner and thanks Fry for speaking at his birthday celebration; he goes on to describe his plans for the festive season ( We are to have a riotous family Christmas ) and visit to America in the New Year. As a P.S., Read adds referring to the present copy I enclose a substitute for a Christmas card. The play whose principal characters are Lord Byron and Stendhal was first performed ten years before, and this first publication was part of a series issued to mark Read s 70th birthday that year Read (Herbert) Pursuits and Verdicts. With a Preface by Graham Greene. Edinburgh: Tragara Press, 1983, FIRST EDITION, 107/110 COPIES (of an edition of 135 copies), pp. 24, 8vo, original stiff card wrappers with printed label to front, fine (Halliwell A100) 60 This volume collects Read s reviews of detective fiction for Night and Day magazine. 43

46 blackwell S rare books 171. Richardson (Dorothy) Interim. Duckworth, 1919, FIRST EDITION, pp. [vi], 293, crown 8vo, original blue cloth stamped in black with borders and backstrip very slightly faded, backstrip lettered in black, slight lean to spine, light browning to endpapers, dustjacket with corners and foot of backstrip panel very lightly chipped, erased and faintly perceptible pencil annotation to front panel with publisher s repricing sticker at foot of backstrip, very good 125 The 5th installment of Richardson s Pilgrimage series, in which she sought a feminine equivalent of the current masculine realism it was in relation to Richardson s attempt to locate this reality firmly in the impressions of her heroine Miriam Henderson that May Sinclair first coined the term stream of consciousness, in which regard Richardson predates the better known experiments of more canonical modernists such as Woolf and Joyce. Sinclair s terms was one that Richardson disliked intensely, but which has come to define her technique somewhat Rodker (John) Dartmoor. Traduction de Ludmila Savitsky. Paris: Éditions du Sagittaire, 1926, FIRST EDITION, 208/725 COPIES on vélin de Rives paper (of an edition of 750 copies), manuscript facsimile as frontispiece, pp. 125, [1], small 4to, original wrappers, edges untrimmed, protective tissue wrapper, very good 40 Rodker s account of his time imprisoned as a Conscientious Objector in Dartmoor prison during the First World War was not published in English until it appeared in the anonymous Memoirs of Other Fronts in A short note, describing for French readers the fate of English COs, precedes the text Stevens (Wallace) The Man with the Blue Guitar. Etchings by David Hockney, Who Was Inspired by Wallace Stevens, Who Was Inspired by Pablo Picasso. Petersburg Press, 1977, FIRST EDITION, printed on Abbey Mills laid paper, Hockney-designed title-page printed in red and blue, 19 further full-page colour etchings by Hockney, pp. 51, 4to, original grey boards with paper label printed in blue and red inset to front, dustjacket, fine 60 This catalogue for Hockney s The Blue Guitar, a portfolio of 20 etchings, prints Hockney s illustrations alongside the Wallace Stevens poem which inspired them Stevens (Wallace) Three Academic Pieces. Cummington, MA: Cummington Press, 1947, FIRST EDITION, XXXVI/LII COPIES (of an edition of 246 copies), signed by the author, printed on Crown & Sceptre paper, 3 hand-coloured initials in the text, pp. 36, [5], 8vo, original hand-coloured boards backed in linen by Peter Franck, backstrip longitudinally blocked in blue, plain white dustjacket and card slipcase discarded, near fine (Edelstein A12) 3,000 Stevens read these poems at Harvard in February 1947, and arranged with Knopf for the Cummington School of the Arts to produce this edition. Surveying the proofs, he wrote: If I like the 44

47 MODERNISMS other initials as much as I like the O, I shall be hard to hold down. Only this most limited issue was bound by Peter Franck; two larger unsigned issues on different paper were bound by Arno Werner Valéry (Paul) Agathe. [2 vols]. Paris: [Privately printed by Agathe Rouart Valéry], 1956, XIX/25 COPIES (of an edition of 200 copies) on Vergé Montval Blanc paper, charcoal drawing frontispiece to first volume, facsimile pages in second volume printed in purple and tipped-in to recto of each leaf, pp. [22]; [14], 4to original cream boards encasing 2 volumes, both in cream card wrappers lightly toned and printed in black to front, untrimmed, second volume unbound, backstrip of outer casing lettered in black and toned, slipcase, very good 350 A previously unpublished poem, written by Valéry in 1898, presented in two states the printed work, and a facsimile of the manuscript Valéry (Paul) La Jeune Parque. Eaux-fortes originales de Liliane Marco. Aix-en- Provence: Edisud, 1981, 9/9 COPIES (of an edition of 110 copies) signed by the artist, printed on Vélin d Arches paper, 7 plates of colour etchings each signed by artist, acetate guards, pp. 39, 4to, original patterned boards with unbound text-block and folder of etchings [unpaginated], untrimmed, slipcase, fine 350 The Preface to this edition is provided by Judith Robinson-Valéry, who had the combined distinction of being a notable scholar of Valéry s work and his daughter-in-law Valéry (Paul) Le Cimetière Marin. Paris: Ronald Davis, 1926, 14/85 COPIES (of an edition of 95 copies) signed by the author, printed on Vélin d Arches paper, etching by author to title page and 5 further within text, tissue guards, small waterstain to half-title, pp. [17], 4to, original card wrappers with Valéry etching to front, toning to borders and a few very light marks with short tear at head of upper joint, front hinge split, good 700 An edition published in memory of the author s friend Frank P. Flausch Valéry (Paul) Quelques Notes. Paris: [n. pr.], 1928, FIRST EDITION, ONE OF 100 COPIES non mis dans le commerce, pp. 8, 4to, original self wrappers, printed in black to front, very lightly soiled and toned overall with some creasing to head, good Valéry (Paul) Sémiramis. Mélodrame en trois actes et deux interludes. Paris: Gallimard, 1934, FIRST EDITION, 2037/30 HORS COMMERCE COPIES on Alfa Navarre paper (of an edition of 2270 copies), small waterstain to edge of p. 39 and a little light creasing to corner of the same, pp. 54, royal 4to, original paper wrappers lettered in red and black to front, a little light soiling and a short tear at base of rear joint, uncut, very good

48 blackwell S rare books 180. Williams (William Carlos) Kora in Hell. San Francisco, Arion Press, 1998, 233/300 COPIES, signed by the illustrator Mel Kendrick, pp. [iv], 62, 4to, original quarter black cloth, wood-panelled boards, backstrip lettered in red, excellent 300 In his 1961 essay, The Influence of French Poetry on American, Kenneth Rexroth described Kora in Hell as containing the only important prose poems in America... a sort of prose Vita Nuova Woolf (Virginia) Beau Brummell. New York: (Printed by William Edwin Rudge from Designs by W.A. Dwiggins for) Rimington & Hooper, 1930, FIRST SEPARATE EDITION, 396/550 COPIES signed by the author, 2 full-page illustrations printed in blue and pink, each with decorative blue or brown border, pp. [iv](blanks), [6], 13, [5] (blanks), large 4to., original pink linen-backed pale grey boards, the gilt lettered backstrip lightly faded, variant pale pink printed label at centre of front cover with dark pink printed design, t.e.g., others untrimmed, worn and slightly defective green board slipcase with printed label, very good (Kirkpatrick A15a) Woolf (Virginia) Between the Acts Hogarth Press, 1941, FIRST EDITION, pp. 256, crown 8vo, original blue cloth with slight discolouration around foot, backstrip lettered in gilt, edges lightly toned, small waterstain at head of pastedown (concealed by flap), dustjacket with some faint waterstaining around head, a few short closed tears, light chipping at head of backstrip and rear panel, good (Kirkpatrick A26a) Woolf (Virginia) The Definitive Collected Edition of the Novels. [The Voyage Out; Night and Day; Jacob s Room; Mrs Dalloway; To the Lighthouse; Orlando; The Waves; The Years; Between the Acts. 9 Vols. in total.] Hogarth Press, 1991, 414/1,000 SETS, pp. xvi, 463; xx, 492; xviii, 174; xx, 218; xiv, 210; xxii, 226; xx, 203; xviii, 383; xviii, 138, 8vo, original black boards, backstrips lettered in gilt, top edges green and green page-markers, dustjackets with light fading to some backstrips, a little creasing at foot of front panel of Orlando, very good 500 With introductions provided by either Quentin Bell or Angelica Garnett (the author s nephew and niece) Woolf (Virginia) Kew Gardens. Decorated by Vanessa Bell. Hogarth Press, 1927, 60/500 COPIES, printed on rectos only with border decorations by Vanessa Bell, light foxing to prelims and one or two faint foxspots to text, pp. [48], crown 4to, original illustrated boards with rubbing to edges and some light dustsoiling, backstrip toned and bumped at tips, edges untrimmed and toned with free endpapers a little browned, protective glassine jacket, good (Kirkpatrick A3c) 1,200 A very nice example of a notoriously fragile book. 46

49 MODERNISMS Item 185 Item Woolf (Virginia) Monday or Tuesday. With Woodcuts by Vanessa Bell. Hogarth Press, 1921, FIRST EDITION, 4 woodcuts with usual faint off-setting to facing recto, pp. 91, [1], crown 8vo, original quarter brown cloth, with Vanessa Bell design to upper board, light dustsoiling overall, edges toned, free endpapers with adhesive browning, contemporary ownership inscription to flyleaf, protective glassine jacket, very good (Kirkpatrick A5a) 2,000 One of 1,000 copies in the first edition Woolf (Virginia) A Room of One s Own. Hogarth Press, 1929, FIRST ENGLISH EDITION, pp. 172, foolscap 8vo, original cinnamon cloth, backstrip lettered in gilt, faint spotting to top edge, free endpapers with strip of adhesive browning to inner margin, dustjacket with Vanessa Bell illustration, a little minor soiling, light chipping to corners and a couple of nicks at tips of backstrip panel, very good (Kirkpatrick A12b) 4,000 With a small promotional pamphlet announcing volumes available and forthcoming in the Uniform Edition laid in at front Woolf (Virginia) Three Guineas. Hogarth Press, 1938, FIRST EDITION, 5 plates, pp. 329, crown 8vo, original yellow cloth, backstrip lettered in gilt, edges toned, usual browning to endpapers with faded ownership inscription to flyleaf, dustjacket with Vanessa Bell design, faded backstrip panel with light chipping at tips, light chipping to corners and one or two foxspots, very good (Kirkpatrick A23a) Woolf (Virginia) To the Lighthouse. New York, Harcourt, Brace, 1927, FIRST AMERICAN EDITION, one or two small foxspots at head of prelims and initial pages, pp. 310, crown 8vo, original green cloth stamped in blue to front, backstrip lettered 47

50 blackwell S rare books Item 188 Item 190 in blue, top edge blue, fore-edge rough-trimmed with one or two small foxspots, erased inscription to flyleaf, dustjacket lightly toned overall with very light chipping to corners and one or two small waterspots, very good (Kirkpatrick A10b) 3, (Woolf.) BELL (Quentin) Virginia Woolf. A Biography [2 vols.] Hogarth Press, 1972, FIRST EDITIONS, frontispiece portraits with 7 plates in each volume and one or two additional illustrations, pp. xvi, 230; xii, 300, 8vo, original lilac boards, backstrip lettered in gilt, endpaper maps, dustjackets, fine (Kirkpatrick B16 & B17a) 100 The author, of course, being the subject s nephew Yeats (W.B.) Eight Poems. Transcribed by Edward Pay. Form, 1916, FIRST EDITION, ONE OF EIGHT COPIES (this unnumbered) printed on Dutch hand-made paper, silhouette of nude figure in red by Austin Spare on first recto which (as with final verso, also printed in red) is sunned unevenly through the cover, title-page printed in red as are the titles and initial letter of each stanza and the transcriber s note of completion on the penultimate verso, a short closed tear to a few leaves, pp. [24], 4to, original cream paper wrappers printed in black, lightly foxed and soiled overall with minor creasing and a couple of nicks to edges, spine with wear at tips, rusting staples removed and wrappers sometime sewn (thread also removed), edges untrimmed, ownership inscription of the artist Archibald Michael Fletcher beneath limitation statement on inside cover, good (Wade 114) 1,500 Yeats privately poured scorn on the manner and form of this publication, which he regarded as a pirated edition necessitated by copyright issues. As befits such a production, variants abound: this copy features both the statement of limitation and the Errata notice on the inside front and rear covers respectively. Yeats reserved particular contempt for the foolish picture preceding the title-page complaining that the red woman is a brute and insisted that Harold Monro at the Poetry Bookshop insert a slip 48

51 MODERNISMS (not present in this copy) to make clear that responsibility for the caligraphy [sic] and design rests entirely with the proprietors of FORM. Copies personally inscribed by Yeats exhibit less restraint in their versions of this statement. All copies were originally stapled, with those going to the Poetry Bookshop (listed as sole agent on the limitation page) sewn at Monro s behest as an out-of-series copy this is not amongst that number, and is likely one of an indeterminate quantity that Austin Spare (the foolish or intrepid young man behind the publication and the vulgar drawing that Yeats so despised) reserved for private sale, but shows traces of both forms of binding. Both the form and manner of this publication, though not at all to the poet s liking, give this production a much greater interest than would normally be the preserve of the sort of technical publication that Yeats had originally anticipated. This is a well-preserved copy of the scarcest issue, with the unicorn watermark confirming the type of paper used Yeats (W.B.) The Golden Helmet. New York: Published by John Quinn, 1908, FIRST EDITION, 25/50 COPIES, light waterstaining to the bottom third of the text throughout, pp. 33, [3] (blanks), 16mo, original grey boards, rebacked to match, printed label on the front cover, grey endpapers, untrimmed, protective dark blue cloth box with a printed label, good (Wade 74) 3,000 Issued for copyright purposes by Quinn, the successful lawyer, patron of the arts and close friend of Yeats. This copy is inscribed by him to his and Yeats friend, Frederick James Gregg, schoolmate of Yeats who had initially introduced him to literature, and latterly a New York journalist. Yeats had inscribed a copy of Mosada for Gregg. The initial page (containing the limitation statement) is inscribed at its head To F.J. Gregg with the publisher s compliments, New York John Quinn June In 1913 the American Association of Painters and Sculptors opened their Armory Show in New York. Its exhibition of French art was as shocking as that of Roger Fry s exhibitions in London in 1910 and The publication For and Against was an account of the exhibition published at the time and contains a number of essays, including F. J. Gregg s contribution Letting in the Light on pages Yeats (W.B.) Plays in Prose and Verse. Written for an Irish Theatre, and Generally with the help of a Friend. Macmillan, 1922, FIRST EDITION, pp. [ii], x, 452, crown 8vo, original apple-green cloth, backstrip gilt lettered, faded backstrip and the front cover blind-stamped to a design by Charles Ricketts, untrimmed, scarce in the dustjacket, frayed at its head, very good (Wade 136) 300 This forms the first volume of Macmillan s edition of the collected works Yeats (W.B.) Poems. Fisher Unwin, 1895, FIRST EDITION, ONE OF 750 COPIES, foxed title-page tissue-guard present, the title-page and cover designs are by H. G[ranville] F[ell], pp. xii, 288, crown 8vo, original cream cloth with an overall gilt blocked design incorporating lettering, backstrip darkened, with the head and tail chipped at usual, endpapers browned, untrimmed, good 49

52 blackwell S rare books [with:] Poems. Second English Edition, Revised. Fisher Unwin. 1899, portrait frontispiece of the author by John B. Yeats, title-page tissue-guard present, preliminaries and final few leaves foxed, pp. xii, 300, [8] (adverts.), crown 8vo, original dark blue cloth with an overall gilt blocked design incorporating the lettering by [Althea Gyles], backstrip head and tail rubbed, free endpaper tape-stains, untrimmed, good [and:] Poems. Third English Edition, Revised. Fisher Unwin. 1901, portrait frontispiece of the author by John B. Yeats, title-page tissue-guard present, lacks the errata-slip, pp. xiv, 304, crown 8vo, original dark blue cloth with an overall gilt blocked design incorporating the lettering by [Althea Gyles], backstrip a little dull, backstrip head and tail lightly rubbed, front hinge cracked, gift inscription on the front free endpaper, rear endpapers lightly foxed, untrimmed, good [and:] Poems. Fourth English Edition. Fisher Unwin. 1904, portrait frontispiece of the author by John B. Yeats, title-page tissue-guard present, foxing to preliminaries and final few leaves, pp. xiv, 304, crown 8vo, original dark blue cloth with an overall gilt blocked design incorporating lettering all by [Althea Gyles], untrimmed, very good [also:] Poems. Fifth English Edition. Fisher Unwin. 1908, portrait frontispiece of the author by John B. Yeats, title-page tissue-guard present, title-page printed in black and red, pp. [ii], xiv, 304, crown 8vo, original dark blue cloth with an overall gilt blocked design incorporating lettering all by [Althea Gyles], school crest gilt blocked at the head of the rear cover, lightly foxed endpapers, untrimmed, good (Wade 15, 17, 18, 19, 20) 2,500 An assembling of the first five English editions of this landmark collection, showing its evolution as Yeats revised and re-conceived. In the second edition the preface is rewritten and the contents rearranged; the third edition has a new preface and the note in the Glossary on The Countess Cathleen is substantially revised. Whilst the largest change in its outward appearance and internal structure occurred between the first and second editions Yeats disliked the expressionless angel of Granville Fell s original design and from the second edition onwards it is replaced by a more striking Althea Gyles design it is in his new preface to the third edition that Yeats re-states his poetic intentions in such a way as to make clear the value of tracking the modifications and revisions: These details may seem unnecessary; but after all one writes poetry for a few careful readers and for a few friends, who will not consider such details very unnecessary Yeats (W.B.) Poems. Fisher Unwin & Boston: Copeland and Day, 1895, FIRST AMERICAN EDITION, tissue-guard present, the title-page and cover designs are by H. G[ranville] F[ell], with the addition of the publisher s name Copeland and Day on the title-page and at the foot of the backstrip, pp. xii, 288, crown 8vo, original cream cloth with an overall gilt blocked design incorporating the lettering, backstrip darkened, with the head and tail chipped at usual, t.e.g., others untrimmed, good (Wade 16) 1,500 50

53 MODERNISMS Signed from Beyond the Grave? 195. Yeats (W.B.) Poems. 2 Vols. Macmillan, 1949, 333/350 SETS (of a total of 375 sets) signed by the author and printed on Glastonbury Ivory Toned Antique Laid paper, portrait frontispieces, pp. x, 276; xii, 308, 8vo, original olive-green bevel-edged buckram, backstrips gilt lettered, the front covers gilt blocked with the author s initials inside a gilt circle, t.e.g, backstrips ever so slightly sunned with two fleckmarks at foot of vol. ii, board slipcase somewhat scuffed, very good (Wade & Alspach 209 & 210) 2,500 The sheets for this edition were signed by Yeats in 1938, but the intervention of World War Two delayed their publication by over a decade. Yeats himself had died on January 28th, Yeats (W.B.) Stories of Red Hanrahan. Dundrum: Dun Emer Press, 1904, FIRST EDITION, ONE OF 500 COPIES, limitation and author s statements printed in red, pp. 6-7 not opened cleanly, pp. [vi], 57, crown 8vo, original quarter buff cloth with blue boards, printed paper label to upper board and to backstrip, backstrip a little darkened with a small amount of chipping around lower tip of label, light browning to borders, edges untrimmed with a single foxspot at head of fore-edge, light browning to free endpapers with bookplate to flyleaf, very good (Wade 59) 400 The fourth book published at the Dun Emer Press Yeats (W.B.) Wheels and Butterflies. Macmillan, 1934, FIRST EDITION, title-vignette by Edmund Dulac repeated in gilt on the front cover, flyleaves darkened in part, pp. [ii], x, 182, [2], foolscap 8vo, original lime-green cloth, backstrip lettering and the front cover design all gilt blocked, faint free endpaper and edge foxing, roughtrimmed, dustjacket chipped at head of darkened backstrip panel, very good (Wade 175) 150 At one time Anne Ridler s copy, with her address embossed on the front free endpaper Yeats (W.B.) The Winding Stair and Other Poems. Macmillan, 1933, FIRST EDITION, pp. x, 101, crown 8vo, original green cloth with T. Sturge Moore design stamped in blind to upper board, backstrip with lettering and design in gilt, very slight lean to spine, edges untrimmed, contemporary gift inscription to flyleaf, green dustjacket with same Sturge Moore design in dark green, backstrip panel very slightly faded with a single spot of internal tape repair at head, very light chipping to corners, very good (Wade 169) 750 One of 2,000 copies in the first edition. 51

54 blackwell S rare books Inscribed by Elizabeth Yeats to J.B. Yeats 199. Yeats (W.B.) and Lionel Johnson. Poetry and Ireland: Essays. Dundrum: Cuala Press, 1908, FIRST EDITION, ONE OF 250 COPIES, printed in red and black, occasional outbreaks of foxing to borders but text largely clean, pp. [ii], 54, crown 8vo, original quarter buff cloth with blue boards, title stamped in black to upper board, backstrip darkened with light soiling overall and a few spots, corners rubbed, bookplates to flyleaf and pastedown with some offsetting from the latter, good (Wade 254) 1,500 Inscribed on the first blank, by the printer (and author s sister) Elizabeth Corbet Yeats: To J.B. Yeats, With love from Lolly, Dec With father (John Butler Yeats) and son (Jack Butler Yeats) sharing the same initials, it is difficult to be entirely conclusive about the recipient: the form of address, however, would make one suspect the latter in either scenario this is a very significant Yeats association copy. Inscribed by Zukofsky to his wife, and then to Herbert Read 200. Zukofsky (Louis) 55 Poems. Prairie City: The Press of James A. Decker, [1941,] FIRST EDITION, title-page printed in black and red, pages lightly toned throughout, pp. 126, [5], 8vo, original dark brown boards with paper label printed in red and black to upper board, backstrip with paper label a little browned, light rubbing to corners with slight softening at head of backstrip, top corners a little bumped and edges toned, very good 800 Inscribed twice by the author on the flyleaf: the first to his wife, To Celia, from Louis peculiar insofar as the name has at some time been erased, causing some abrasion to the paper, and then overwritten, with the same abrasion beneath the author s name; the second inscription is For Herbert Read, the dedicated wishes me to re-dedicate. Sincerely, Louis Zukofsky, 16 April Read was at that time an editor at Routledge & Kegan Paul, who were preparing to issue an English edition of Zukofsky s A Test of Poetry in The latter inscription would seem to suggest that Celia who was her husband s collaborator and muse had requested that her husband make a gift of her copy to Read. An already scarce book, made all the more desirable by the chain of associations in its inscriptions. 52

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