Our first catalogue of the new year celebrates many of those constants that are so valued in the rare book world. Provenance, exceptional rarity, stories of connection and discovery, documents that bear witness to defining moments in time, and elements of enduring beauty – whether in the physical object itself such as an exceptionally beautiful binding or illustrated work, or in the ideas and cadence of language that have elevated certain works to the status of eternal classics.
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All items are fully described and photographed at peterharrington.co.uk Peter Harrington l o n d o n
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Peter Harrington l o n d o n
We will be exhibiting at these fairs:
3–5 Feb 2023 san francisco
Rare Books San Francisco The Hibernia, 1 Jones St
10–12 Feb pasadena 55th California International Antiquarian Book Fair (ABAA) Pasadena Convention Center 27–30 Apr new york 63rd New York International Antiquarian Book Fair (ABAA) Park Avenue Armory
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18–21 May firsts london Firsts London (ABA) Saatchi Gallery
22–28 May abu dhabi Abu Dhabi International Book Fair Abu Dhabi National Exhibition Centre (ADNEC) 28 Jun – 5 Jul masterpiece Masterpiece London The Royal Hospital, Chelsea Embankment
catalogue 190
all items from this catalogue are on display at dover street dover st opening hours: 10am–7pm monday–friday; 10am–6pm saturday
chelsea 100 Fulham Road London sw3 6hs
mayfair 43 Dover Street London w1s 4ff
Front cover: Lucretius, De rerum natura libri sex , item 9 Design: Nigel Bents Photography: Ruth Segarra & Jue Shuen Soh
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FINE BOOKS AND MANUSCRIPTS
ur first catalogue of the new year celebrates many of those constants that are so valued in the rare book world. Provenance, exceptional rarity, stories of connection and discovery, documents that bear witness to defining moments in time, and elements of enduring beauty – whether in the physical object itself such as an
exceptionally beautiful binding or illustrated work, or in the ideas and cadence of language that have elevated certain works to the status of eternal classics. My personal favourite in the catalogue is Newton’s own copy of his Opticks , which has as remarkable a tale of its rediscovery as its provenance is illustrious. We also have a drawing with delicate watercolour highlights of the HMS Resolution drawn by the expedition artist William Hodges during Captain Cook’s second circumnavigation, from the estate of Richard Grindall, later a knight and vice- admiral, who served as a humble able seaman on the same voyage. The catalogue also contains a book highly sought after by any Churchill completist – the only obtainable contemporary edition, well-preserved in wrappers, of Mr Brodrick’s Army , which celebrates the enduring power of persuasive words, while a unique copy of the first Lambin edition of Lucretius celebrates that same spirit but in the language of poetry. Constants are comforting, but change can also be exhilarating. Our catalogue also includes several remarkably rare printings that chronicle a period of immense change. We are excited to open with the oldest work we have ever offered for sale at Peter Harrington – an exceptionally rare and well-preserved 11th-century fascicle on Korean mulberry paper, from a major Chinese-language edition of the Flower Garland Sutra , testament to the vital role of print in spreading Buddhist thought throughout East Asia. The past year was one of change for Peter Harrington in which we took a decisive step in the international arena, acquiring a joint stake, with our colleagues in New York, James Cummins, in the legendary American rare book dealership, William Reese Company. We now look forward to a year of more opportunity to share our love of fine books and manuscripts with bibliophiles and collectors from all corners of the world, at our two shops in London and at book fairs in the United States, Canada, Australia, and the Middle East. With best wishes for a bright new year from all of us at Peter Harrington. Pom Harrington
FINE BOOKS AND MANUSCRIPTS
Contents
KEATS, John. Poems. London, 1817 28 KELMSCOTT PRESS: SWINBURNE, Algernon Charles. Atalanta in Calydon. Hammersmith, 1894 37 LAWRENCE, T. E. The Foundations of Arab Revolt. London, 1924 45 LAWRENCE, T. E. Seven Pillars of Wisdom. [London,] 1926 46 LOCKE, John. Epistola de Tolerantia. Gouda, 1689 15 LUCRETIUS CARUS, Titus. De rerum natura libri sex. Paris, 1563 9 LUMSDEN, Graham. Journal of service on the China Station. China and at sea, 1931–33 49 MIRABEAU, Victor Riquetti, Marquis de. Philosophie rurale. Amsterdam, 1760–63 [bound with contemporary manuscript copy of] QUESNAY, François. Tableau Economique. 19 MALTHUS, Thomas Robert. An Essay on the Principle of Population. London, 1798 26 MELVILLE, Herman. The Whale. London, 1851 35 NEWTON, Isaac. Opticks. London, 1717 17 POE, Edgar Allan. Tales of the Grotesque and Arabesque. Philadelphia, 1840 33 QUESNAY, François. Tableau Economique [contemporary manuscript copy; bound with] MIRABEAU, Victor Riquetti, Marquis de. Philosophie rurale. Amsterdam, 1760–63 19 ROBERTSON, William Robert. An Official Account of the Chitral Expedition, 1895. Calcutta & Simla, 1898 [but 1899], 1895, & [c.1901] 38 ROWLING, J. K. Harry Potter and the Philosopher’s Stone. London, 1997 60 RUSSELL, Bertrand & Alfred North Whitehead. Principia Mathematica. Cambridge, 1910–12–13 43 SAINT-JACQUES ANTHOLOGY. Devotional and other texts in Latin. Southern Netherlands (Liège?), mid-14th century 3 SALINGER, J. D. The Catcher in the Rye. Boston, 1951 53 SHAKESPEARE, William. Comedies, Histories and Tragedies. London, 1685 14 SHELLEY, Percy Bysshe. Adonais. Pisa, 1821 31 SHOBERL, Frederic (ed.) The World in Miniature. London, 1821–27 30 SMITH, Adam. An Inquiry into the Nature and Causes of the Wealth of Nations. London, 1776 22 SPENGLER, Oswald. Der Untergang des Abendlandes. Vienna & Leipzig [vol. 1]; Münich [vols 2–3], 1918, 1922 & 1923 44 STEINBECK, John. Autograph letter signed to Edith Wagner. [c.1941–43] 51 STERNE, Laurence. The Life and Opinions of Tristram Shandy. York & London, 1760–67 20 SWINBURNE, Algernon Charles. Atalanta in Calydon. Hammersmith, 1894 37 TOLKIEN, J. R. R. The Hobbit or There and Back Again. London, 1937 50 TRISTAN & ISEULT. Tristan chevalier de la Table Ronde. Paris, [about 1506] 6 TULL, Jethro. The New Horse-Houghing Husbandry. London, 1731 18 VICO, Giambattista. De antiquissima italorum sapientia ex linguae latinae originibus eruenda libri tres [bound with three other works by Vico]. Naples, 1710 16 WARHOL, Andy. 25 Cats Name Sam and One Blue Pussy. New York: printed by Seymour Berlin, [c.1954] 54 WELLINGTON, Duke of. Album relating to Waterloo and Wellington. 1806–45 27 WHITEHEAD, Alfred North, & Bertrand Russell. Principia Mathematica. Cambridge, 1910–12–13 43 WILDE, Oscar. The Ballad of Reading Gaol. London, 1898 39 WATERLOO – PAGET, Henry. Album relating to Waterloo and Wellington. 1806–45 27
ARMSTRONG, Louis. Manuscript lyrics for “We Have All the Time in the World”. New York, [c.1969] ATHENAEUS of Naucratis. Deipnosophistae, in Greek. Venice, 1514
ITEM 59
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BIBLE; O.T., Psalms, Latin. Davidis regii prophetae Psalterium, vario genere carminis latine redditum. Schmaldkalden, [1590] 10 BINGHAM, Sir George Ridout. A detailed and important account of the Peninsular War, April 1809 – March 1810. 1820 29 BUDDHISM. Saddharmasmrtyupasthanasutra (“Sutra of Right Mindfulness”). Huzhou, [c.1250] 2 BURNS, Robert. Poems . Kilmarnock, 1786 24 CAXTON, William (trans.) Thus endeth the legende, named in latyn Lege[n]da aurea that is to saye in englysshe the golden legende. London, 27 August 1527 7 CAXTON, William. Atalanta in Calydon. Hammersmith, 1894 37 CERVANTES, Miguel de. El ingenioso hidalgo Don Quixote de la Mancha. Madrid, 1608 11 CHURCHILL, Winston S. Mr. Brodrick’s Army. London, 1903 40 ——. Step by Step 1936–1939. London, 1939 41 ——. A History of the English-Speaking Peoples. London, 1956–58 42 COHEN, Leonard. You Do Not Have to Love Me. [c.1968] 58 COLONNA, Francesco. Hypnerotomachia Poliphili. Venice, 1499 5 COOK, James – HODGES, William. Original drawing with watercolour highlights of HMS Resolution . [c.1773] 21 CORYATE, Thomas. Coryats crudities. London, 1611 12 CRESCENTIIS, Petrus de. Ruralia commoda. [Augsburg,] 1471 4 DAHL, Roald. Manuscript first draft screenplay for You Only Live Twice. [1966] 57 DARWIN, Charles, Charles Lyell, J. S. Mill, & others. Album entitled “Autographs of members of the Jamaica Committee”. London, 1867 36 DELAUNAY, Sonia. Ses peintures, ses objets, ses tissus simultanês, ses modes. Paris, [1925] 47 DESCARTES, René. Discours de la méthode pour bien conduire sa raison. Leiden, 1637 13 DISRAELI, Benjamin. Autograph letters signed to Richard Culverwell, his tailor and money lender. 1835–44 32 DOYLE, Arthur Conan. The Works. New York, 1930 48 EARLY KOREAN PRINTING. Dafangguangfo Huayanjingshu (“Commentary on the Flower Garland Sutra”). Fascicle LXXX. Korea, [c.1087] 1 ENGELS, Friedrich. Die Lage der arbeitenden Klasse in England. Leipzig, 1845 34 FEYNMAN, Richard. High Energy Phenomena and Meson Theories. Pasadena, CA, 1951 52 FLEMING, Ian. On Her Majesty’s Secret Service. London, 1963 55 ——. [Typescript:] Octopussy and The Living Daylights [c.1965] 56 ——. DAHL, Roald. Manuscript first draft screenplay for You Only Live Twice . [1966] 57 HAYASHI, Shihei. Kaikoku heidan (“The Military Defence of a Maritime Nation”). Sendai, 1786–91 23 HOGARTH, William. Works. London, before 1789 25 HODGES, William. Original drawing with watercolour highlights of HMS Resolution . [c.1773] 21 JACOBUS DE VORAGINE; CAXTON, William (trans.) Thus endeth the legende, named in latyn Lege[n]da aurea that is to saye in englysshe the golden legende. London, 27 August 1527 7
Items in the catalogue are arranged in order of date of publication, grouping authors by their earliest listed work
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Korean woodblock printing of the 11th century
1 EARLY KOREAN PRINTING. Dafangguangfo Huayanjingshu (“Commentary on the Flower Garland Sutra”). Fascicle LXXX. Korea: Liangzhe zhuanyunsi, [c.1087] £100,000 [159674] Slim quarto, concertina-style (315 × 110 mm). 24 woodblock-printed sheets, each with 20 columns, joined sequentially with adhesive as issued, bound within early, perhaps contemporary, indigo-dyed paper covers, manuscript title in gilt. Housed in custom folding card case with purple ties and manuscript title label. Covers and contents with a few old stains, text with tidemarks and a little worming in margins. A well-preserved copy. ¶ Daniel B. Stevenson, “Buddhist Ritual in the Song”, in John Lagerwey & Pierre Marsone, eds, Modern Chinese Religion , Volume I, 2014, pp. 328–450. Provenance: Christie’s New York, Japanese and Korean Art, 18 April 2018, lot 129; private collection, UK.
An exceptionally rare and well-preserved 11th-century testament to the vital role of print in spreading Buddhism throughout East Asia. This fascicle, from a major Chinese-language critical edition of the Flower Garland Sutra (Huayan Buddhism’s foundational text), was printed in Korea from blocks engraved in Hangzhou, China. Collections of different fascicles are found institutionally in East Asia; this is the only example traced in commerce in the West. Following the arrival of Buddhism in China in the first century ce, practitioners innovated a number of Sinicized traditions including the Huayan school, one of the “most philosophically interesting and historically influential Buddhist schools” ( Stanford Enyclopedia of Philosophy ). Its leading text, the Flower Garland Sutra ( Avatamsakasutra ), “presents a dizzyingly complex and intricate vision of reality as thoroughly ‘interpenetrating’, of Buddhahood as coextensive with all there is, and of the features of reality as completely dependent upon the mind and deeds of sentient beings” (ibid.). By the seventh century, Huayan Buddhism had spread to Korea, where it took root and continued to evolve. By the dawn of the second millennium, East Asia had an advanced printing culture. Between 1011 and 1087, Korea’s Goryeo dynasty (918–1392) organized the printing and dissemination of the Tripitaka Koreana , an expanded canon of Buddhist texts. To supplement this core body of Buddhist textual learning, the leading Korean monk Uich’on (1055–1101) travelled across East Asia between 1073 and 1090 to amass the latest commentaries and interpretations of the canon. In 1085–6, he was based in Hangzhou and studied with Jingyuan, the monk who had succeeded in “putting Huayan teachings on the Song Buddhist map as a discretely organized institutional tradition” (Stevenson, p. 365). With him, he brought a copy of a critical commentary on the Flower Garland Sutra which had been written by the Chinese monk Chengguan (738–839) but later suppressed by China’s Tang dynasty. In Hangzhou, Uich’on commissioned the Liangzhe zhuanyunsi (Zhejiang Tax Transport Bureau) to engrave woodblocks for a new 120-fascicle edition of the Chengguan commentary embellished with Jingyuan’s exegesis. These blocks, approximately 1,500 in total, were delivered to Korea in 1087 by the Chinese merchant Xu Jian. The clarity of the printing suggests this is an early impression on distinctive Korean mulberry paper ( Broussonetia papyrifera ). Surviving volumes from this 120-volume edition are found printed on both Chinese and Korean paper, suggesting that, in addition to copies printed in Korea, some were printed in China before Xu Jian’s departure to furnish Chinese Buddhists with access to the forgotten Chengguan commentary. Throughout the rest of the Goryeo dynasty, Huayan Buddhism remained a leading Buddhist school in Korea, and in succeeding centuries would merge with other sects to form a new syncretic tradition. In 1372, a frontispiece illustration was engraved in Korea for a new printing from the 11th-century blocks. In 1424,
the blocks were transferred to Japan’s Shokokuji Buddhist temple, where they were destroyed by fire. According to the catalogue of the Archives of Buddhist Culture at Dongguk University, 43 fascicles are held at Keimyung University, while the National Library of China holds six printed in Hangzhou. Collections of one or two fascicles on Chinese and Korean paper appear in different institutions in Korea, China, and Japan. The catalogue records just one copy of the present fascicle.
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A treasure of early Chinese printing
2 BUDDHISM.
A remarkable surviving fascicle from a famous early Chinese edition of the Buddhist canon, printed during the Song dynasty at the Yuanjie (later Zifu) temple in Huzhou. The respect given to Buddhists texts has ensured the institutional survival of a couple of near-complete Yuanjie sets, but any examples of Chinese printing of this age are exceptionally scarce in commerce. We have traced only three works on paper printed before 1300 in Western auctions since 1980. Multiple characteristics suggest that this particular example is from the Yuanjie edition. Phonetic glosses at the end of the fascicle, the size of the printed area, and the number of pages, columns, and characters per sheet, are consistent with other known examples. The first sheet also gives the name of the block carver as Shi Hong. A carver of the same name is known to have been active in the Huzhou region during the Southern Song period and was involved in other projects including editions of the Shuijing zhu (an ancient geographical treatise) and the Lotus Sutra . Scholarly research has revealed that the carving of the blocks for the Yuanjie edition of the Buddhist canon commenced at some point between the 1110s and 1140s. Once carved, they were used to print copies until being burned by Mongol invaders in 1276. Subsequently, this edition was unknown in China until the bibliophile Yang Shoujing (1839–1915) brought an almost complete set back from Japan in the late 19th century. Li and He write that surviving volumes from the Yuanjie edition “are already very rare in China”. Near-complete copies are held at the National Library of China and Tokyo’s Sanenzan Zojo Temple. Scattered volumes are found in other institutions including the Gansu Provincial Library, the National Palace Museum in Taipei, and several other temples in Japan.
Saddharmasmrtyupasthanasutra (“Sutra of Right Mindfulness”). Fascicle VII – “Chapter on Hell: Part Three”. Huzhou: [c.1250] £150,000 [159500] Slim quarto, concertina-style (305 × 115 mm). 17 xylographic sheets, each with 5 pages of six columns of 17 characters, joined sequentially with adhesive, in near-contemporary semi-stiff brown paper wallet binding strengthened with bamboo rod, front cover with manuscript title in Chinese, single page from another sutra used as binder’s waste on rear cover verso. Wallet binding fragile with losses, rear cover detached and front cover just holding at head, worming and splits to first leaf with old paper repair along one fold, contents otherwise unaffected. A well-preserved example. ¶ Li Fuhua & He Mei, Hanwen Fojiao dazangjing yanjiu (“Research on the Chinese Buddhist Canon”), 2003. Provenance: Osaka Bookseller’s Guild (Kotenkai), 119th Anniversary Auction, Osaka, 28–30 May 2021, lot 947; private collection, UK.
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With a large miniature depicting the Wound in Christ’s side
The composition of the volume is complex and would reward further research. In overview, it is composed of four main parts, the first with texts by Augustine, Anselm, and David of Augsburg (quires 1–7); the second an ordo for giving communion to a sick monk (quire 8); the third with prayers to the Virgin (quire 9); and the fourth a miscellaneous collection of prayers, devotions, a miniature of the Wound of Christ, and texts concerning the use of images (quires 10–15, with a change of scribe and layout at the beginning of quire 12, fol. 122). The last few decades have seen an explosion of interest in medieval images of the Wound in Christ’s Side. In most depictions of the Crucifixion, the wound is shown as a horizontal laceration, but when shown separate from Christ’s body it is often depicted in close-up and vertically, and this has led many scholars to read the image in other ways. As David S. Areford puts it, “Although the mandorla-shaped wound suggested the presence of Christ’s body and the totality of his suffering, its fleshy form certainly encouraged other corporeal associations. In this regard, several scholars have explored the erotic, gendered, and psychosexual aspects of these images, interpreting the wound as a not-so- veiled substitute for the vulva or vagina”. Images of the Wound in Christ’s Side are often part of a series of images including his other wounds, or are incorporated into larger ensembles, such as the Arma Christi, and are typically 15th-century, so the present image is especially notable for its early date and for the fact that the Wound is the only image in the entire manuscript, whose text concludes with two pieces discussing the use of images in religious devotion (fols. 139v–140v).
David S. Areford, “Reception”, Studies in Iconography , 33, 2012, pp. 73–88; written as a follow-up to his “The Passion Measured: A Late-Medieval Diagram of the Body of Christ”, in The Broken Body: Passion Devotion in Late-Medieval Culture , 1998, pp. 211–38. Provenance: i) Written no earlier than the 1330s, perhaps in northern France but more likely in the southern Netherlands, and in view of the later provenance, in all likelihood at Liège. The involvement of an illuminator and several scribes, some doing relatively short stints, suggests collaboration within a monastic setting rather than production in a professional lay workshop. ii) The Benedictine Abbey of Saint- Jacques, Liège: inscribed with their ownership notes at least nine times, in various forms, including “Liber monasterii sancti Jacobi Leodiensis in insula”, and with their shelf-mark “F. 57” (fol. 1r). The presence of so many ownership inscriptions in any manuscript is extremely unusual, and is perhaps explained by how small and potentially easy to steal this volume would be. Included in their sale: Catalogue des livres de la bibliothèque de la célèbre ex-abbaye de St. Jacques à Liège . . . le 3 mars 1788 , lot 343. iii) Dawson’s Book Shop, Los Angeles, catalogue no. 87, December 1932, with pencil price [$]75.00, later crossed- through and reduced to 35.00 (fol. i verso, upper left corner). iv) Until recently in an American private collection.
3 SAINT-JACQUES ANTHOLOGY. A compilation of devotional and other texts in Latin, illuminated manuscript on parchment. Southern Netherlands (Liège?), perhaps mid - 14th century £57,500 Parchment, c .130 × 95 mm, vi + 141 leaves, apparently complete except for excised blanks. Collation: i 10–ix (1st is the pastedown, 6th, 8th, 9th blanks excised); 1–4 8 , 5–7 12 (fols. 1–68); 8 6+1 (7th inserted; fols. 69–77), 9 12 (fols. 78–89); 10 8 11 14 , 12 12 , 13 12 , 14 4 (the last is the pastedown) (fols. 90–140), catchwords except at the end of codicological units, leaf-signatures “a” in quire 10; prickings often survive in all outer margins suggesting that the book preserves its full medieval dimensions; ruled in plummet for 21–23 lines per page, written in gothic script by several hands, rubrics in red, capitals stroked in red in some sections, illuminated with a large miniature of the Wound in Christ’s Side, one fine five-line puzzle initial, the interior with fine penwork decoration in the form of hybrid creature reserved against a hatched background (fol. 1r), two-line initials and one-line paraphs alternately red or blue, the initials often with penwork ornament, sometimes filing a margin, and sometimes [ 156843 ] incorporating a human face. Bound in the substantial remains of a medieval binding: sewn on four bands laced into slightly bevelled wood boards covered with undecorated brown leather; the spine with an added 18th-century(?) title piece lettered in gilt capitals “Augustinus | de | Verba dei”, the base of the spine lettered “MS. [SAE]C. XV”; the sewing broken at fols. 56–57 and 88–89; the spine restored, with new joints.
A remarkable anthology of texts from the library of the Benedictine Abbey of Saint-Jacques, Liège, illuminated with one large miniature depicting the Wound in Christ’s Side notable for its early date, bound in the substantial remains of a medieval binding.
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The first printed book on agriculture, with extensive information from personal experience of winemaking 4 CRESCENTIIS, Petrus de. Ruralia commoda. [Augsburg:] Johann Schüssler, “about” 16 Feb. 1471 £175,000 [ 156661 ] First edition of the first printed book on agriculture, a splendid copy, handsomely bound and with important provenance. Regarded as “the major work on agriculture since the days of the Roman Empire” and “an unqualified success” (Anderson, p. 66), the first edition of Crescenzi is extremely scarce in commerce, with only four copies noted in commerce in the past 45 years.
Petrus de Crescentiis (Pietro de Crescenzi, 1230–1321) was an Italian jurist practising in Bologna at the time of Dante, and he is considered the greatest agronomist of the Middle Ages. In old age he retired to his country house, Villa dell’Olmo, and composed his book between 1304 and 1309, dedicating the work to Charles II of Naples. Drawing from the Latin classical authors, particularly Columella, this well-organized manual comprises 12 parts focusing on different aspects of rural estate management, including horticulture, agriculture, farming, the properties of edible and medicinal plants, wine and winemaking, hunting, fishing, falconry, and beekeeping. Book four is devoted to all aspects of viticulture, including choosing a site, planting a vineyard, and harvesting the grapes, as well as recipes for making wine and other products from grapes. Crescenzi frequently refers to the region around Bologna and employs the first person more than in other books, suggesting that he was relaying the lessons of his practical experience on his own estate vineyard. He also adopts information from Burgundio da Pisa’s 12th-century De vindemiis , a manuscript translation from Greek into Latin of the winemaking sections of the Geoponica . Provenance: from the prestigious library of the Alfieri di Sostegno, the noble Italian family of Turin, with their armorial stamp gilt on the covers and armorial bookplate. This bookplate and its variants are attributed to Cesare Alfieri di Sostegno (1799–1869), Italian politician and cousin of the celebrated poet Vittorio Alfieri, and to his son Carlo (1827–1897), also a politician. Cesare was a renowned collector of incunables and early printed books, thousands of which were donated by Carlo and other descendants to Florentine libraries. Numerous examples now held in the Biblioteca Laurenziana are in French bindings of the period commissioned by Cesare. Latterly from the library of Professor Robert “Bobby” Boutflour, CBE (1890– 1961), with his ownership inscriptions in pencil, gifted to him by British Oil and Cake Mills, then by family descent. Boutflour was a notable figure in British agricultural circles. From 1931 to 1958 he was principal of the Royal Agricultural University at Cirencester and was responsible for a radical remodelling of the university, expanding the student numbers from 50 to 800 during his tenure. He published significant works, particularly relating to dairy farming, and played an important role in the growth of international farming yields in the austere post- war period.
Folio (288 × 206 mm), ff. [209], bound without three final blanks x8–10. Green morocco signed E. Niédrée (of Paris, active 1836–54) and dated 1845, spine with gilt raised bands, floral gilt decoration and lettering in compartments, covers triple gilt ruled, turn-ins richly gilt with a floral roll matching the spine, marbled endpapers, edges gilt, green silk bookmarker. Housed in a custom slipcase. Gothic text in single column, two large initials illuminated in red and blue with ornate penwork, all the other initials painted in red, rubricated throughout. 20th-century calligraphic title hand painted on a card and mounted on the first binder’s blank. Binding firm and gilt bright, very occasional marks to contents, small damp stain at outer margin of a few leaves, tiny wormhole to final gatherings v and x mainly between lines and not affecting reading, otherwise exceptionally bright and clean throughout. A very good, wide-margined copy on thick paper. ¶ BMC II 328; ISTC ic00965000; Goff C965; GW 7820; Klebs 310.1; Yukushima 143. F. J. Anderson, An Illustrated History of the Herbals , 1997.
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One of the supreme masterpieces of the art of printing
5 COLONNA, Francesco. Hypnerotomachia Poliphili. Venice: Aldus Manutius [for Leonardus Crassus], 1499 £400,000 Folio (317 × 222 mm). Eighteenth- century speckled sheep, spine richly gilt in compartments, red label, marbled endpapers and edges. With 172 woodcuts, 11 full-page (the Priapus cut uncensored), now usually attributed to Benedetto Bordone ( c .1455/60–1530, active mainly in Venice from 1488); 39 woodcut initials. Roman, Greek, Arabic, and Hebrew types. Engraved pictorial bookplate of the Swiss bibliophile Paul Schlesinger (1897–1977) designed by J. F. Junod on front free endpaper verso, subsequently the property of a Swiss family, later library label at foot of spine. Some minor discreet restoration to binding, intermittent light soiling and marks (including to title page, and ink marks in margins of P6v, Q4r, and C6r), continuous damp stain (primarily in upper margins), stronger initially but receding towards centre to leave majority of main text bright and clean, minor worming (mostly single hole, sometimes affecting text but without loss of sense) to first c .50 leaves, first and last gatherings strengthened at gutter with paper strips, neat paper repair at outer edge of pi4, early ink annotations in margins of A2r and of Priapus woodcut, ink additions within woodcuts on T4v, T6v, and X4v. Overall a very good copy. ¶ Aldinen-Slg. Berlin 49 & 50; BMC V, 561; Essling 1198; Goff C–767; GW 7223; HC *5501; IDL 1353; IGI 3062; ISTC ic00767000; Renouard Alde 21.5; Sander 2056. Helen Barolini, Aldus and his Dream Book: An Illustrated Essay , 1992; N. Harris, “Nine Reset Sheets in the Aldine ‘Hypnerotomachia Poliphili’ (1499)”, Gutenberg-Jahrbuch , 2006, pp. 245–75.
First edition of this highly prized incunable, referred to as the most beautiful illustrated book of the Renaissance, the epitome of Aldine design, and one of two “supreme masterpieces of the art of printing” alongside the Gutenberg Bible (George Painter, quoted in Barolini, p. 6). This copy is in the first state, with the nine sheets as described by Harris all in the original setting. The Priapus woodcut is unexpurgated, despite being censored in the vast majority of copies. The typeface used here, based on ancient Roman inscriptions, was created by Aldus’s type designer Francesco Griffo of Bologna especially for this book, which has long been admired for its harmonious marriage of text and image. Its typographical innovations include distorting the traditional layout of the text into elegant shapes. There is use of Greek fonts, as well as one of the earliest examples of Hebrew type, and a small sample of Arabic, the first Arabic to be printed in the history of European publishing. The spare and elegant illustrations reveal a careful study of ancient art, as well as an interest in the new science of one-point linear perspective. The beauty of these anonymous woodcuts has led scholars, through the years, to associate their design with such famous artists as Andrea Mantegna, Gentile Bellini, or the young Raphael. Several sequential double page illustrations add a visual dimension to the progression of the narrative, anticipating the aesthetic of the strip cartoon. There is an obsession with movement throughout, the illustrations often giving the impression of bodies moving from one page to the next. The text itself remains an enigma, written in a strange hybrid of Latin vocabulary imposed upon Italian syntax. The authorship is indicated by the acrostic formed by 38 of the 39 woodcut initials, thought to be a Dominican monk who belonged to the monastery of SS Giovanni e Paolo in Venice, and at the supposed time of composition of the work in 1467 was teaching novices in Treviso.
[ 159848 ]
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Handsomely illustrated chivalric romance
6 TRISTAN & ISEULT. Tristan chevalier de la Table Ronde, nouvellement imprime a Paris. Paris: Antoine Vérard, [c.1506] £125,000 [ 159900 ] 2 volumes in 1, folio (293 × 208 mm), 336 leaves in total. Twentieth-century red morocco gilt, edges gilt, by Bauzonnet- Trautz. Housed in a custom quarter morocco folding case. 7 large woodcuts, 2 full-page, including one repeat. A few small scuffs to binding, two small marginal repaired tears on first leaf, lower outer corners of aa2 and y8 renewed not affecting text, some pale spotting at end. ¶ BMC(Fr), p. 426; Brunet V, 955; CIBN II, p. 678; Delisle 1904; GW XI Sp.307a; Hillard 1987; ISTC it00431300; Macf 193; Moreau I 215: 172; Pell Ms 11180; Torchet 899. C. E. Pickford, “Antoine Vérard: Editeur du Lancelot et du Tristan”, Mélanges de langue et de littérature françaises offerts à Charles Foulon , 1980, 1:280; Mary Beth Winn, “Vérard’s Editions of ‘Tristan’”, Arthuriana , vol. 19, no. 1, 2009, pp. 47–73. Provenance: Armand Cigogne (1860 sale); Jacques-Joseph Techener (1865 sale); Leon Techener (1889 sale); Hector de Backer (bookplate; 1926 sale); Edmee Maus (bookplate; library dispersed in the 1970s and 1980s); Christie’s New York, 7 Dec. 2012.
The earliest feasibly obtainable French edition, the fourth overall, of the romance of Tristan and Iseult (Isolde), giving Tristan his place among the knights of the Round Table. Considered the father of the French illustrated book, the Parisian bookseller Antoine Vérard issued four editions of Tristan , the most popular of the chivalric prose romances he published. His first, printed for him by Jean Le Bourgeois of Rouen and dated 30 September 1489, is the editio princeps, but it is not illustrated or decorated. Second and third editions, with illustrations, followed in c .1496 and c .1499. This fourth and last edition is also illustrated, but with some changes. “The same number of large woodcuts is used in the same places in the text, but they are not always the same woodcuts. Some were cropped, others must have worn out entirely, for they were replaced by new ones. In volume one, the combat of knights in the countryside appears again on fol. a1, but at the end of the volume, on fol. y4v, a woodcut originally used in Vérard’s edition of Cesar’s commentaries of 1488 is surrounded by decorative borders to fill up the requisite space. In volume two, three large woodcuts from Lancelot are re-employed: one of Arthur and Guinevere (fol. A1), another of Arthur and his knights at the Round Table (fol. D6), and a third representing Lancelot at the Douloureuse Garde” (Winn). Although Pickford estimates that Vérard published some 3,000 copies of Tristan in total, his four editions are all now very scarce, with ISTC recording no more than eleven holding institutions for any one edition. ISTC locates six only for this fourth edition, the British Library the only copy in the United Kingdom, four in France, one in Austria, and none in North America. This is the only copy of any Vérard edition to have appeared in auction in modern times. Tristan continued to be popular in France through the 16th century, with editions based on Vérard’s published in 1514 and 1520 by Michel Le Noir and in 1533 by Denis Janot. An edition with text updated by Jean Maugin was published in Paris in 1554, reprinted in Lyon in 1577 and in Paris in 1586. The romance of Tristan and Iseult was probably created on the basis of early Gaelic legends. The Anglo-Norman troubadour Thomas of Britain wrote in French sometime between 1155 and 1170 and his Gaelic legends were already laced with Greco-Latin themes. This tradition gave rise to the German translation of Gottfried von Strassburg. In these early versions, Tristan is the son of Rouland and Blanchefleur. A different tradition was followed by Malory in his Morte d’Arthur , c .1470. In this tradition, Tristan is the son of King Meliodas of Lyonese and of his wife Elizabeth. The present version belongs to this “courtly” branch of the Tristan legend. The preface states that the Knight Luce, lord of the Chateau du Gast near Salisbury in England, has compiled this “authentic history” of the Chevalier Tristan.
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The Huth–Martin copy
7 JACOBUS DE VORAGINE; CAXTON, William (trans.)
Fifth and final Wynkyn de Worde edition. In its first printing, the Golden Legend was the largest and most elaborate production of the first printer in English, William Caxton. It is an English translation of Jacobus de Voragine’s Legenda aurea ( c .1267), a collection of legends for the feasts of saints (the Sanctorale) and other major days of the liturgical year (the Temporale). The Legenda aurea was one of the most popular and influential books in the later medieval Western world; it circulated widely, and was repeatedly translated into many vernacular languages. Caxton based his translation on the French version of Jean de Vignay, but he also used the Latin original and a previous English translation, the Gilte Legende , with some personal additions. In reworking the text, Caxton omitted some saints found in Voragine’s original, but also added many extra stories (many of them English or Irish) from manuscript sources. His version is unique in its sequence of Old Testament lives from Adam to Judith; in fact, this section of his text is little more than a transcription of the Bible, circumventing then current laws that prevented the publication of the Bible in English. Caxton’s successor Wynkyn de Worde first printed the work in 1493, at first omitting the stories from the Bible, and then complete in 1498, 1507, and 1521. After the English Reformation, no further edition was published in England until William Morris. Wynkyn’s 1527 edition is rarely found complete in commerce. Of the other eight copies that have appeared at auction since 1975, all had one or other of repairs affecting text, supplied leaves, facsimile work, or were outright defective.
Canterbury sparsely crossed out in ink at early date, rare minor marginal spot or thumb mark. A very good copy, still crisp and generally clean. ¶ Ames II 108; ESTC S111988; Lowndes VII 2795; STC 24880. Not in Pforzheimer. Provenance: Thomas Antrobus (his inscription; 24 August 1598); William Maskell (signature and bookplate); William Simonds Higgs (armorial bookplate); Henry Huth and his son Alfred Henry Huth (red morocco ticket gilt; Sotheby’s London, 8–11 July 1919, lot 7833); G. D. Smith; M.E.G. (initials on pull-off case); H. Bradley Martin (Sotheby’s New York, 1 May 1990, lot 3296); Howard Knohl (Sotheby’s New York, Selections From The Fox Pointe Manor Library, 26 October 2016, lot 303).
Thus endeth the legende, named in latyn Lege[n]da aurea that is to saye in englysshe the golden legende. London: printed by Wynkyn de Worde, 27 August 1527 £50,000 [ 159901 ] Folio (283 × 193 mm). Nineteenth-century diced calf gilt, turn-ins gilt, marbled endpapers, yellow edges; skilfully rebacked. Housed in a custom orange levant pull-off case gilt, by Sangorski & Sutcliffe, for J. W. Robinson Co., with the gilt monogram M.E.G. Black letter, double column. Full-page woodcut on A1 verso and 79 woodcuts in text, various sizes (some repeated) a few highlighted with a contemporary light purple wash, including the figures of the Virgin and the Pope in the full-page cut, Wynkyn de Worde’s woodcut printer’s device (McKerrow 49) within woodcut border incorporating Caxton’s initials (McKerrow 50) on verso of last. Light age yellowing, dark water-stain to outer edge of five leaves, A2 and following few leaves thumb-marked in lower outer corner, verso of last a little dusty, small hole in blank lower margin of A1, and in d3, between columns, just touching one letter, the life of Saint Thomas of
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The philosophers’ banquet
grammar, poetry, rhetoric, music, philosophy, and medicine. “Food and drink, cups and cookery, stories of famous banquets, scandalous anecdotes, specimens of ancient riddles and drinking songs and disquisitions on instruments of music are only part of the miscellaneous fare which is here provided. We are indebted to the quotations in Athenaeus for our knowledge of passages from about 700 ancient writers who would otherwise be unknown to us” (ibid.). Also included is the text of the earliest known recipe by a named author (Mithaecus) in any language, and what may be considered to be the first patents (i.e. exclusive right granted to an inventor). The text was edited by the prominent Greek scholar Marcus Musurus ( c .1470–1517), from an early 10th-century manuscript (Marcianus Gr. 447). A native of Odemira, modern Heraklion in Crete, Musurus worked as professor of Greek at the University of Padua (Erasmus attended his lectures there), and later at the University of Venice. In 1493, he began a collaboration with the Aldine press which lasted for over two decades, producing editions of the Greek classics; Musurus’s handwriting notably was the model for Aldus’s celebrated Greek type. This was the last edition he worked on before Aldus’s death in 1515. In the Latin preface, Aldus refers to him affectionately as “Musurus noster” (“our Musurus”) and praises the accuracy of his corrections to the text. Aldus began to plan a Greek edition of Athenaeus soon after establishing his press; a one-page proof of an unrealized edition, printed in Aldus’s second Greek type (first used in 1496) and containing the epitome of Book One, survives at the Pierpont Morgan Library.
8 ATHENAEUS of Naucratis. Deipnosophistae, in Greek. Venice: Aldus Manutius and Andreas Torresanus, August 1514 £35,000 [ 159868 ] Super-chancery folio (327 × 211 mm). Early 19th-century blue straight-grained morocco by Bozerian jeune (François Bozérian, 1765–1826), spine with raised bands tooled in gilt and blind with pointillé design, covers with roll-tooled border à vermiculures , board edges gilt, citron morocco doublures with gilt roll- tooled border, olive free endpaper, vellum flyleaves, gilt edges, pink silk bookmarker. 168 leaves, paginated. Aldine device (Fletcher f4) on title page and verso of last leaf, Greek type 3bis:90 (text), italic 1:80 (dedication), roman 12:90 (incidental), 45 lines and 2 headlines, pages ruled in red. Initial spaces with guide-letters. 17th-century armorial stamp of the library of the abbey of Saint-Germain- des-Prés, Paris, to title page; the abbey was founded in the sixth century, and its library opened to the public from 1636. Negligible superficial split at foot of rear joint, but firm, couple of minor scuffs to front cover, light foxing to endpapers, two nicks to upper edge of title page, discreet repairs to margins of pp. 79 and 239, very occasional faint marks to contents, otherwise internally crisp and clean. A handsome, well-margined copy, presenting attractively in the binding. ¶ Adams A 2096; Bitting, p. 18; Brunet I, 535; Dibdin, p. 199; EDIT 16 CNCE 3340; Renouard 158:5; USTC 811383; Vicaire 50. John Edwin Sandys, A History of Classical Scholarship , Vol. I, 1903.
Editio princeps. The only extant work of Athenaeus of Naucratis, Sophists at Dinner has been described as an “encyclopaedia under the disguise of a dialogue” (Sandys, p. 330): containing countless anecdotes from ancient authors on food, wine, and dining customs, this is an invaluable source of information on ancient daily life. The title Deipnosophistae can be literally translated as “men learned in the arts of the banquet”. The work is an account of a series of banquets held at the house of the Roman pontiff Larentius, attended by major exponents of all disciplines – including Democritus, Galen, Ulpian, and Plutarch – who discuss extensively of
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The only known large paper copy, with contemporary colour, in a remarkable Parisian binding 9
Printing and the Mind of Man , citing this edition, describe the work as “one of the grandest and most moving poems in the Latin language”. “Of very few languages can it be said that the first surviving major poem in it is an exposition of a philosophical system of considerable subtlety, but first or last, Lucretius’s
LUCRETIUS CARUS, Titus. De rerum natura libri sex.
Paris: for Guillaume Rouillé, Lyon, and his nephew Philippe Gautier Rouillé, Paris, 1563 £65,000 [ 159872 ] Quarto (252 × 185 mm). Contemporary olive-green morocco over pasteboard, tooled in gold with fillets, gouges and lines, spine with five gilt-ruled raised bands and six compartments with gilt fleurons and leaf sprays, blue and yellow headbands, board edges with two-line gilt rule and hatched sections, turn-ins unruled, white endpapers, edges gilt and gauffered; title lettering in gold within central oval on front cover added at a later date. Housed in a custom olive morocco fleece-lined folding case. Title within large woodcut historiated border, woodcut headpieces and initials, all with fine contemporary hand-colouring heightened with gold. Discreet small repair to front joint at head, two spots to title page, else internally fresh and clean, a fine copy. ¶ Adams L1659; Printing and the Mind of Man 87. Provenance: John Dent (1760–1826), his sale, London 1827, lot 694 (“This is one of the most beautiful books in Mr. Dent’s Library”); Bibliothèque Henri Béraldi (1849–1931), Paris, 1934, Première partie, no. 20; Maurice Burrus (1882–1959), with his bookplate; Thierry de Maigret Vente aux Enchères, Drouot 27 November 2013, lot 86.
First Lambin edition (the specific edition cited in Printing and the Mind of Man ), large paper copy, 3 cm larger in both dimensions than copies on regular paper and uniquely, according to Brunet, with contemporary colouring, in a splendid Parisian gold-tooled morocco binding of the period. Brunet writes of “cette première édition estimée du Lucrèce de Lambin” and describes at length this unique copy, on large paper, with contemporary colouring: “Un exemplaire de l’édition de 1563, en Grand Papier (avec les capitales du commencement de chaque livre enluminées), et relié en maroquin olive à compartiments, a été vendu 15 liv. chez M. Dent, qui, selon le Repertorium bibliogr., 246, l’avait payé 40 liv. Jusque-là on ne connaissait point le Grand Papier de cette édition estimée.” The French classical scholar and philologist Denys Lambin (1516–1572) was one of the greatest critical editors of his time; his “editorial work expresses a deep sympathy for his subject and the prefaces and notes are a monument of erudition and fine vigorous Latinity” ( PMM ). The edition was likely initiated by Guillaume Rouillé, the prodigious merchant-publisher of Lyon, and published in short-term partnership with his nephew in Paris as a means of getting him established there.
‘On the Nature of Things’ would have been a unique contribution to any literature. In it the atomic theory, the most vivid and tender depictions of nature, and a sense of the beauty and rhythm of words which triumphs over the early unsophisticated form of the Latin Hexameter, all those combine in the most astonishing way to produce one of the grandest and most moving poems in the Latin language.” The pattern of gold-tooling on this sumptuous binding was popular in Paris in the 1560s and 70s and several binders used variations of it, such as the binders who worked for Francis II and Charles IX, and for Thomas Mahieu and others. As styles are easy to copy and similar designs were often embellished with tools belonging to totally separate binders, attribution to a specific binder or atelier is impossible in this case. For example, one of the tools is closely similar to a tool used by Wotton’s Binder III, but it is not identical and so this binding cannot be attributed to that workshop. Henry Davis Gift II, 14, illustrates a copy of Pausanias, 1551, bound for Thomas Mahieu with similar but again not identical tooling. Nevertheless, the binding exhibits the characteristic craftsmanship of the most accomplished Parisian binders of the period.
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Sixteenth-century pierced vellum binding
The last edition revised by the author
10 BIBLE; O.T., Psalms, Latin. Davidis regii prophetae Psalterium, vario genere carminis latine redditum. Schmaldkalden: [Michael Schuck, 1590] £15,000 [ 159867 ] Quarto, ff. [149]. Contemporary binding of vellum decorated in silver and elaborately pierced to reveal contrasting silk underlays (green on front cover and red on rear), spine decorated with fleurons in compartments, edges gilt and gauffered. Housed in a custom green morocco box. Woodcut arms on title, large woodcut arms on verso of final leaf. Minor wear, splits in front joint, spine darkened, silver now oxidized, ties missing, but in remarkably good condition, occasional very light spotting internally, but a very good copy. ¶ Adams B 1477; Foot, The History of Bookbinding as a Mirror of Society , pp. 20 & fig. 30; Nixon, Broxbourne Library, pp. 105–7; VD 16B 3258. L. Bickell, Bucheinbände des XV. bis XVIII. Jahrhunderts aus Hessischen Bibliotheken , Leipzig, 1896, pl. 29. Provenance: Susan Morgan (18th-century ownership inscription on front flyleaf); Walter Ashburner (1864–1936), with his ownership inscription on title noting that it was given to him by Mary Lewellin; Maurice Burrus (1882–1959), acquired from Lauria in 1938.
11 CERVANTES, Miguel de. El ingenioso hidalgo Don Quixote de la Mancha. Madrid: Juan de la Cuesta, for Francisco de Robles, 1608 £225,o00 [155187] Large octavo (181 × 134 mm). Mid-19th- century deep red morocco signed E. Niédrée (of Paris, active 1836–54), spine with blind ruled raised bands, compartments panelled in blind, gilt lettering to second and third, covers framed with a double blind rule, inner dentelles richly gilt, marbled endpapers, edges gilt and marbled, green silk bookmarker. Tiny spot to front cover, joints very slightly rubbed, glue traces to verso of front free endpaper, title page and last leaf dusty, small hole to one leaf due to paper flaw affecting three words, crease to one lower outer corner also due to a paper flaw causing minor offset of a few words on three lines, short closed tear to one outer margin skilfully repaired, small light ink stain to two leaves and rare light spots not affecting reading, contents thoroughly washed. ¶ Palau, 51982; Salva 1549; Ruis 8; see Printing and the Mind of Man 111 (first ed. Madrid 1605). F. Rico, ed., Don Quijote de la Mancha , 2004.
First edition of Moritz, Landgrave of Hesse’s verse translation of the Psalms, elaborately bound for presentation in pierced vellum, probably by the Schmalkalden binder Hans Bapest von Erfurt. Pierced vellum bindings are extraordinarily rare. A substantial proportion of those known from this period are found on copies of the second edition of this work (Schmalkalden, 1593): six are known in total, all clearly by the same workshop (these include Bodleian, 4o A 111 Th. BS, British Library BL c27e7, and the three illustrated in Bickell). This example appears to be the only copy of the first edition so bound.
A splendid copy of the rare third Madrid edition, the best printed by Cuesta, of the first part of Cervantes’s masterpiece. Widely believed to have been revised by the author, who was living “two steps away from the printing shop” (Rico, p. xcii), this text contains additions and alterations of fundamental importance for the modern critical editions. Provenance: i) Kirkman Daniel Hodgson (1814–1879), British banker, partner in the mercantile firm Baring Brothers and Co. (Barings Bank), then governor of the Bank of England and Member of Parliament, with his bookplate; ii) The Newberry Library, with book plate and deaccession label; iii) Karl Tilden Keller (1872–1955), American businessman, Harvard College graduate (AB 1894), and collector of rare books and objects relating to Don Quixote , with his bookplate; iv) offered by Keller as a gift to the Harvard College Library, with bookplate and deaccession stamp of the Library.
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