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96 KAVAN, Anna. Ice. New York: Doubleday & Company, Inc., 1970 Ice overruns the world – “one of the high points of science fiction” (Aldiss) First US edition, first printing, of the author’s last novel and masterpiece, “a classic surreal novel of existential catastrophe” ( Anatomy of Wonder ); a lovely copy in the jacket. Often contrasted with Ballard’s Drowned World , Ice depicts “a world jarred into ecocatastrophe by political and scientific crimes” (Lethem). “ Ice represents one of the high points of science fiction . . . [it] is a catastrophe novel that goes as far beyond Ballard as Ballard is beyond Wyndham, sailing into the chilly air of metaphysics” (Aldiss, pp. 336–7). This is the first edition to print the introduction by Aldiss, who praised it as the best science fiction novel of the year; it is preceded by the scarce UK edition (London, 1967). Octavo. Original blue cloth, spine lettered and blocked in white. With pictorial dust jacket. Spine ends a trifle bruised, cloth bright and clean; light shelfwear to jacket extremities, a couple nicks to foot of spine; a near-fine copy. ¶ Anatomy of Wonder , 3rd edn, 4–293; Locke II, p. 67 (both 1967 UK edition). Brian Aldiss, Trillion Year Spree: The History of Science Fiction , 1986; Jonathan Lethem, “The Cool Disturbances of Anna Kavan’s ‘Ice’”, New York Times Book Review , 27 Oct. 2017. £500 [145070]
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solo exhibition at the publishers Lund Humphries from 13 March to 3 April 1935. The brilliant success of Kauffer’s designs for the London Underground led to commissions from other established names in the capital, and “surreptitiously introduced Cubism, abstraction, geometric nonfiguration, and Surrealism to the British commuter. His most daring nonfigurative designs for Shell, Lund Humphries, and Fortnum & Mason exploited geometric forms and block lettering and stood at the cutting edge of design” (Twyman, p. 140).” Together 6 items: 5 cards (approx. 175 × 125 mm) printed in colour, 3 of which are folding, one with a perforated edge, and a newspaper clipping. Housed together in a brown envelope (180 × 250 mm), addressed and franked. In excellent condition, some light foxing, else clean, illustrations bright and unfaded; newspaper clipping toned. A well-preserved and appealing collection. ¶ Michael Twyman et al., eds., Art for All, British Posters for Transport , 2010. £475 [157658]
price of the book was one shilling (12 pennies), so the 13th poem acts as the extra item. The place and year of composition, from 1904 to 1924, is printed beneath each short poem, which have proved durable. Seamus Heaney and Ted Hughes, for example, included “Tilly”, “On the beach at Fontana”, and “A flower given to my daughter” in their popular anthology, The Rattlebag (1982). Duodecimo. Original pale green paper-covered boards, covers lettered in dark green. With the errata slip tipped-in to final leaf. A firm copy, covers toned, trivial damp stain to spine, a few spots of wear and a little rubbing to extremities, tiny mark to lower edge, internally bright and fresh. A very good copy indeed. ¶ Slocum & Cahoon A24. £750 [154217] 95 KAUFFER, E. McKnight. Collection of designs for Fortnum & Mason and Lund Humphries. London: 1933–35 An attractive collection of Kauffer’s promotional artwork, comprising invitations designed by him for four launches of Fortnum & Mason clothing collections, together with an invitation to his own
All items are fully described and photographed at peterharrington.co.uk
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