The Inklings SHORT LIST 54 Item 30 Blackwell s Rare Books 48-51 Broad Street, Oxford, OX1 3BQ, UK Tel.: +44 (0)1865 333555 Fax: +44 (0)1865 794143 Email: rarebooks@blackwell.co.uk Twitter: @blackwellrare blackwell.co.uk/rarebooks
BLACKWELL S RARE BOOKS Inscribed by the author to Owen Barfield, with the beginnings of a letter in return 1 (Barfield.) A. Love-in-Memory. An Elegy. Fortune Press, 1948, FIRST EDITION, pp. 43, crown 8vo, original quarter dark green cloth with mid green boards, backstrip lettered in gilt now dulled, fading to edge of upper board, edges untrimmed and toned, a handful of foxspots to endpapers, good 400 From the library of Owen Barfield, with a sticker to that effect on the front pastedown. The book has been inscribed to him by the author (his uncle) to the flyleaf: To Owen Barfield, from JAB, 25 Aug 48. Loosely inserted is an incomplete draft of Barfield s response, in blue ink on Barfield & Barfield Solicitors headed paper and dated two days after the inscription: Dear Uncle Alfred, Very many thanks for sending me the revised version of Love in Memory. A poem written in memory of the author s daughter, who had died from meningitis aged 22. 2 Barfield (Owen) Worlds Apart. A Dialogue of the 1960 s. Faber and Faber, 1963, FIRST EDITION, pp. 211, 8vo, original green cloth, backstrip lettered in gilt with slight lean to spine, partially erased ownership inscription to flyleaf, dustjacket with fading to backstrip panel and a short closed tear at head of rear panel, very good 50 The second of Barfield s Burgeon books. 3 (Lewis.) HAMILTON (Clive) Dymer. J.M. Dent, 1926, FIRST EDITION, illustrated title-page from a drawing by R.L. Knowles printed in grey and black with very faint offset to half-title verso, faint browning to half-title and some light foxing to ads at rear, a few faint spots to borders of prelims with the odd spot recurring further in, pp. [vi], 105, [8, ads), crown 8vo, original pale blue and grey sprinkled cloth, Knowles figure design blocked in black to upper board with blind-stamped single-fillet border to same, backstrip lettered in gilt (publisher in black) and sunned with light rubbing at head and a spot of wear at foot, a tiny amount of rubbing to corners and a small spot of rubbing at head of upper board, top edge blue now faded with a couple of small spots to other edges, bookseller sticker at foot of front pastedown and crease to flyleaf, a couple of handling marks at head of rear free endpaper, good (Como 2) 1,500 C.S. Lewis s second book, a long narrative poem published under the same pseudonym as his first - an amalgam of his Christian name with his mother s maiden name. Geoffrey Faber s copy, via T.S. Eliot[?] 4 Lewis (C.S.) Out of the Silent Planet. Bodley Head, 1938, FIRST EDITION, occasional light foxing to borders with a couple of pages more heavily spotted, pp. xi, 264, [4, ads], crown 8vo, original burgundy cloth, backstrip lettered in gilt with slight lean to spine, very slight bowing to boards, edges a little rubbed, top edge dustsoiled with colour faded, a few spots to other edges, pencilled numerals (some dates) to rear pastedown which has a bookseller label at foot, ownership inscription of G.C. Faber to flyleaf, good 2,000 Geoffrey Faber s copy of the scarce first volume in Lewis s Space Trilogy, with the ownership inscription appearing to be in the hand of his eminent colleague, T.S. Eliot - why this should be the case is not easy to deduce, but the terminal r and the angle of the underline are most characteristic. Aside from this curious aspect, this is an interesting association copy with an Oxford core (the two were near-contemporaries there) - though perhaps of more moment is the influence of Charles 2
THE INKLINGS Williams on Lewis s Ransom books. Faber had begun publishing Williams the year before, with Descent into Hell, a book received in rapturous terms by Lewis; the appreciation was mutual, and Out of the Silent Planet was the book that coincided with Williams s induction into the Inklings. The present copy shows that Williams s publisher was also reading the work of his new friend and literary ally. 5 Lewis (C.S.) The Lion, the Witch, and the Wardrobe. A Story for Children. Bles, 1950, FIRST EDITION, line-drawings throughout, some full-page, by Pauline Baynes, pp. 224, crown 8vo, original green cloth, backstrip lettered in silver with lean to spine, sunning through dustjacket and a little fading to edges, ownership inscription to flyleaf, dustjacket defective with central portion of backstrip panel loose and other areas of loss, good 1,500 6 Lewis (C.S.) Prince Caspian. The Return to Narnia. Bles, 1951, FIRST EDITION, colour frontispiece and 47 black and white text illustrations (4 full-page) by Pauline Baynes, pp. 195, crown 8vo original dark blue boards with light soiling, backstrip lettered in silver, front endpaper maps with ownership inscription in pencil, top edge browned, rear free endpaper lightly foxed with rear pastedown rippling slightly at the inside, dustjacket frayed at edges with a few small tears at head and foot, lightly soiled to rear panel and central panel of backstrip browned, good 1,200 7 Lewis (C.S.) The Voyage of the Dawn Treader. Bles, 1952, FIRST EDITION, linedrawings by Pauline Baynes throughout (some full-page), pp. 224, crown 8vo, original pale blue boards faintly browned in places along rear joint, backstrip lettered in silver and sunned through dustjacket, spine slightly rolled, front endpaper maps, a few foxspots along top and fore-edge, dustjacket a little frayed at edges with a few small tears, rear panel lightly soiled and backstrip browned on white central panel, good 1,200 8 Lewis (C.S.) The Magician s Nephew. Bodley Head, 1955, FIRST EDITION, numerous line-drawings (some full-page) by Pauline Baynes, p. 155 showing wax-mark on border, pp.183, crown 8vo, original green boards with a few small patches of dampstaining to foot, backstrip lettered in silver, endpapers and top edge very lightly foxed, dustjacket price-clipped and lightly rubbed around head with backstrip slightly faded, flaps and rear panel foxed, good 600 9 (Lewis.) CLERK (N.W.) A Grief Observed. Faber and Faber, 1961, FIRST EDITION, pp. 60, crown 8vo, original mid grey cloth, backstrip gilt lettered, free endpapers partially browned with a few spots, dustjacket gently sunned to backstrip panel and borders, section missing around head with small drink-splash at head of rear panel, good 250 A poignant exploration of grief, prompted by the death of Lewis s wife. Initially reluctant to publish, Lewis chose a pseudonym whose initials referred to the Anglo-Saxon phrase nat whilk ( I know not whom ) allied with a surname conveying, in intentionally bland terms, his scholarly vocation. 10 Lewis (C.S.) They Asked for a Paper. Papers and Addresses. Geoffrey Bles, 1962, FIRST EDITION, pp. 212, 8vo, original mustard brown boards, backstrip lettered in blue, top edge brown, usual partial browning to free endpapers, dustjacket with gentle toning showing to some white areas and some very light soiling, very good 70 3
BLACKWELL S RARE BOOKS 11 (Lewis.) BAYNES (Pauline) Original signed drawing for Prince Caspian. [p. 34: it sat up, rubbed its arms & legs ] [n.d., circa 1951,] black ink with pencil annotations to borders, 31.7 x 19cm, original creasing from publisher storage, but none touching image, trace overlay with some pen and pencil markings fixed with tape on verso, very good 5,000 Baynes s drawing, with her pencilled signature beneath, shows Trumpkin the Dwarf, having been rescued (Chapter III: 'The Dwarf'). The image is the same size as published in the first edition. The other pencil markings (some in red, numerals in pen at head) refer to sizing and place in text, with a contextual quotation (from p. 33, contemporary with the original drawing) in Baynes s hand captioning her illustration. 12 (Lewis.) BAYNES (Pauline) Original signed drawing for Prince Caspian. [p. 79: while the three Dwarfs and two Badgers trotted stealthily across to the trees ] [n.d., circa 1951,] black ink with some correction and heightening to details in white, pencil annotation to borders and faint crease visible at head, 31.7 x 19cm, mounted and framed in English oak under museum glass using high-grade acid-free materials, with pencil quotation visible at foot of image [50 x 42 cm approx. within frame], very good 12,000 A full-page illustration from the second Narnia book, and a particularly rich one in terms of the number of characters that are incorporated. Baynes s drawing, with her pencilled signature beneath, shows the Great Council meeting on the Dancing Lawn (Chapter VII: 'Old Narnia in Danger'). The image is the same size as published in the first edition. The other pencil markings refer to sizing and place in text, with a contextual quotation (contemporary with the original drawing) in Baynes s hand captioning her illustration. 13 (Lewis.) BAYNES (Pauline) Original signed drawing for Prince Caspian. [p. 86, The gloomiest of all was Giant Wimbleweather ] [n.d., circa 1951,] black ink with pencil annotations to borders, 31.7 x 19cm, original creasing from publisher storage, but none touching image, trace overlay fixed with tape on verso, very good 5,000 Baynes s drawing, with her pencilled signature beneath, shows the Giant Wimbleweather, flanked by a Badger and Talking Mice (Chapter VII : 'Old Narnia in Danger'). The image is the same size as published in the first edition. The sheet includes a small positional sketch in pencil in the top right-hand corner, showing the image s relation to the text on page, which could also be by Baynes. The other pencil markings (some in red, numerals in pen at head) refer to sizing and place in text, with a contextual quotation (from p. 85, contemporary with the original drawing) in Baynes s hand captioning her illustration. 14 (Lewis.) BAYNES (Pauline) Original signed drawing for Prince Caspian. [p. 138, in every field and wood, the alert ears of rabbits rose from their holes... etc.] [n.d., circa 1951,] black ink with pencil and ink annotations to borders, 19 x 18 cm approx.,cm, original creasing from publisher storage, but none touching image, trace overlay with some pencil markings fixed with tape on verso, very good 5,000 4
THE INKLINGS Baynes s drawing, with her pencilled signature beneath, shows in four medallions the response to Aslan s roar. The image is the same size as published in the first edition. The other pencil markings (some in red, numerals in pen at head) refer to sizing and place in text, with a contextual quotation in Baynes s hand captioning her illustration. 15 (Lewis.) BAYNES (Pauline) Original signed drawing for Prince Caspian. [p. 139, There was even, unexpectedly, someone on a donkey... ] [n.d., circa 1951,] black ink with some correction in white, pencil and ink annotations to borders, 24 x 18 cm approx., original creasing from publisher storage, but none touching image, trace overlay with some pen and pencil markings fixed with tape on verso, very good 5,000 Baynes s drawing, with her pencilled signature beneath, shows Bacchus, Silenus, and dancing girls. The image is the same size as published in the first edition. The other pencil markings (some in red, numerals in pen at head) refer to sizing and place in text, with a contextual quotation in Baynes s hand captioning her illustration. 16 (Lewis.) BAYNES (Pauline) Original signed drawing for Prince Caspian. [p. 143: The Dwarf went on ahead ] [n.d., circa 1951,] black ink with some correction to details in white, pencil annotations to borders, 23.8 x 18.4cm, original creasing from publisher storage, but none touching image, trace overlay with some pen and pencil markings fixed with tape on verso, very good 5,000 Baynes s drawing, with her pencilled signature beneath, shows Trumpkin the Dwarf, Peter and Edmund in Aslan's How (Chapter XII: 'Sorcery and Sudden Vengeance'). The image is the same size as published in the first edition. The other pencil markings (some in red, numerals in pen at head) refer to sizing and place in text, with a contextual quotation (contemporary with the original drawing) in Baynes s hand captioning her illustration. 17 (Lewis.) BAYNES (Pauline) Original signed drawing for Prince Caspian. [p. 119, Arrows whizzed round them... ] [n.d., circa 1951,] black ink with some correction and heightening to details in white, pencil and ink annotation to borders, 24 x 18 cm approx., original creasing from publisher storage, but none touching image, trace overlay with some pencil markings fixed with tape on verso, very good 5,000 Baynes s drawing, with her pencilled signature beneath, shows Trumpkin and the children crawling uphill through the woods. The image is the same size as published in the first edition. The other pencil markings (some in red, numerals in pen at head) refer to sizing and place in text, with a contextual quotation in Baynes s hand captioning her illustration. 18 (Lewis.) BAYNES (Pauline) Signed illustrated pages from The Lion, the Witch and the Wardrobe. [1969,] crown 8vo, very good condition Taken from a later US edition of the book (and benefiting thereby from the improved printing quality), each page is signed by the artist beneath her illustration. The one near full-page image is 140, the others third-page illustrations at 110. 5
BLACKWELL S RARE BOOKS 19 (Lewis.) BAYNES (Pauline) Signed illustrated pages from Prince Caspian. [1969,] crown 8vo, one or two with handling marks or creasing to borders, but very good condition overall Taken from a later edition of the book, each page is signed by the artist beneath her illustration. Sizes range from fifth-page to full-page drawings and the prices range accordingly from 60 to 150. 20 (Lewis.) BAYNES (Pauline) Signed illustrated pages from The Silver Chair [1969,] crown 8vo, one or two with handling marks or creasing to borders and one with a faint stain, but very good condition overall Taken from a later edition of the book, each page is signed by the artist beneath her illustration. Sizes range from fifth-page to full-page drawings and the prices range accordingly from 60 to 150. 21 (Lewis.) BAYNES (Pauline) Signed illustrated pages from The Horse and His Boy. [1965,] crown 8vo, one or two with handling marks or creasing to borders, but very good condition overall Taken from a later edition of the book, each page is signed by the artist beneath her illustration. Sizes range from fifth-page to full-page drawings and the prices range accordingly from 60 to 120. 22 (Tolkien.) SIR GAWAIN & the Green Knight. Edited by J.R.R. Tolkien and E.V. Gordon. Oxford: At the Clarendon Press, 1925, FIRST EDITION, 2 plates both tissue-guarded, errata-slip present before the Introduction, a few pages with marginalia and occasional underlining in pencil, as is often the case, pp. xxviii, 212, crown 8vo, original green cloth, axe vignette and single fillet border to upper board stamped in gilt, backstrip lettered in gilt and a little faded, light rubbing to extremities and to upper board, edges untrimmed, pencilled ownership inscription and purchase details to flyleaf along with a tipped-in catalogue description and a Tolkien postage stamp, a couple of minor pieces of Tolkien ephemera loosely inserted, good (Hammond & Anderson B7a) 275 Tolkien was responsible for the text and Glossary and Gordon for the Notes. 6
THE INKLINGS 23 Tolkien (J.R.R.) The Lord of the Rings Trilogy. The Fellowship of the Ring; The Two Towers; The Return of the King [3 Vols.] George Allen and Unwin, 1954-1955, FIRST EDITIONS, third volume with signature mark present and lines of type sagging on p.49 (designated as first state by Hammond in his bibliography, but later revised by him to second state), folding-maps drawn by Christopher Tolkien at rear of each volume, very short closed tear to title-page of third volume, pp. 424; 352; 416, 8vo, original red cloth, backstrips lettered in gilt and slightly softened at ends with a small amount of very gentle rubbing to tips, slight lean to spine of second volume, very minor knock to top corner of lower board on second volume, top edges red with slight partial fading to that of second volume, faint partial browning to free endpapers of first volume, dustjackets with backstrip panels a little sunned with some very shallow chipping at ends, similar chipping to corners of frist two volumes with a short split at head of front flap-fold of first volume, very short closed tear to rear panel of same, a very good set 14,000 A splendid, unrestored set of first printings. 24 Tolkien (J.R.R.) The Lord of the Rings Trilogy. The Fellowship of the Ring; The Two Towers; The Return of the King [3 Vols.] George Allen and Unwin, 1959-1963, FIRST EDITIONS, later printings (the 13th, 6th, and 9th respectively), folding-maps drawn by Christopher Tolkien at rear of each volume, shire map by same printed in red and black to first volume, pp. 424; 352; 416, 8vo, original red cloth, backstrips lettered in gilt with some soiling along upper joint of first volume, top edges red, a couple of tiny spots at head of rear free endpapers, second volume with attractive bookplate to front pastedown, a small bookseller sticker at foot of same and the original Blackwell s receipt for this copy laid in (he also bought a copy of Dickens Pickwick Papers), dustjackets with backstrip panels just a little sunned with some very shallow chipping to a couple of corners, an excellent set 650 25 Tolkien (J.R.R.) Beowulf: the Monsters and the Critics. Sir Israel Gollancz Memoiral Lecture, British Academy, 1936 [Reprint.] Oxford University Press, 1960, bookplate sometime adhered to verso of title-page now loose, pp. 53, crown 8vo, original sewn grey wrappers printed in black, mild border toning and one or two light marks, good 150 The third impression of this text, reprinted lithographically - in a slightly smaller format - from the sheets of the first. The loose bookplate adds some small significance to this copy, being a presentation plate to The Sisters of the Love of God, With Father Hugh s Love and Gratitude - the 7
BLACKWELL S RARE BOOKS former an Anglican Community based in Oxford, the latter Father Hugh Maycock, who was Principal at Pusey House on St Giles between 1955 and 1970 and knew Tolkien; he was the recipient of a Japanese edition of the Hobbit, inscribed and with a note to him from the author, in 1966. The Tove Jansson Hobbit 26 Tolkien (J.R.R.) Bilbo. En Hobbits Äventyr [The Hobbit.] I Översättning av Britt G. Hallqvist och med Illustrationer av Tove Jansson. Stockholm: Rabén & Sjögren, 1962, FIRST JANSSON EDITION, 10 full-page drawings with numerous smaller drawings throughout text, occasional handling marks and the odd spot to border, pp. 308, 8vo, original quarter green cloth with colour-printed Jansson illustration to upper board, very gentle fading to borders and a touch of wear at corners, backstrip lettered in gilt and rather rubbed, very good (Hammond & Anderson Swedish C4) 1,750 An attractive edition, but hard to find in good shape - this is a very nice copy of a book whose scarcity can be attributed to both author and illustrator being immensely collectable separately. Given the importance of the Nordic influence on Tolkien s work, there is something reciprocal about the foremost illustrator of the region turning her hand to one of his most enduring works - and the results are delightful. Signed by the illustrator 27 Tolkien (J.R.R.) Bilbo's Last Song. (At the Grey Havens). Illustrated by Pauline Baynes. Sharon, Ontario, Riverwood, 1990, FIRST CANADIAN EDITION, colour-printed illustrations throughout, pp. 32, 4to, original green boards with Baynes illustration to upper, endpapers with Baynes illustration double-spread, dustjacket repeating board design with gentle fading to backstrip panel, very good 265 Signed by the illustrator Pauline Baynes, beneath her name on the title-page. This Canadian edition is in the same year as its US and UK counterparts. Three series of illustrations run parallel alongside the text: on each verso Bilbo is shown reclining in varying states of contemplation and torpor; on each recto the narrative of Bilbo s last days at Rivendell is depicted; smaller illustrations along the foot of the text, one to each page beneath a horizontal foliate border, tell the story of The Hobbit. The combined effect of these is very impressively managed - and indeed, Baynes s work is really the star here, with the accompanying poem rather slight. 8
THE INKLINGS 28 (Tolkien.) BAYNES (Pauline) Original transparency for slipcase to the deluxe edition of 'The Lord of the Rings'. [Allen & Unwin,] [1963-1964,] original tungsten Kodak Safety Film colour transparency, Three-Point Reflection Guide colour-bar to left of image with grey-scale colour bar to right, 14 x 11 inch approx., preserved and protected between two sheets of acetate with Vibicolor sticker at head, fine (Hammond & Anderson p. 98) 2,000 An ultra-large format (ULF) Kodak transparency taken directly from the original artwork by Pauline Baynes, and showing her pencilled registration marks thereupon - one of likely two (possibly three) such transparencies used to illustrate the slipcase of the deluxe edition Lord of the Rings from 1963-4. An interesting survival, which gives a vivid reproduction of this striking image, the transparency constitutes one half of the triptych that the slipcase depicts - showing the erupting Mount Doom from The Return of the King beside a portion of the central panel representing The Two Towers. The use of arching trees to create the border of each, and the grotesque creatures (these Baynes s creation, without any particular textual referents), demonstrate her ability to balance a sense of scale with a fineness of detail - a combination that made her the perfect illustrator for both Lewis and Tolkien. The film - identified by its notches as Kodak Ektachrome 64T - has not suffered any loss in quality since it was originally produced and could still be used(with the agreement of the copyright holder, of course)for its original purpose of making an accurate and detailed print of this image. This is the closest thing, in terms of the vividness of the reproduction, to Pauline Baynes s original artwork and a fascinating part of the publication history of the trilogy. 29 (Tolkien.) BAYNES (Pauline) Original coloured drawing for Leaf by Niggle. circa 1980, black ink on thick art card with pastel and gouache colouring in shades of brown, orange, and grey, 27 x 19 cm [image size 17.5 x 11 cm approx.], mounted and framed using high grade acid-free materials [35.5 x 24.5 cm within frame], very good 7,000 Produced for Allen & Unwin s deluxe Poems and Stories in 1980 (Hammond & Anderson A16), the Baynes illustrations to this story were new to this edition and are an attractive and accomplished example of her work - this original is more vivid, with greater contrast and use of colour, than the printed version (which appears opposite p. 198). 30 (Tolkien.) BAYNES (Pauline) Original signed coloured drawing for Smith of Wootton Major. [p. 32: There they danced... ] circa 1980, black ink on thick art card with gouache colouring in shades of brown, orange, and grey, 27 x 19 cm [image 18 x 11 cm approx.], mounted and framed using high grade acid-free materials [31 x 22 cm within frame], very good 8,000 Signed by the artist in pencil at the foot of the image. The image is larger and more detailed than that featured in the first edition. The number 23, presumably some reference to its position in the edition for which it was intended (although it actually appear opposite p. 322), appears in pencil on the reverse of the mount and of the art card itself, as well as on the frame-board and a small piece of card affixed to the same (the last identifiably in Baynes hand). The style and colouring make it likely that this was produced for Allen & Unwin s deluxe Poems and Stories in 1980. 9
BLACKWELL S RARE BOOKS 31 Williams (Charles) Poems of Conformity. Humphrey Milford, Oxford University Press, 1917, FIRST EDITION, foxing to title-page and the occasional faint spot further in, pp.128, crown 8vo, original green cloth, backstrip and upper board lettered in gilt, second issue with 'Oxford' at foot of backstrip, lean to spine, light dustsoiling to top edge, ownership inscription to flyleaf, free endpapers foxed, small bookseller sticker at foot of pastedown, good (Glenn I-A-i-2) 70 The author's second book. 32 Williams (Charles) Divorce. Humphrey Milford, Oxford University Press, 1920, FIRST EDITION, pp. 120, crown 8vo, original green cloth stamped in gilt to upper board, backstrip lettered in gilt and a shade darkened with a short split at foot, a few light marks to rear panel, edges toned, small bookseller stamp at foot of rear pastedown, very good (Glenn I-A-i-3) 100 33 Williams (Charles) War in Heaven. Gollancz, 1930, FIRST EDITION, very faint foxing to prelims and final leaves with the odd spot to page borders elsewhere, pp. 288, crown 8vo, original black cloth, backstrip lettered in yellow with slight lean to spine, backstrip tips a little pushed, top edge dusty, others with a few faint spots, light spotting to pastedowns and browning to free endpapers, good (Glenn I-A-ii-1) 80 The author s first novel, and the first in a series of spiritual shockers admired by authors such as C.S. Lewis and T.S. Eliot in which the everyday world experiences the incursion of some element of the supernatural - here based on the contested object of the Holy Grail (or Graal ), discovered in a small country parish. 34 Williams (Charles) The English Poetic Mind. Oxford: Clarendon Press, 1932, FIRST EDITION, pp. viii, 215, crown 8vo, original dark blue cloth, device to upper board gilt-blocked with blind-stamped single fillet border to both boards, backstrip lettered in gilt, dustjacket with chipping to corners and ends of darkened backstrip panel, small hole towards foot of upper joint-fold with a split at head of same, very good (Glenn I-A-iv-2) 175 Scarce in the dustjacket, part of the Oxford Books series that included work by H.W. Garrod and later C.S. Lewis s Allegory of Love. 35 Williams (Charles) The Region of the Summer Stars. Editions Poetry London, 1944, FIRST EDITION, pp. 55, crown 8vo, original pale blue cloth, backstrip lettered in gilt and a touch rubbed at tips, ownership inscription at head of flyleaf, small waterstain at head of lower board, dustjacket rubbed, chipped and creased with a few small tears, good (Glenn I-A-i-7) 40 10