the Piano”, Heath’s humour springs from scenes of domestic mishap, impudent or bumbling domestics, and that evergreen of Victorian humour, the Cockney mispronunciation. For example, “All in a Blaze” depicts a fireside catastrophe as Jemima, the stereotypical serving-maid, spills a pot of boiling water, scattering the scullery onlookers, because “the deuce is in the Chimbley”. Landscape octavo (138 × 219 mm). Stitched in original printed wrappers, rear wrapper advertising the two series Domestic Bliss and Domestic Miseries “by the same artist”. 8 etched plates by Heath. Light signs of handling, a couple of old ink blots to front wrapper, a little wear to spine, but overall a very good copy of a fragile publication. ¶ Kurt Gänzl, Victorian Vocalists , 2018. £750 [151844] 90 HEMINGWAY, Ernest. The Old Man and the Sea. New York: Charles Scribner’s Sons, 1952 First edition, in the first issue jacket, with the flaps printed in brown and no mention of Hemingway’s Pulitzer or Nobel Prize to the rear panel. Hemingway’s final work of fiction and among his best-known works, The Old Man and the Sea was awarded the Pulitzer Prize for Fiction in 1953, and was cited by the Nobel Committee in their awarding of Hemingway’s Nobel Prize for Literature in 1954.
89
Punch in 1842. In the same year he drew some amusing caricatures of Queen Victoria’s visit to Scotland, after which, according to M. H. Spielmann ( The History of Punch , 1895, 452), he emigrated to Australia” (ibid.). Lights and Shadows of Social Life may be related to a series of skits of the same name performed by the Welsh instrumentalist and composer John Parry (1776–1851), “a series of songs, scenes and imitations written by Albert Smith and composed, or mostly musically arranged, by Parry, put together from new and nearly new material . . . After some try-outs in the London suburbs, the new programme was given its first London outing at Willis’s Rooms on 22 March 1849” ( Gänzl , p. 455). The show was a success and toured the provinces through the rest of 1849, finally closing in London in June 1850. Whereas Parry’s performances – akin to a parlour Victor Borge – were a mix of sentimental ballads, imitations, and comedic pieces such as “The Troublesome Gentleman” and “The Flirt at
90
Octavo. Original light blue calico-grain cloth, spine lettered in silver, author’s name to front board in blind. With the pictorial dust jacket. Spine a little sunned and ends rubbed, top tips lightly bumped, front inner hinge a touch tender, internally fresh. A very good copy indeed, in the sharp, bright jacket, not price-clipped, spine panel and extremities a little rubbed and toned, overall a very fresh example. ¶ Grissom A24.1.a; Hanneman 24a. £1,750 [153646]
89
All items are fully described and photographed at peterharrington.co.uk
43
Made with FlippingBook Online newsletter maker