Children's Books & Original Illustrations

Actions are said to speak louder than words, but the right words published at the right time themselves inspire action. We celebrate the legacy of trailblazing writers, thinkers, activists, scientists, and travellers through exceptional first editions, special copies and objects, and significant archival material.

CHILDREN’S BOOKS & ORIGINAL ARTWORK

Peter Harrington l o n d o n

lice, on the cover of this catalogue, reminds us of the question posed at the beginning of Alice’s Adventures in Wonderland : “what is the use of a book … without pictures or conversations?”

signed Treasure Island . Prize-winners featured include Carnegie Medal-winners Watership Down , Tom’s Midnight Garden , voted the UK’s second-favourite book for the Carnegie Medal’s 70th anniversary, and The Machine Gunners , unusual for its authentic depiction of working class children. The Kate Greenaway Medal is represented in a rare inscribed copy of Shirley Hughes’s Dogger and Charles Keeping’s Charley, Charlotte, and the Golden Canary , notable for its unspoken commentary on race and housing, while Madeleine L’Engles’ own copy of her Newbery Medal-winning Wrinkle In Time sits alongside a miniature Bible from the Newbery children’s press. Other milestones in children’s literature include the first children’s book by a West Indian author to be issued by a major British publisher and the first children’s book to feature lesbian characters. Quirkier works include Dorrien Ruth Knight’s Binks Book , an intriguing dreamlike book with beautiful art deco illustrations, Warja Lavater’s unusual treatment of the tale of Sleeping Beauty in accordian-form, and a privately printed book of fairy tales by one of the first four women elected to the Royal Astronomical Society. Twenty-five years ago – on 26 June 1997 to be exact – a children’s book was published which would redefine children’s literature forever. The release of 500 hardback and 5,150 paperback copies of Harry Potter and the Philosopher’s Stone was the last great triumph of the traditional book. It is with great pleasure that we mark this milestone by offering a presentation copy of Philosopher’s Stone , together with a selection of other Rowling items. From the earliest collections of fairy tales of the Grimms to the fantasy of Rowling, welcome to the world of witches, bunnies, and bears and, to adapt the title from item 70, a catalogue of delights. Dr Philip W. Errington: philip@peterharrington.co.uk Theodora Robinson: theodora@peterharrington.co.uk

catalogue 183

Carroll himself was exacting in the reproduction of Tenniel’s original illustrations, and pictures in books are often of significant importance. They are also, frequently, instantly recognizable, as here. With this in mind, we are delighted to present a wealth of original book illustrations. A printed book may contain a perfectly satisfactory copy of a Rackham or Nielsen watercolour. But compare the original artwork and one generally discovers an added depth of colour and texture. Even E. H. Shepard’s original pen and ink drawings have an added life missing from the printed versions. Many of these pieces of original artwork have been in a private collection for over 40 years and represent a roll call of the greatest and most-loved illustrators: Helen Allingham, Mabel Lucie Atwell, Quentin Blake, E. F. Brickdale, Faith Jaques, the Walt Disney Studio, Warwick Goble, Kate Greenaway, Edward Lear, Elizabeth MacKinstry, Kay Nielsen, David Parkins, Beatrix Potter, Arthur Rackham, W. Heath Robinson, E. H. Shepard, William M. Timlin, Mary Tourtel, Louis Wain, and Rex Whistler. This catalogue also contains interesting and collectable copies of some of the classics of children’s literature, notable prize- winners, and a selection of less familiar titles from areas under- represented in mainstream children’s literature. Significant books include Busch’s Max und Moritz , the prototype of the comic strip, an inscribed Very Hungry Caterpillar , three fabulous Lewis Carrolls, an inscribed and corrected copy of Dahl’s first book, a significant association copy from Old Possum, copies of The Wind in the Willows and Just So Stories in their rare dust jackets, an important and poignant inscription from C. S. Lewis, a Milne family copy of When We Were Very Young , an extra-limited Now We Are Six , a complete set of Swallows and Amazons, and an extremely rare

CHILDREN’S BOOKS & ORIGINAL ARTWORK

mayfair 43 Dover Street London w1s 4ff chelsea 100 Fulham Road London sw3 6hs all items from this catalogue are on display at fulham road

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Front cover illustration by Arthur Rackham, item 96; title page illustration by Ernest H. Shepard, item 125; rear cover image of Dr Philip W. Errington. Design: Nigel Bents & Abbie Ingleby

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Photography: Ruth Segarra Staff portraits: Abbie Ingleby

CBP012915

1 ADAMS, Richard. Watership Down. Harmondsworth:

Penguin Books / Kestrel Books, 1976 inscribed by the author

First illustrated edition, first impression, inscribed by the author on the half-title, “To Elizabeth Gant with best wishes from Richard Adams”. Inscribed copies of this edition are rare. Elizabeth Gant, an antiquarian bookseller, ran a bookshop for many years with business premises on the High Street, Thames Ditton in Surrey. She specialized in early children’s and illustrated books. Initially turned down by all major publishing houses, Watership Down was finally issued by Rex Collings in 1972; sales were over 100,000 in the first year and Adams was awarded both the Carnegie Medal and the Guardian Award for children’s fiction. The first illustrated edition was published in 1976. For over two months, John Lawrence visited the Berkshire countryside with his sketchbook, making numerous drawings for this edition. Writing about the illustrator in The Guardian in June 2003, Joanna Carey noted that in Lawrence’s “lyrical watercolours for Watership Down , he creates rabbits which, while entirely naturalistic and non-anthropomorphic, are full of character”. Large octavo. Original cream boards with brown cloth spine, spine lettered in gilt and black, yellow endpapers. With dust jacket and publisher’s slipcase. Illustrated by John Lawrence. Spine slightly sunned, minor abrasions to front cover, corners bumped, a near-fine and attractive copy. Jacket slightly tanned at spine with small tears and abrasions, extremities slightly frayed, else a good and unclipped jacket. Slipcase sunned on back panel, but a near-fine and bright example. £1,500 [150804]

2 AGNIVTSEV, Nikolai Yakovlevich. Chashka chaia (“A Cup of Tea”). Moscow and Leningrad: Raduga, 1925 A striking visual critique of interwar international commerce First and sole edition, first printing, of this scarce 1920s indictment of the bourgeois exploitation of Chinese tea producers, aimed at Russian children. Copies of this fragile publication rarely survive, with just two copies located in WorldCat: the New York Public Library and Princeton. Raduga (“Rainbow”) was “one of the most important publishing houses of its kind not only during the Soviet period, but of the early twentieth century” (Cotsen, p. 343). Its picture books were exhibited abroad to wide acclaim, but at home they came increasingly under attack by critics who argued that they were not in keeping with new Soviet ideas of proletarian literature. After eight years of operations, Raduga was shut down and its backlist taken over by the state publisher Gozidat. Chashka chaia was one of Raduga’s failed attempts to conform to increasingly stringent official guidelines on the boundaries of acceptable cultural production. The book takes the reader on a visual journey through Chinese tea manufacturing, depicting the pickers who harvest it and the officials and merchants who take home the profit while ferrying it to Russia. However, the striking imagery in this work, exploiting standard European stereotypes of Chinese

3 ALLINGHAM, Helen. “Tired Out”. 1875 Original artwork by Hardy’s “best illustrator”

people in the early 20th century, came under attack from Soviet critics for depicting workers as foolish and silly rather than noble and heroic. The Russian poet and children’s author Nikolai Agnivtsev (1888–1932) authored over twenty children’s books in the 1920s, including a number for Raduga of which all are now scarce. Chashka chaia was illustrated by Vladislav Tvardovskii (1888–1942), a graduate of the Academy of Arts and an in- house illustrator for Raduga. He is credited with designing around ten books for the publisher, including another of Agnivtsev’s works, Vintik-shpuntik (“The Little Screw”), also published in 1925. Quarto (276 × 219 mm), pp. 13. Original illustrated paper wrappers. Colour illustrations throughout drawn by Vladislav Tvardovskii. Some neat restoration, staples renewed, faint stains throughout, illustrations bright and sharp. Overall a very good copy of this fragile publication. ¶ Cotsen Children’s Library, “The Anna Baksht Benjamin Family Collection of Raduga Books”, The Princeton University Library Chronicle , vol. 65, no. 2, Winter 2004, pp. 343–356. £1,500 [151240]

The artist Helen Allingham (1848–1926) enjoyed success within late Victorian periodicals, including her illustrations for the serial version of Hardy’s Far from the Madding Crowd for The Cornhill Magazine in 1874, for example. As noted by Houfe, the artist’s “scope as an illustrator was in cottage and rural life with some portraits”. Publication of the present piece is currently untraced. Hardy described Allingham as “the best illustrator I ever had” in a letter to James Osgood dated 6 December 1888 and, again, almost two decades later, in a letter to Edmund Gosse, dated 25 July 1906 ( Collected Letters , volume 1, p. 181 and volume 3, p. 218). Original drawing (243 × 196 mm) on paper, laid down on artist’s board, watercolour, signed with initials and dated (“HA 75”) lower right, mounted, framed, and glazed (408 × 353 mm). Fine and unfaded. ¶ Richard Little Purdy, ed., Collected Letters of Thomas Hardy. Volume One: 1840–1892 , 1978; Volume Three: 1903–1908 , 1982. £6,750 [154960]

All items are fully described and photographed at peterharrington.co.uk

CHILDREN’S BOOKS & ORIGINAL ARTWORK

5 ANDERSEN, Hans Christian. Fairy Tales. Illustrated by twelve large designs in colour after original drawings by E.V.B. London: Sampson Low, Marston, Low, and Searle, 1872 inspired by the pre-raphaelites First Boyle edition. Eleanor Vere Boyle (1825–1916) was one of the leading book illustrators of the mid-19th century. This edition of Andersen’s Fairy Tales was one of the first illustrated by an English illustrator, and Boyle’s vivid artwork set the standard for following editions. “Other editions containing simple woodcuts appeared in the 1860s, generally of unmemorable quality, until the arrival of Eleanor Vere Boyle. Inspired by the Pre-Raphaelites, ‘E.V.B.’, as she signed herself, became one of the leading mid-Victorian book illustrators and turned to Andersen’s work in 1872, producing a dozen striking woodcuts designed to be hand-

4 ANDERSEN, Hans Christian. Hans Andersen’s Story Book: with a Memoir by Mary Howitt. New York: C. S. Francis & Co., 1849 In the attractive original cloth First collected American edition. The volume contains 27 of Hans Andersen’s stories translated into English by Mary Howitt and Charles Boner, including “The Snow Queen”, “The Emperor’s New Clothes”, “The Real Princess” (better known as “The Princess and the Pea”), and “The Red Shoes”, together with a short biography of Andersen by Howitt. Selections of Hans Andersen’s stories first appeared in English in 1846, translated by Boner and Howitt and published in the UK. “Andersen’s work was immediately naturalized into English children’s literature, and was the second great element, after Grimm, in the revival of public enthusiasm for fairy tale and fantasy” (Carpenter & Prichard). Mary Howitt (1799–1888) translated several of Andersen’s works, as well as the writings of Swedish novelist Frederika Bremer. She also was well-respected for her own writing and collections of English folktales. Octavo. Original green cloth, spine lettered and decorated in gilt, titles and vignette on front cover in gilt, decoration in blind, rear cover decorated in blind, pale yellow endpapers. Engraved portrait frontispiece from a painting by Carl Hartmann with tissue guard, engraved title page, two full page plates, numerous decorated initials and in-text illustrations, 4 pp. of publisher’s advertisements at end. Christmas gift inscription dated 1848 and ownership inscription dated 1859 on front free endpaper. Cocked, spine sunned, light wear to corners, front inner hinge starting, very occasional light foxing; a very good copy. ¶ Carpenter & Prichard 22. £1,750 [144875]

coloured” (Ash, p. 9). Though one of the first women artists to be widely recognised for her achievements, she published anonymously and did not often exhibit or sell work. This is a scarce book; a variant red cloth binding was also issued without known priority. Quarto. Original green pictorial cloth by Burn & Co., elaborate gilt and black design on front cover, blind-stamped centrepiece and panel on rear cover, gilt edges, brown coated endpapers. With frontispiece and 11 colour plates after original drawings by Eleanor Vere Boyle, with captioned tissue guards, 2 pp. advertisements to rear. Small bookseller’s ticket on front pastedown. Spine ends and corners a little bumped, a touch of rubbing to extremities, else covers bright and fresh, front inner hinge cracked but firm at frontispiece, a few spots of foxing to prelims, some offsetting from plates to tissue guards. A very good copy indeed, plates remarkably bright. ¶ Russell Ash, Fairy Tales from Hans Christian Andersen , 1992. £1,500 [149532] 6 ATTWELL, Mabel Lucie. Child in a dunce cap. [c.1930] Original artwork A fine example of Attwell’s artwork. Alan Horne notes that Atwell’s “pictures of chubby, winsome children enjoyed a tremendous vogue in magazines and books for the young; and her annuals, cards, posters, bathroom plaques and all sorts of ephemeral items continued to be incredibly popular through the thirties and into the forties” (Horne, p. 79).

Original drawing (348 × 248 mm) on paper (360 × 260 mm), laid down on board, ink and watercolour, signed (“Mabel Lucie Attwell”) lower left, mounted, framed, and glazed (framed size 547 × 440 mm). ¶ Alan Horne, The Dictionary of 20th Century British Book Illustrators , 1994. £2,250 [154986] 7 AULNOY, Marie Catherine d’. The History of the Tales of the Fairies. Containing, I. The tale of Graciosa, … VII. The orange-tree, and its beloved bee: … With cuts suitable to each tale. London: printed for C. and R. Ware; J. Hodges; L. Hawes, and S. Crowder; and H. Woodgate, 1769 Seven woodcuts for seven fairy tales Scarce early English abridgement of Mme d’Aulnoy’s fairy tales, originally published in 1716. Each of the seven tales is illustrated with a woodcut. ESTC cites three copies only, one each in the UK (no copy in the British Library), the US, and Australia. Duodecimo (143 × 86 mm). Recent crushed morocco by Brian Frost & Co. of Bath, gilt-lettered on spine, gilt edges. With 7 wood-engraved illustrations in the text. Early ownership inscription (John Mc Tag) on final leaf blank verso. Lower margin trimmed a little close, just shaving signature at foot of B4, but adequate elsewhere, a very good copy, the paper clean and strong throughout. ¶ ESTC N27184. £3,500 [149637]

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CHILDREN’S BOOKS & ORIGINAL ARTWORK

of traditional tales including the ‘Cries of London’ and the ‘Arabian Nights’” ( ODNB ). Sexagesimo-quarto (46 × 33 mm). Original black morocco, flat spine ruled and decorated in gilt, gilt rules, rolls, and floral toolings on covers, red morocco inlay with the Christogram “JHS” lettered in gilt to covers, board edges gilt, marbled endpapers, edges gilt. Housed in a custom velvet drawstring bag and archival cream card folding case. With 15 plates. Minor rubbing to extremities, inner hinges partly cracked but firm, printing error to leaf Q2 affecting a few words, tiny puncture to caption of plate facing p. 192, small folds to a few corners, internally bright. A very good copy. £1,250 [146941] 11 BLAGG, Mary A. Four Fairy Tales. [Together with a manuscript copy of one of the tales.] Cheadle: J. Lowndes, 1911 An astronomer’s private fairy tales, presented to her loved ones First and sole edition of this collection of fairy tales, presentation copy, inscribed by the author on the front free endpaper: “Félicité Hardcastle, With good wishes for her birthday, July 1 from the authoress, 1911”, with a textual correction on p. 71. Accompanying the printed work is an

her authoritative text defining lunar nomenclature, Named Lunar Formations (1935, with Karl Müller). This copy of Four Fairy Tales has a superb association: Félicité Hardcastle was the daughter of the astronomer Joseph A. Hardcastle; it was through his university extension course that Blagg first began studying astronomy in 1905. Hardcastle also arranged her first astronomical publication – her analysis of a year’s worth of star observations, totalling 4,000 in all. The work was presented to Félicité for her tenth birthday, and is suggestive of the longstanding friendship Blagg and Hardcastle developed. Félicité went on to become an archaeologist, historian, and amateur botanist noted for her work in the area of Burley, Hampshire. Four Fairy Tales : octavo. Original blue cloth, front cover lettered and tooled with floral design in gilt initialled H.N.A., green ivy leaf-patterned endpapers. Spine faintly toned, extremities rubbed, sporadic light foxing; an excellent copy. Manuscript of “The Ugly Prince”: quarto (198 × 165 mm). Original commercial dark blue diaper-grain limp cloth, title label made from paper tape on front cover written in manuscript (“The Ugly Prince”), edges blue, 64 pages written entirely in manuscript, 20 lines per page. Slight scuffing and marking to covers, outer leaves and margins a little browned, text all legible, a very good copy. £2,250 [149717]

series, a film, and a chart-topping band. Wimbledon Football Club has, at various times, adopted Wombles as club mascots. Octavo. Original red cloth, spine lettered in gilt. With dust jacket. Frontispiece and 15 full-page illustrations with other illustrations in the text, all by Oliver Chadwick. Head and foot of spine slightly bumped, minor foxing to edges; a near-fine copy. Price-clipped dust

8 BALLANTYNE, R. M. The Gorilla Hunters. A Tale of the Wilds of Africa. London: T. Nelson and Sons, 1861 First edition of Ballantyne’s adventure in which the three characters from his most successful novel, Coral Island (1858), meet up some years later and set off in pursuit of gorillas. The first edition is rare: only two copies appear in auction records and the copy that Sadleir describes was not his own. “Few copies of the first edition appear to have survived, and to find one in the original cloth binding is a rare occurrence. This may well be a measure of the popularity of the tale, the book having been ‘read to death’ in the first few years of its existence to be finally consigned to the dustbin, dog-eared and tattered” (Quayle). Octavo. Original light reddish-purple vertical wave-grain cloth, spine and covers decoratively lettered and blocked in gilt and blind, yellow endpapers. Frontispiece, extra engraved title, 5 plates. Ownership inscription on front free endpaper obscured. Spine faded and with slight lean, a couple of ink stains to rear cover, some pencilled crosses in the text, a little very light spotting to early leaves, an excellent copy. ¶ Osborne, p. 322; Quayle 26a; Sadleir, XIX Century Fiction , 110; not in Wolff. £3,500 [144253] 9 BERESFORD, Elisabeth. The Wandering Wombles. London: Ernest Benn Limited, 1970 First edition, first impression, presentation copy of the second Wombles book, inscribed by the author (“To David, with best wishes from Elizabeth Beresford”) and the illustrator (“and Oliver Chadwick”) on the front free endpaper. Copies signed by both the author and illustrator are rare. The furry eco-friendly inhabitants of Wimbledon Common featured in a series of novels, a classic television

earlier manuscript version of one of the tales, “The Ugly Prince”, written entirely in Blagg’s hand and inscribed to her niece, Alice Nancy Bowers: “The Ugly Prince By M. A. Blagg. For Miss A. N. Bowers. From the author, January 1906”. Blagg’s Four Fairy Tales was published in her hometown of Cheadle, Staffordshire, and appears to have been issued in a small print run for private circulation. It is consequently scarce, with only one copy traced institutionally worldwide (British Library). The publisher, Jesse Lowndes, listed in the 1911 census as a letterpress printer, was part of a local well-respected family of photographers. That the recipient of “The Ugly Prince” was Mary’s niece indicates that the stories eventually published as Four Fairy Tales were initially written for her loved ones. Mary Adela Blagg (1858–1944) was a noted astronomer. In 1916 she was among the first four women elected to the Royal Astronomical Society, with reports at the time stating that “it was largely in consequence of Miss Blagg’s work that the RAS recently altered its constitution so that ladies might be admitted” ( Derbyshire Advertiser and Journal , 4 February 1916). Blagg was appointed to collate the various named lunar forms and adapt them into a definitive state. Her Collated List of Lunar Formations (1913, with S. A. Saunder) laid the groundwork for

jacket worn at extremities, some surface abrasions, some foxing to reverse; a good example. £475 [155504] 10 BIBLE. Bible in Miniature, or a Concise History of Both Testaments. London: J. Harris, late [Elizabeth] Newbery, & for Darton & Harvey, [c.1800] From the Newbery children’s press An exquisite miniature Bible, first published by Elizabeth Newbery in 1780, adorned with pictures and paraphrased for the use of children. Newbery took over the famous children’s publishing firm of her uncle-in-law John Newbery (bap. 1713, d. 1767), who lends his name to the John Newbery Medal prize for American children’s literature. Elizabeth Newbery’s (1745/6–1821) “control spanned the decades in which children’s books became an established branch of the publishing industry, and her list included abridgements of Richardson and Fielding, English writers such as Sarah Trimmer and Priscilla Wakefield, and versions

All items are fully described and photographed at peterharrington.co.uk

CHILDREN’S BOOKS & ORIGINAL ARTWORK

14 BRICKDALE, Eleanor Fortescue (illus.); NEALE, John Mason. “Good King Wenceslas”. 1925 original artwork for the famous Carol Published within a collection of carols in 1925 by the firm of Alexander Moring. The printed volume presented 14 carols with 6 double-page colour plates and 5 other colour plates by Brickdale. This fine watercolour was reproduced as one of the double-page plates. Original drawing (235 × 316 mm) on artist’s board (252 × 335 mm with “Smith’s Water Color Boards” printed on reverse), fine ink and watercolour, signed (“E. F. Brickdale”) lower right, mounted, framed, and glazed (framed size 387 × 456 mm). Fine condition: bright and unfaded. £6,750 [154958]

13 BRICKDALE, Eleanor Fortescue. “An Outcast”. 1912 A fine watercolour depicting the patron saint of brides, charities, and hospitals Original artwork for William Canton’s The Story of Saint Elizabeth of Hungary in 1912, one of eight colour plates published in the book. Saint Elizabeth (1207–31) is remembered for the “Miracle of the Roses”. This watercolour accompanies chapter ten in the book which is entitled “Outcast”. The published book was reviewed by the Times Literary Supplement on 5 December 1912 as having “very expressive and skilful drawings in colour by Miss Eleanor Brickdale”. Eleanor Fortescue Brickdale (1871–1945) is remembered as a painter and designer. “She represents the last phase of Pre-Raphaelitism, her highly detailed and meaningful little pictures are crammed with medievalism and moral sentiment. She was the ideal illustrator of legend and particularly for those expensive coloured gift books of the 1900s where her bright colours and haughty figures were set off to advantage on the ample pages” (Houfe, p. 73). Original drawing (186 × 122 mm) on artist’s board (195 × 133 mm with “O.W. Paper & Arts” printed on reverse), fine ink and watercolour, signed with initials (“EFB”) lower left, mounted, framed, and glazed (framed size 325 × 250 mm). Light toning to extremities; fine and bright. ¶ Simon Houfe, 19th Century British Book Illustrators and Caricaturists , 1998. £2,750 [154973]

12 BLAKE, Quentin. Prince Charming and Dandini on the balcony. 2020 Original DRAWING for a television production of Cinderella An original Quentin Blake drawing for Cinderella: a Comic Relief Pantomime for Christmas , the only pantomime mounted by Comic Relief. Broadcast on BBC Television on 24 December 2020, it featured 12 performers, all filmed at home. Throughout the show 16 illustrations by Quentin Blake, specially drawn for the broadcast, were shown on the screen to help create a unifying style for the performance. This drawing appears less than a minute into the performance and shows Prince Charming and Dandini. The narrative voice-over was spoken by Olivia Colman and was described (in appropriate pantomime rhyming couplets) as: “On the balcony a figure so bold and disarming, / Dashing and handsome, his name is Prince Charming”. Original drawing (410 × 480 mm) on paper (550 × 750 mm), fibre-tip pen and watercolour, signed and dated (“Quentin Blake Christmas 2020”) lower right, mounted, framed, and glazed. A bright and vibrant drawing. £3,750 [150856]

All items are fully described and photographed at peterharrington.co.uk

CHILDREN’S BOOKS & ORIGINAL ARTWORK

16 BUSCH, Wilhelm. Max und Moritz: eine Bubengeschichte in sieben Streichen. Munich: Braun und Schneider, [1865] The prototype of the comic strip Rare first edition, first impression, of the book widely regarded as the prototype of the children’s comic. The first printing was 4,000 copies, but the nature of the book and the juvenile readership led to a very high attrition rate. This is a remarkably well-preserved copy. After Struwwelpeter , Max und Moritz is the best-known German children’s book. Busch’s style, his lively line drawings captioned with rhyming couplets, is generally recognized as the precursor of modern comic strips, particularly influential on German émigrés to America like Rudolph Dirks, whose Katzenjammer Kids is a close imitation of Max und Moritz . Busch pioneered several elements which have become staples of the medium, such as onomatopoeia and expressive movement lines. This copy has the key error “geschroben” for “geschroten” on leaf 52 and Vanselow’s other points: leaf 17 with a full stop after the last word; line 1, leaf 31, slightly indented; leaf 51 with a point and dash after “Bösewichter”; and 7 dashes on the left of the text on leaf 53. The illustrations are first state, strong woodcut impressions on white paper with light colouring as per the artist’s instructions. Only the first four printings have illustrations printed from the original woodblocks by Dr C. Wolf & Sohn; later printings are illustrated by electrotypes. Outside Germany the first edition is notably rare: there is a single copy in North America at the Houghton Library, Harvard, while Library Hub locates only one copy in the United Kingdom and Ireland, that at the Taylor Institution Library, Oxford. Octavo (205 × 132 mm), ff. [2], 53; printed on rectos only. Contemporary dark brown sheep-backed brown patterned-paper covered boards, manuscript titles in dark brown ink on yellow spine

15 BURNETT, Frances Hodgson. Little Lord Fauntleroy.

pastedown. Extremities worn, rubbed in place, but the binding firm, small reinforcement to lower inner corner of title verso and “Vorwort” recto, last leaf seemingly reattached, superficial abrasion to leaf 17 with slight loss of image, occasional small edge-splits to lower margins, lightly finger-soiled, occasional spotting, else a remarkably well-preserved and wide-margined copy. ¶ Vanselow 28 (wrongly counting the number of prints as 99); not in Grolier. Susan Reed, “Two bad boys, seven pranks and one children’s classic”, 2015, article online. £45,000 [138250] 17 CARLE, Eric. The Very Hungry Caterpillar. New York and Cleveland: The World Publishing Company, 1969 Signed by the artist First edition, first printing, signed by the author on the front free endpaper verso, of Carle’s children’s classic, with the rare dust jacket. First edition copies are notably scarce on the market, and signed copies of this important staple of 20th- century children’s literature are exceedingly rare. The jacket is the first issue with “The World Publishing Company New York and Cleveland” at the bottom of both flaps and A3450 on the rear panel. Since its publication, The Very Hungry Caterpillar has enchanted generations of children across the world. With sales of more than 30 million copies worldwide, and at least 40 different translations, Eric Carle’s story of metamorphosis has become one of the best-loved and best-selling children’s books of all time, regularly featuring in polls and charts of favourite books. Oblong octavo. Original glazed pictorial boards, spine and front board lettered in black, pictorial endpapers. With dust jacket. Illustrated throughout. A superb copy, clean and bright, in a lovely example of the jacket, price-clipped, mildly toned at edges, else notably sharp and fresh. ¶ Grolier, Children’s 100 , 99. £15,000 [150943]

label, blue speckled edges. Housed in a black quarter morocco solander box by the Chelsea Bindery. With 98 lightly hand-coloured woodcut illustrations in the text by the author (the illustration on leaf 45 signed in the block, “WBusch 65”), xylographic title. Neat contemporary ink ownership inscription of Bruno Lange on front

New York: Charles Scribner’s Sons, 1886 With manuscript material

First edition, first issue, with an autograph letter signed by the author tipped-in to the first blank, responding to a question about the real-life inspiration for the characters of Cedric Errol (young Lord Fauntleroy), and Sara Crewe (later dramatized as A Little Princess ). In the letter dated 12 February 1897, Burnett writes: “Sara Crewe was a very real little girl indeed and that though she has grown up to be a woman she still always tries to be a Princess and remember ‘the Populace’. Cedric was real too and though his golden locks were cast-off years ago he is a dear fellow . . . and has, I think as many friends today as he had when he wore a lace collar and a sash”. In Little Lord Fauntleroy , Burnett described Cedric’s appearance: “What the Earl saw was a graceful, childish figure in a black velvet suit, with a lace collar, and with lovelocks waving about the handsome, manly little face, whose eyes met his with a look of innocent good-fellowship”. Little Lord Fauntleroy was Burnett’s first children’s novel. It made her a household name on both sides of the Atlantic and popularised elaborately trimmed velvet page-boy suits. A Little Princess was first published under the title “Sara Crewe: or, What Happened at Miss Minchin’s” in St. Nicholas Magazine , December 1887, and in book form the following year. Quarto. Original brown cloth, spine and cover decorated in black, red, and gold, brown coated endpapers. Engraved frontispiece and 11 plates, vignettes throughout. Spine cocked, ends a little frayed, corners slightly worn, minor toning to contents, free from marks, inner hinges sound. A very good copy in bright cloth. ¶ BAL 2064. £2,500 [144824]

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CHILDREN’S BOOKS & ORIGINAL ARTWORK

18 CARROLL, Lewis. Alice’s Adventures in Wonderland. New York: D. Appleton, 1866 the first practicably obtainable issue of the original sheets First edition, second issue, comprising sheets of the suppressed 1865 printing of Alice with the Appleton cancel title page. The issue consisted of 1,000 copies, using the first printing sheets but with new tipped-in title pages also printed at the Clarendon Press, Oxford. Dodgson authorized the sale to America on 10 April 1866 and was invoiced for the printing of the American title pages on 26 May. Octavo. Original red cloth, spine lettered in gilt, triple gilt rules to covers, gilt roundels with “Alice” motifs to covers, dark green endpapers, edges gilt. Housed in a custom red cloth flat-back box. Frontispiece with tissue guard and 41 illustrations by John Tenniel. Provenance: S. H. W[illiams] of Inner Temple with bookplate on front pastedown of both book and box. A little wear to spine ends and corners, a couple of light marks to cloth, tiny spot of abrasion to front free endpaper, front hinge split but holding, rear hinge partly split, but text block sound. An excellent copy in bright cloth. ¶ Printing and the Mind of Man 354 (the first issue); Robert Taylor, Lewis Carroll at Texas: The Warren Weaver Collection , 1985, no. 2; Williams-Madan-Green-Crutch 44. £37,500 [116108] 19 CARROLL, Lewis. The Nursery Alice. London: Macmillan and Co., 1890 One of 100 copies inscribed by the author Second edition (the first published in the UK), first issue, presentation copy, inscribed by the author on the half-title, “For Olive, from the Author. Mar. 25, 1890”. The recipient was Olive Augusta Langton Clarke who Carroll met in September 1883. Her father was both a clergyman and an inventor, and a close friend of the author. The original idea for a simplified version of Alice’s Adventures in Wonderland came to Lewis Carroll in 1881. He conceived a book with simplified text and pictures printed in colour. In 1886 the book was announced as being in preparation. The first edition was printed in 1889 and Carroll, mirroring his behaviour over the original publication of Alice’s Adventures in Wonderland in 1865, rejected the printing with the complaint that the illustrations were “far too bright and gaudy”. The rejected sheets would eventually be issued in the US in 1890 (and then in the UK in 1891 and 1897). The second edition, published in 1890, was therefore the first published edition and on 25 March 1890 Carroll inscribed around 100 presentation copies, having recorded the names and (mostly) addresses of recipients in an exercise book. Describing the new printing Carroll stated that “it is a great success” ( Diaries , p. 506). The most notable alteration between the two editions is the printing of the sheets on white rather than toned paper and the change to the illustration of “Alice and the Cheshire Cat” on p. 34, removing Alice’s profile. The first issue has “Price four shillings” above the imprint. Williams, Madan, Green, and Crutch call for “an inserted printed slip advertising Sylvie and Bruno” which is frequently missing, but present here.

Carroll records Olive Langton Clarke as entry number 45 in his list of presentation copies. She is listed as living at 25 Clarendon Square, Leamington. Carroll first met the Clarkes at Whitburn in October 1864. James Langton Clarke (1833–1916) attended University College, Durham (obtaining a BA in 1856 and MA 1857). He was a curate of Whitburn 1858–60, and afterwards curate at Leamington from 1885. Given this gap, it is assumed that he had some independent means. In 1857 he married Frances Mary Harrison (b. 1835), daughter of the railway engineer Thomas Elliott Harrison, and the couple had 14 children. Olive Augusta was the youngest and born in 1880. In 1904, James Langton Clarke published The Eternal Saviour-Judge . He was also an inventor. The Langton Clarkes were friends of the Wilcoxes (related to Carroll), and James Langton Clarke officiated at the christening of Mary Dorothea Wilcox in October 1859. A collection of photographs taken by Carroll of the Langton Clarkes is now at the Chicago Art Institute. Provenance: Sotheby’s, 25–27 July 1927, lot 571; Quaritch; Thomas and Jania Erwin. Tall octavo. Original white cloth-backed white glazed pictorial boards designed by E. Gertrude Thomson, front cover lettered in red and black. Printed slip advertising Sylvie and Bruno loosely inserted. Housed in a custom red linen chemise and red cloth slipcase by James Macdonald (of New York). Colour frontispiece with tissue guard and 19 colour illustrations after John Tenniel. Book label of Thomas and Jania Erwin on front pastedown. Binding somewhat worn and soiled with extremities worn, some abrasions to rear cover, some light finger- soiling; else a good and attractive copy. ¶ Williams-Madan-Green- Crutch 216. Edward Wakeling, ed., Lewis Carroll’s Diaries , Vol. 8., 2004. £8,500 [151897] 20 CARROLL, Lewis. Alice’s Adventures in Wonderland. London: Philip Lee Warner, publisher to The Medici Society; Riccardi Press edition, number 4 of 10 copies printed on vellum. A further 1,000 copies were printed on paper. The Press was founded by Herbert P. Horne, who designed the typeface. It began to be used as the imprint for Medici Society publications in 1909. Will Ransom notes in Private Presses and their Books that the vellum copies issued by the Riccardi Press were “bound in limp Kelmscott vellum”. The dust jacket on this copy is a remarkable survival. As a plain dust jacket using low-grade brown paper with flaps (which are roughly cut) it might be seen as a protective covering supplied by the binder rather than a publisher’s jacket. Alternatively, this may be an addition by an early owner. The spine of the jacket has lettering added by hand. Quarto. Original limp vellum, spine and front cover lettered in gilt, green silk ties. With plain dust jacket. Housed in a custom brown cloth slipcase. Illustrations by John Tenniel. Some very light browning; a fine copy which is bright and clean. Dust jacket worn with loss and tears. ¶ Ransom Riccardi Press 12. £15,000 [152895] Riccardi Press Books, 1914 Printed on vellum

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CHILDREN’S BOOKS & ORIGINAL ARTWORK

21 CLARKE, Arthur C. The Young Traveller in Space. London: Phoenix House Ltd, 1954 First edition, first impression, signed by the author on the title page, of his children’s book explaining the potential future of space exploration only three years before the launch of Sputnik 1 and the international space race that followed; an inspiring work of non-fiction from the author of 2001: A Space Odyssey (1968). Clarke has been described as exemplifying the ideal career trajectory of a science fiction writer; “the only writer to approach Clarke as an embodiment of this ideal has been Isaac Asimov. Yet Clarke has the edge” (James, p. 431). His “reputation will remain attached to a vision of the future that assumed, years before it happened, that space travel was both possible and desirable” ( ODNB ). Octavo. Original illustrated boards designed by Edmund Louis Blandford, spine and front cover lettered in white and red. With dust jacket. Colour frontispiece, 31 monochrome plates, and 6 diagrams. Gift inscription on front pastedown. A little soiling to foot of rear cover, rubbing at edges, book block toned, plates bright. A very good copy in like jacket, price-clipped, somewhat rubbed and creased, slight foxing, couple of closed tears to upper edges (one at head of front panel measuring 4 cm) with tape repairs on verso. ¶ Edward James, “Arthur C. Clarke”, A Companion to Science Fiction , 2005. £750 [154750] 22 CROMPTON, Richmal. William and the Witch. London: George Newnes Limited, 1964 First edition, presentation copy, inscribed by the author to her sister on the front free endpaper, “Gwen with much love from Ray (Richmal Crompton)”, together with the ownership signature and address of another member of the family.

This is the 34th William volume and the last to include illustrations by Thomas Henry. The volume contains five short stories about William and “the outlaws”. The front free endpaper carries the signature and address of Margaret Disher who was the niece of the recipient. Octavo. Original green cloth, lettering on spine and front cover in gilt, vignette on spine in gilt, top edge green. With dust jacket. Illustrations

The Gremlins was the author’s first book. It was written as a promotional device for a feature-length Disney animation that was never produced, partly because the studio could not establish firm copyright in the “gremlin” characters (Dahl claimed to have invented them, though they had been common currency in the RAF and had appeared in print at least once before) and partly because the British Air Ministry wanted final approval of the script and production. It was eventually agreed that royalties would be split between the RAF Benevolent Fund and Dahl. The book is described on the title and the front cover as being “From the Walt Disney Production”; the Disney studio would write to Dahl in August 1943 after publication cancelling any further preproduction work. Quarto. Original red cloth-backed illustrated boards, spine lettered in black, yellow and red pictorial endpapers. With dust jacket. Coloured illustrations throughout. Corners slightly worn, surface scratches to covers, minor foxing, occasional light staining to top edge of a few leaves; a near-fine and attractive copy. Extremities of dust jacket slightly worn with some tears and abrasions; a very good and bright example. £12,500 [156233]

by Thomas Henry and Henry Ford. Very minor dampstaining to front cover, light foxing to edges, small crease to corner of front free endpaper, else a bright and very good copy. Extremities of dust jacket frayed with creases and minor loss, else an unfaded, unclipped and good example of the dust jacket. ¶ Lofts & Adley 33. £975 [151288] 23 DAHL, Roald. The Gremlins. New York: Random House, 1943 Inscribed and with authorial corrections First edition, first printing, presentation copy, inscribed by the author on the half-title, “To John Strafford, with best regards, Roald Dahl, 3/6/43”. The US copyright card catalogue provides a publication date of 10 May 1943 and this copy is therefore inscribed within a month of publication. The recipient is currently unidentified. He is not apparently mentioned in Dahl’s autobiographical Going Solo or the biographies by Jeremy Treglown and Donald Sturrock. This copy contains two authorial corrections. On page 9, line 9 and again on page 22, line 2 the name “Barry” has been changed to “Gus”.

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CHILDREN’S BOOKS & ORIGINAL ARTWORK

24, 25, 26

27, 28, 29

24 DAHL, Roald. James and the Giant Peach. New York: Alfred A. Knopf, [c.1972] Inscribed for the children of the surgeon who saved his spine Presentation copy, inscribed by the author on the front free endpaper, “Hilary & Rory, Love Roald Dahl. 1978”. The recipients were the children of Michael Briggs, who operated on Dahl’s spine in 1978. The operation was successful and, as a memento, Dahl lovingly kept shavings from his spine on a table in his writing hut. This is a later printing of Roald Dahl’s first book for children, originally published in the US in 1961. Quarto. Original dark blue cloth-backed light blue boards, spine lettered in gilt, front cover blocked in blind. With dust jacket. Colour frontispiece, 4 colour plates, 1 tinted, 19 illustrations to text, of which 10 are tinted. Extremities of boards toned, light foxing to edges; a very good copy. Spine of dust jacket faded, nicked at ends and with extremities rubbed, with previous owner’s plastic covering; good only. £1,250 [156668] 25 DAHL, Roald. The Twits. London: Jonathan Cape, 1980 Signed by Quentin Blake First edition, first impression, signed by the illustrator on the title page. Octavo. Original red boards, spine lettered in gilt. With dust jacket. Illustrated throughout by Quentin Blake. Spine very lightly faded, a superb copy. £1,500 [148401]

26 DAHL, Roald. The BFG. London: Jonathan Cape, 1982 First edition, first impression. Dahl’s fantastical tale was expanded from a short story within his 1975 book Danny, the Champion of the World , described in the dust jacket blurb as “Dahl’s most startling and wonderful tale since Charlie and the Chocolate Factory” . Octavo. Original light grey boards, spine lettered in gilt. With jacket designed by Quentin Blake. Black and white illustrations to the text, all by Blake. A sharp copy, minor foxing to endpapers and rear pastedown, overall in excellent condition, in near-fine dust jacket very slightly toned on the verso. £575 [154764] 27 DAHL, Roald. Revolting Rhymes. New York: Alfred A. Knopf, 1983 a prize after a marvellous chocolate feast First US edition, first printing, presentation copy inscribed by the author, “To Alison, Love Roald Dahl, Great Missenden, 15/7/84”. The book was first published the previous year in the UK by Jonathan Cape. The US edition changes the original printed order of the rhymes. The recipient was a winner of a competition held by the Puffin Club. Winners were selected by Dahl to visit the author’s house on 15 July 1984. The event culminated with “a marvellous chocolate feast plus a special present”. We have seen one other copy of Revolting Rhymes inscribed on this date and it appears that Dahl had a small supply of US editions of this title for distribution. Giving signed copies of a book published by his American publisher to members of the English Puffin Club (a group closely associated with Penguin Books), would, undoubtedly, have appealed to Dahl.

Avon in November 2010. This production transferred to the West End a year later and opened on Broadway in April 2013. Quentin Blake’s spirited ink drawing of “the Trunchbull”, complete with riding-crop, measures 163 × 90 mm and is signed “Quentin Blake”. It appears on an otherwise blank page and the odious headmistress therefore stares at the published drawing of Matilda with which the text commences. This interaction is a fine example of the illustrator’s wit. Octavo. Original illustrated wrappers, lettered in blue, red, and black. Illustrated throughout by Quentin Blake. Book label for The Schøyen Collection on inside front wrapper. Spine slightly sunned and creased, else a bright copy. £5,750 [156825]

Octavo. Original pictorial boards, spine and front cover lettered in yellow and white. With dust jacket. Illustrated throughout by Quentin Blake. Head of spine very slightly faded and bumped; a near-fine copy. Worn dust jacket with fading, creases, tears and minor loss: good only. £2,000 [154849] 28 DAHL, Roald Boy. London: Jonathan Cape, 1984 Inscribed by the author First edition, first impression, presentation copy inscribed by the author on the half-title, “To Scott Love Roald Dahl”. In his autobiographical collection of stories from childhood, Dahl includes his fondness for confectionery, his Norwegian ancestry, and his loathing for most schoolteachers. Octavo. Original blue boards, spine lettered in gilt. With dust jacket. With black and white photographic illustrations throughout the text and illustrated endpapers. Extremities a little bumped and faded; a very good copy. Dust jacket worn at head of spine with diagonal crease within the laminate of the front panel, a very good example of an unclipped jacket. £2,500 [156669] 29 DAHL, Roald. Matilda. London: Puffin Books, 1988 With an original drawing by Quentin Blake First paperback edition, first impression, signed by the author on the half-title and with a full-page original drawing of Miss Trunchbull by the illustrator on page 6. Matilda won the Children’s Book Award in the year of its publication. It formed the basis for both the 1996 film directed by Danny DeVito and the successful stage musical which premiered at the RSC’s Courtyard Theatre in Stratford-upon-

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CHILDREN’S BOOKS & ORIGINAL ARTWORK

31 DANN, Colin. The Animals of Farthing Wood. London: Heinemann, 1979 First edition, first impression. The first of eight books in the Farthing Wood series, this title was awarded the Arts Council National Book Award for Children’s literature in 1980. The text was previously published in two separate volumes in 1979. An

animated television series based on the books and comprising 39 episodes was broadcast between 1993 and 1995. Octavo. Original green cloth, spine lettered in gilt. With dust jacket. Black and white drawings within the text by Jaqueline Tettmar. Head and foot of spine slightly bumped, minor foxing to top edge; a near- fine copy. Minor nick to head of dust jacket spine; a near fine example of an unclipped jacket. £750 [154290] 32 DISNEY ANIMATION STUDIOS. Production cel for Snow White and the Seven Dwarfs : Dopey. 1937 from one of the most important films in cinematic history An original production cel from the first full-length animated film and original “Disney Classic”, Snow White and the Seven Dwarfs . The film was released in 1937 and is a significant cinematic achievement. Original cels used in this production are rare. There is a Walt Disney Enterprises 1937 copyright note and a statement: “This is an original painting on celluloid from the Walt Disney Studios, actually used in the filming of ‘Snow White and the Seven Dwarfs’. Only a very limited number have been selected to be placed on the market. Walt Disney”. Original cel on Courvoisier background (approximately 137 × 133 mm), gouache with airbrush background, mounted, framed, and glazed (framed size 340 × 330 mm). Acetate slightly warped, slight deterioration of gouache and fading; a very good example. £3,750 [155006]

30 DAHL, Roald; JAQUES, Faith (illus.) Original artwork for Charlie and the Chocolate Factory . [c.1973] Original artwork for Dahl’s beloved story Published as the wrapper design on the first paperback edition of Charlie and the Chocolate Factory , published by Puffin Books in 1973. Original artwork for Dahl’s books is rare, and most of Jaques’s artwork, including her drawings for Charlie and the Chocolate Factory , is held by The National Centre for Children’s Books in Gateshead. The finished picture is constructed from two pieces: a drawing on board with an overlay in black ink. The result is a vivid scene combining visual depth and fine detail. The illustration depicts Willy Wonka, Charlie, and the other Golden Ticket-winners gathered around the Everlasting Gobstopper Machine. Faith Jaques was the original illustrator of the first UK edition of the book in 1967 and produced this new cover

design for the paperback. Jaques “was one of the outstanding illustrators responsible for the renaissance of British picture books during the last three decades. Her special gift was an ability to translate the emotional tone of a text into the strong visual atmosphere created by her pen-and-ink drawings” (obituary in The Independent , 7 August 1997). An avid reader as a child, her distinctive style was influenced by the works of Charles Dickens’s illustrators – she produced a version of David Copperfield in 1971 – and William Makepeace Thackeray’s own drawings for his books. In her long and distinguished career, she illustrated over 100 books, including works by Allan Ahlberg, Nina Bawden, Ursula Moray Williams, E. Nesbit, Philippa Pearce, Arthur Ransome, and Margery Sharp. Original drawing (295 × 380 mm) on artist’s board (460 × 380 mm with “Frome” printed on reverse), gouache, with acetate overlay in black ink, signed on the verso, mounted, framed, and glazed (framed size 444 × 530 mm). Fine and unfaded. £8,500 [142906]

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CHILDREN’S BOOKS & ORIGINAL ARTWORK

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