Our new catalogue features presentation copies and manuscripts that convey the full spectrum of authorial emotion.
A Catalogue of Presentation Copies and Manuscripts
J ONK ER S RAR E B OOK S
J O N K E R S R A R E B O O K S
P R E S E N T A T I O N C O P I E S & M A N U S C R I P T S
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C A T A L O G U E 8 5
A Catalogue of Presentation Copies and Manuscripts
J ONK ER S RAR E B OOK S
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CATALOGUE 85
Introduction An author’s presentation copy carries a certain magic. These are not the edition deluxe , produced for purely commercial ends, nor copies where the author’s signature has been solicited under duress. These books have not only been handled by their author, but have also been the subject of their consideration, in choosing the recipient and often in the wording used in the inscription. This magic takes the appeal of the first edition, that physical manifestation of a point in time in which author’s narrative emerges from the chrysalis of his imagination as a fully formed literary butterfly, a step further. These copies, often directly from the pub - lisher, are the ones that the author has chosen to distribute themsleves, usually with a personalised inscription. The motivation for this is varied: friendship, pride, thanks, admiration or in the hope of help or support. In this catalogue we see Rupert Brooke give his first book of poems to fellow poet Wilfred Gibson, shortly before going off to WWI and his death. In a peculiar parallel, Sylvia Plath gives her only book published in her lifetime to Ted Hughes’s aunt as a thank you gift for her hospitality. Affection presents itself in different forms: Raymond Chandler’s last book is concisely inscribed to Ian Fleming after (one hopes) a suitably bacchanalian lunch, whereas the copy of Robert Graves’s first book he gave to his sister has extensive annotations to each poem. Kingsley Amis, in giving an early work to Brian Aldiss and Anthony Powell doing the same for Edith Sitwell, were both young authors overtly expressing gratitude to the senior author for favourable reviews. Eve- lyn Waugh inscribes two books to Graham Greene and one to Nancy Mitford. Mitford inscribes a book to an Chilean playboy and Greene’s own copy of The Basement Room was given to nobody, but used it for marking up in preparation for the screenplay of The Fallen Idol. Ian Fleming’s heavily marked up typescript of Diamonds Are Forever and A.A.Milne’s letter to E.H.Shepard both give a clear insight into their respective creative processes. The list goes on, each one a unique point of intersection of the au- thor’s life and their work. Each a small but intensely relevant piece of literary history, the handling of which confers a visceral and quite tangible thrill.
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All items are unconditionally guaranteed to be authentic and as described. Any unsatisfactory item may be returned within ten days of receipt. Payment is accepted by cheque or bank transfer in either sterling or US dollars and all major credit cards. All items in this catalogue may be ordered via our secure website. The website also lists some 3000 books, manuscripts and pieces of artwork from our stock, as well as a host of other information.
Front cover shows a letter from C.S.Lewis to Leo Baker (item 44) in the background and the hand- writing of Lewis Carroll (item 8) used for the title.
Christiaan Jonkers Henley on Thames, 2021
Frontispiece: the titlepage from Ian Fleming’s market up typescript of Diamonds are Forever (item 21).
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Auden’s hand. And an earlier typed letter from Auden addressed to Wynne-Tyson’s Centaur Press, dated November 9th 1962, requesting their new edition of The Poems of William Barnes. All sheets of manuscript and correspondence remain in fine condition, showing only light evidence of being folded into envelopes. [40363] £6,000 A fine pair of manuscript poems by Auden, written for submission to a project co-ordinated by British publisher Jon Wynne-Tyson, founder of the Centaur Press. At the time of these manuscripts’ creation, Prologue At Sixty had been published the summer be- fore in the New York Review Of Books, but had yet to be published in Britain, and In Due Season had not been published on either side of the Atlantic. Prologue captures the retrospective mood so often associated with Auden’s later work, and was the only birthday poem he wrote for himself. It is, according to Mendelson, “triumphant and hopeful, while also looking back gratefully on an eclectically international list of eighteen sacred places from his past”. This is encapsulated in one of the poem’s closing thoughts, that is it “human to listen, Beyond hope, for an Eighth Day”. “In Due Season” would eventually appear in Auden’s 1969 collection City Without Walls, its title also taken from the Book of Proverbs. It too takes up the retrospective mood of the period, ech- oing Homer’s generations of the leaves where he notes that “younger leaves to the old give the releasing draught”. It is apparent from the correspondence sent by Auden with these manuscripts that Jon Wynne-Ty- son had asked Auden to submit some poems for an upcoming publishing project of his. In the second letter Auden brushes off any need of renumeration for the poems, asking instead for Wynne-Tyson to send him a copy of WilliamMorris’s Icelandic Journals, recently re-published by the Centaur Press. Where Auden manuscripts appear on the market, they tend to be fair copies produced for pres- entation, often years or decades after their initial publication. Those written with direct literary intent are uncommon, as are those of such considerable length. PROVENANCE: From the collection of British publisher and author Jon Wynne-Tyson (1924- 2020).
KINGSLEY AMIS TO BRIAN ALDISS 1. AMIS, Kingsley ONE FAT ENGLISHMAN Gollancz, 1963.
First edition. Author’s presentation copy to fellow novelist, Brian Aldiss, inscribed on publication, “To good old Brian who knows a masterpiece when he sees one* / King- sley/ *Oxford Mail Supplement 21/xi/63”. Aldiss’s ownership signature in pencil to the front endpaper. Original red cloth in dustwrapper. A fine copy in a very good dustwrapper with a couple of closed tears and a bit of chipping to the head of the spine. [40332] £600 A fine association between two of the most important post war writers in their genres. Aldiss has recounted his first meeting with Amis, when the latter visited Oxford to give a lecture in 1955: “Questions were requested following the talk. Silence. Embarrassed on Kingsley’s behalf, I asked ‘Do you think it possible to earn one’s living by writing science fiction?’ Kingsley’s answer was of the order of, ‘I don’t see why not. Nowmight be a good moment to try.’ He spoke to me as we filed out. He actually knew my name, having read two of my stories (I’d had about three published) in SF magazines. ‘Come and have a drink’, he said.” Aldiss favourably reviewed One Fat Englishman in the Oxford Mail on its publication, and later heralded it as “one of his funniest novels”. Their shared love of science fiction fostered a long friendship and correspondence. Contemporary presentation copies of Amis’s early novels with significant literary association are most uncommon. “LOVE IS SUBSTANTIAL, ALL LUCK IS GOOD” 2. AUDEN, W.H. TWO ORIGINAL AUTOGRAPHMANUSCRIPT POEMS: Prologue at Sixty & In Due Season With Three Signed Letters To Jon Wynne-Tyson 1968. Original autograph manuscripts of two later Auden poems. “Prologue At Sixty” writ- ten in blue ink over 4 sheets, 110 lines, and signed by Auden. “In Due Season” written in blue ink on a single sheet, 24 lines, also signed by Auden. With an autograph letter from Auden to Jon Wynne-Tyson, dated August 20th 1968, sent to accompany the poems’ submission to the publisher. With the original envelope addressed in Auden’s hand. A second autograph letter from Auden to Wynne-Tyson, dated August 28th 1968, ex- plaining that In Due Season is unpublished. With the original envelope addressed in
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3. BATES, H.E. ORIGINAL AUTOGRAPH MANU- SCRIPT: The Handkercheif Tree 1970. Seven pages of plain quarto sized paper, written on rectos only. Approx. 1000 words, with occasional cor- rections. Cover page inscribed by Bates, “For Frank and Joan: - just a little return for a wonderful day. Let me have the typescript back one day at your conven- ience (sorry! I meant when you have time!) with love HE. June 23 / 70”. With a photocopy of the typescript. Also with a letter from Frank Rodwell, thanking Bates for this manu- script and for the typescript of “The Triple Echo”, commenting how he would have it bound with the manuscript and also asking “Do you not feel, as I do, that The Triple Echo would make a wonderful film” (it was filmed in 1972 staring Glenda Jackson and Ol - iver Reed). [28973] £1,250 An essay published in In Living (December 1970) in which Bates relates a visit to a nearby garden containing two spec- imens of the Handkerchief Tree, and tells the tale of its re- discovery in 1899 by Ernest Henry Wilson.
RUPERT BROOKE TO FELLOW DYMOCK POET
6. BROOKE, Rupert POEMS Sidgwick & Jackson, 1911. First edition. Original dark blue-black cloth with paper title label on the spine. Author’s presentation copy, inscribed to fellow poet W.W. Gibson, “Wilfred Gibson from Rupert Brooke 1913”. Three further autograph corrections by Brooke to the text: adding the work “so” to the second line of the second verse on p.32, changing the title of the poem on p.34 from “Libido” to “Lust” and changing “Senility’s greasy furtive love-making” to “senility’s queasy furtive love-making” on p.35. A very good copy indeed, crisp and clean with light spotting to the prelims and tanning to spine label. [40129] £17,500 An exceptional and rare presentation copy of Brooke’s first commercially published work. Gibson and Brooke met in London, and later, along with Edward Thomas and Robert Frost, moved to Dymock, where they collaborated on their own quarterly entitled ‘New Numbers’. ‘Poems’ is the only collection published in Brooke’s short lifetime, before he died one of the most famous deaths in English history on St George’s Day 1915. Owing to this and to the limited print run of 500 copies, inscribed copies appear very seldom in commerce: there has been no copy at auction for 30 years, a meagre six examples in the last century 1939, 1946, 1968 (the present copy), 1972, 1988 and 1990. The authorial corrections to the text on pages 32 and 35 appear in the second edition of 1913. Brooke’s manuscript altering the title the poem ‘Libido’ to ‘Lust’ was a reversal of a change forced upon him by his publishers, who asked for the poem to be removed entirely, but eventually settled for the change of title. This title remained until ‘Collected Poems’ of 1918. Keynes 5; Schroder 8 PROVENANCE: W. W. Gibson (1878-1962), presentation inscription from Brooke, sold July 1968 as part of the sale of Gibson’s library to: John Schroder (noted Brooke collector whose Brooke papers were sold to King’s College Cambridge in 2015); by descent.
WILLIAM BOYD TO BRIAN ALDISS 4. BOYD, William A GOOD MAN IN AFRICA Hamish Hamilton, 1981.
First edition. Author’s presentation copy, inscribed on publication to fellow novelist, Brian Aldiss and his wife, “For Brian + Margaret with all good wishes from your new neighbor William Boyd 6.Nov.1981” Dustwrapper illustration by Michael MacManus. A fine copy in a near fine dustwrapper with slightly faded spine. [40334] £1,250 Boyd moved to Oxford to embark on a DPhil thesis on Shelley and to lecture in English in 1980. In 1981 he moved next door to Aldiss and, “sharing a relish for literary life and white wine, we immediately became friends” - Aldiss (The Twinkling of an Eye). Laid in is a page of notes made by Aldiss as he read the book, mainly mildly critical with the odd word of praise: “92 Stupid Welsh gits out of K[ingsley] A[mis]... 134 Morgan a Tom Sharpe Hero... 156 the affair with Celia: good. Improvement on Ch.I”. The author’s first novel and winner of the Whitbread Award, on publication it was likened to a cross between Evelyn Waugh and Kingsley Amis: “it is as though Lucky Jim had been suddenly transported to the mythical kingdom of Azania in Black Mischief.” (New York Times) 5. BOYD, William SCHOOL TIES Hamish Hamilton, 1985. First edition. Original black boards in photographic dustwrapper. Author’s presenta- tion copy to fellow author Brian Aldiss, inscribed on the half title, “To Brian + Margaret with love, Will” Further signed on the title page. A fine copy in a fine dustwrapper. [40336] £850
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LEWIS CARROLL TO REV J.W. BURGON 9. CARROLL, Lewis PHANTASMAGORIA And Other Poems MacMillan, 1869. First edition, first issue. 8vo. Original blue cloth with gilt vignettes and lettering. All edges gilt. Inscribed by Carroll on the half title “Rev J. W. Burgon with the Author’s kind regards Jan, 1869”. A very good copy indeed, a little tanned to the spine with some wear to spine ends. [39706] £4,750 Carroll noted in his diary on 7th January 1869 that he “called on Macmillan and sent off 28 copies of Phantasmagoria”, which were inscribed for close family, friends and colleagues at Oxford. The recipient of this copy, John William Burgon, was a contemporary of Dodgson’s at Oxford, being a fellow Oxford clergyman and the vicar at St Mary’s. LEWIS CARROLL TO REV H.A. BARCLAY 10. [CARROLL, Lewis] DODGSON, Charles Lutwidge NOTES BY AN OXFORD CHI- EL James Parker and Co., 1874. First collected edition. Publisher’s green cloth titled in gilt to the upper cover. Issued with the collective title page and contents leaf. Author’s presentation copy, inscribed on the front pastedown, “H. A. Barclay with the Author’s sincere regards Ap. 27 1875”. Two later notes of provenance are written on the free endpaper. All edges gilt. A near fine copy, with a little wear to the spine ends, else clean and bright. [39705] £4,500 A rare collection of Dodgson’s famous ‘Oxford Squibs’, good natured satires, usually of a local political nature disguised in the sort of ‘nonsense’ writing popularised in the author’s fiction writ - ings. The first section, The New Method of Evaluation as Applied to π , for instance is not part of Dodgson’s noted work on number theory, but a comment on religion within the Oxford University with such reasoning as, “let H=High Church, and L=Low Church, then the geometric mean = √HL: call this ‘B’ (Broad Church). .˙. HL=B 2 ” The other parts comprise, The Dynamics of a Particle; Facts, Figures, and Fancies; The New Belfry, of Christ Church Oxford; The Vision of the Three T’s; The Black Cheque, A Fable. The pamphlets were published individually between 1865 and 1874 and collected here for the first time. Presentation copies are rare with only two others offered at auction in the last forty years. The recipient of this copy, the Reverend Henry Alexander Barclay, was a life-long friend of Dodgson’s, having been at Christ Church with him, and Dodgson would often visit him in Brighton during the summer.
BYRON AND SYKES TO THE ABDYS 7. [BYRON, Robert & SYKES, Christopher]; WAUGHBURTON, Richard INNOCENCE AND DESIGN Macmillan, 1935. First edition. Original green embossed cloth with gilt titles in (supplied) dustwrapper designed by Sykes. Authors’ presentation copy, inscribed on the front end paper by both authors to Diane and Robert Abdy. From Robert Byron, “To Diane and Bertie from Richard Waughburton 4 July 1935”, and from Christopher Sykes, “With many thanks for loan of character, though everyone thinks it’s Sachie.” Illustrated throughout in line by Sykes. A very good copy, with a little wear to the spine ends and back panel, in a very good dustwrapper indeed, which shows a little wear to the corners. [31260] £2,250 A fine association. Sir Robert Abdy was close friends with Byron and Sykes and their circle includ - ing Evelyn Waugh, Nancy Mitford, and Gertrude Stein. The principal character of the novel, Sir Constantine Bruce, is based on Abdy, as Sykes alludes to in his presentation inscription. He is described as “a man of keen aesthetic sensibility... disinclined, in fact positively unable to live in ugliness”, rather like Abdy who was an antique collector who sought to surround himself with beautiful objects. Bruce, like Abdy, has a keen interest in architec- ture and journeys to the Middle-East in search of the Moslem principals of chromatic architecture which he plans to use in his redesign of his Scottish estate. Comedy ensues as Bruce’s naivety embroils him with the Military Intelligence. Byron and Sykes wrote the book whilst in Persia (Byron gathering material for The Road to Oxia- na), and one can see strains of Sykes in the horseplay passages interspersed with essays by Byron on Islamic architecture and Persian national character. Presentation copies by Robert Byron are rarely encountered in commerce.
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LEWIS CARROLL TO MAY FORSHALL IN PRESENTATION BINDING AND DUSTWRAPPER 8. CARROLL, Lewis (DODGSON, Charles Lutwidge) THROUGH THE LOOKING GLASS, And What Alice Found There Macmillan, 1877. Fortieth thousand, i.e. a later issue of the first edition as per Williams Madan Green 84. Publisher’s special deluxe binding of white textured paper covered boards to imitate vellum, with gilt lettering and vignettes, in the exceptionally rare unprinted original lilac dustwrapper. All edges gilt. Author’s presentation copy, inscribed on the half title, “May Forshall from the Author / Dec 3. 1877” Black and white illustrations throughout by John Tenniel. A fine copy with exceptionally clean white covers and bright gilt, just a couple of trivial marks to the edges. Internally fresh with tight hinges. Two pin holes to the front endpaper and a faint mark to the edge of the preliminary pages. Dustwrap- per rather worn, with small chips to the spine ends and corners and a larger chip to the corner of the back panel. An exceptional copy. Included with this book is an original carte-de-visite mounted photograph of Mary Forshall taken by Carroll, numbered by him (2485) in violet ink on the reverse. [35715] £40,000 Mary Forshall (known as May) was the daughter of the Highgate physician Francis Hyde Forshall, an acquaintance of Charles Dodgson’s. Dodgson recalls his first meeting with May in a diary entry of 27 November 1877, “Dined with Sampson, to meet Dr. Forshall with his sister, etc., and May Forshall, a nice child of 10.” In the 1 December 1877 entry, Dodgson mentions May “came to be photographed” at 11am, an appointment which was repeated two days later, with the result that Carroll took, “5 negatives, of which 2 failed”. It was on the second meeting that Dodgson presented one of his newly received copies of Through the Looking Glass, in a specially commissioned presentation binding. Dodgson took an obsessive interest in the production of all his books and would habitually order small quantities to be bound up in a variety of non-standard styles and hues for his own use, want- ing to have a ready supply of special bindings, which differed form the shop bought version, to be used as presentation gifts. Of these styles, the white binding seems to have been the one chosen by Dodgson for his most favoured presentations. It is also a style of binding which has fascinated latter day collectors. For the publication of The Hunting of The Snark, the year before this book, Dodgson had com- missioned an array of coloured bindings including “20 bindings in white vellum and gold”. This was changed to parchment style paper or cloth and gold, on economic grounds. Dodgson appears to have placed a similar order for both Alice (then in its sixth edition) and Through the Looking Glass, which were delivered late in 1877. They are now of the utmost scarcity, seldom appearing in commerce. When they do, they are usually in a poor or repaired state, as the fragile white boards were particularly prone to damage. In this case the presence of the original dustwrapper, itself probably a unique occurrence, has meant that the white binding has remained in exceptional condition. Williams, Madan, Green 84
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AGATHA CHRISTIE TO THE SHIPSTONS
12. CHRISTIE, Agatha DUMB WITNESS Collins, 1937. First edition. Original orange cloth with thick black lettering. Author’s presentation copy, inscribed “Geoff & Violet from Agatha” on the front endpaper. A near fine copy, a little cocked with a slightly faded spine. [33661] £3,750 Inscribed for Geoff and Violet Shipston, close friends of Christie’s and the dedicatees of Three Act Tragedy.
CONRAD TO ARTHUR MARWOOD
13. CONRAD, Joseph VICTORY Methuen, 1915. First UK edition. Original red cloth lettered in gilt. Author’s presentation copy, in- scribed on publication on the front endpaper, “To Caroline and Arthur Marwood from J. Conrad 1915.” A bright and clean near fine copy, with a touch of fading to the spine.. [39131] £7,500 A charming association copy of Conrad’s psychological novel. Conrad met Arthur Marwood through their mutual friend Ford Madox Ford, who later based the hero of Parade’s End, Christo- pher Tietjens, on Marwood’s life and character. Marwood was evidently a loyal and assiduous reader of Conrad’s work, and wrote to him in April 1915 to suggest a correction that might be made in Victory. Conrad’s reply suggests a strong friendship: “I ammuch relieved by your letter as far as Victory is concerned... you, my dear fellow, are the real Wise Man of the Age. I am so convinced by the truth of what you say that I’d have cabled to U. S. the correction you suggest, if it hadn’t been too late... I can’t tell you how grateful I am to you for our friendship, which speaks aloud to me out of the lines of your letter so indulgent and so careful of my good fame and fortune” (30th April 1915).
CHANDLER TO FLEMING 11. CHANDLER, Raymond PLAYBACK Hamish Hamilton 1958.
First edition. Publisher’s red cloth, lettered yellow to spine, in the original dustwrap- per. Author’s presentation copy, inscribed to Ian Fleming on the front free endpaper, “To Ian, With Love Ray”. A fine copy in a very good dustwrapper indeed with a little wear to the spine ends and corners. [40896] £50,000 An exceptional association linking two of the most influential thriller writers of the twentieth century. The presentation is the culmination of a brief but intense friendship which began at a dinner party hosted by Stephen Spender in May 1955. Shortly afterwards, Fleming sent Chandler, then the doyen of the hard boiled fiction genre, a copy of the newly published Moonraker, stating hopefully in the accompanying letter, “a word from you which I could pass on to my publishers would make me the fortune which has so far eluded me.” Chandler not only wrote an enthusiastic endorsement of Moonraker, but also encouraged Flem- ing, who was growing tired of James Bond, to continue writing. “Chandler’s approval... seems to have changed the whole attitude of Fleming to his hero and his work and to have made him decide that his next book, instead of finishing Bond for good, would go to the opposite extreme. It would be different from any other book he had written, it would have depth and seriousness. Bond would become a ‘rounded character’ like Chandler’s hero, Phil- ip Marlowe...” - Pearson (The Life of Ian Fleming) Since the death of his wife in 1954, Chandler had become a frequent visitor to England and he and Fleming corresponded and met often. The last time they were to meet was on the publication of Playback in July 1958. Fleming had agreed to interview his friend for the BBC’s Third Program and at lunch afterwards, Chandler gave Fleming this copy of his just published novel. Within seven months and Chandler’s increasingly excessive drinking taking its toll, he died in California.
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CONRAD TO CATHERINE WILLARD 14. CONRAD, Joseph THE SECRET AGENT Methuen, 1920.
Tenth edition. Original red cloth lettered in gilt to the spine. Author’s presentation copy, inscribed on the front endpaper, “Catherine Willard from her friend Joseph Con- rad 1st Jan 1921”. A very good copy indeed with minor wear to the spine ends and some cracking to the front hinge. [32862] £3,750 Catherine Willard (1898-1954) was a noted screen actress and leading lady. She met Conrad in about 1920 through her mother, Grace, who at the time was an interior designer helping the Con- rads furnish their new home, Oswalds, in Bishopsbourne, Kent. She was establishing herself as an actress and was about the same age as the Conrad’s son, Borys. The latter suspected his parents of attempting to line her up as a future daughter in law. Conrad was writing his dramatic adaptation of The Secret Agent at the time and had Willard in mind for the heroine. He sent the finished man - uscript of the play to her shortly before his death in 1924, and it is probable that he gave her this copy to familiarise herself with the novel, in the hope she would take the part, whilst he finished the play. The Secret Agent has long been regarded as one of Conrad’s finest and most enduring novels and was a key influence on both Graham Greene and Eric Ambler. It is notably rare in a presentation state, even as a reprint. “The Secret Agent depicts the atmosphere of Edwardian London in a psychological thriller of the anarchist underworld. Conrad’s wit and chivalrous magnanimity are at their airiest in this novel.” (Connolly)
DICKENS TO AGNES LAWRENCE 17. DICKENS, Charles CHRISTMAS BOOKS Chapman and Hall, 1852.
First collected edition. Author’s presentation copy, inscribed by Dickens on the in- serted blank facing frontispiece, “Agnes Sarah Lawrence, from her affectionate friend Charles Dickens, Twenty Second November 1852”. Octavo (180 x 118 mm). Publish- er’s presentation binding of contemporary red calf, with raised bands and green calf title label to the spine and elaborate gilt decoration to the sections. Double gilt rule and blind stamped border to covers. All edges gilt, marbled endpapers with green silk page marker. Engraved frontispiece by John Leech, text in double columns. A very good copy indeed with a neat repair to the front joint and head of the spine and a few trivial scratches to the cover. Internally fresh with a modicum of foxing to the frontis- piece. Housed in a custom made red cloth chemise and red morocco-backed slipcase. [40312] £60,000 The recipient Agnes Sarah Lawrence (born c.1835, and a young lady at the time of this inscrip- tion) was the daughter of John Towers Lawrence of Balsall Heath, near Birmingham. Dickens corresponded with her father in February that year about bringing a group of amateur players to Birmingham. The following Christmas, Dickens returned to Birmingham to give a three-and-a- half-hour reading of A Christmas Carol and The Cricket on the Hearth at the Birmingham Town Hall - the first of his famous readings. Copies for presentation were evidently specially prepared with a heavy text leaf replacing the standard tissue guard. The Gimbel Collection, now at Yale, includes three presentation copies of this edition, each similarly inscribed on an inserted front blank and dated November 1852. Dickens’s Christmas books were published here together for the first time, with a new preface by Dickens. PROVENANCE: Agnes Sarah Lawrence (1835-1911, presentation inscription from the author); Sold at auction 1931 to Dawson’s Bookshop, California (bookseller’s catalogue description tipped in); sold in 1932 to Estelle Doheny (1875-1958, noted collector who built “one of the rarest book libraries in the United States”, morocco book label to front pastedown); sold at the Doheny sale (October 1998) to Jock Elliot; sold at the Elliot sale (December 2006); Private British collection.
INSCRIBED BY DAHL
15. DAHL, Roald THE TWITS Cape, 1980. First edition. 8vo. Red boards with gilt lettering on the spine in a pictorial dustwrapper, with colour illustration by Quentin Blake. Inscribed on publication by the author with Dahl’s distinctive scrawl in black felt tip covering the front endpaper, “To Hannah and Charlotte with Love Roald Dahl 22 Dec. 1980”. Illustrated throughout in black and white by Quentin Blake. A near fine copy in a near fine dustwrapper, which has light fading to the spine. [40570] £3,000
16. DAHL, Roald THE WITCHES Cape, 1983. First edition. 8vo. Petrol blue boards in pictorial dustwrapper, which is illustrated in colour by Quentin Blake. Inscribed by Dahl on the front free endpaper, “To James love Roald Dahl, 16 Dec. 1983”. Illustrated in line by Quentin Blake throughout. A near fine copy in a near fine dustwrapper. [37485] £6,750 Uncommon signed.
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FLEMING TO ANTHONY MARBER
19. FLEMING, Ian THUNDERBALL Cape, 1961. First edition. Original black cloth with blind stamped skeletal hand on upper cover, in the pictorial dustwrapper, with a striking design by Richard Chopping. Inscribed on the front free endpaper by Fleming, “To Anthony from the author”. A fine copy in a fine dustwrapper. [40151] £12,500 This book was inscribed by Fleming to Anthony Marber, a journalist colleague.
INSCRIBED BY CONAN DOYLE 18. DOYLE, Sir Arthur Conan THE ADVENTURES OF SHERLOCK HOLMES George Newnes, 1892. First edition, in the primary binding with no street name. Quarto. Original pale blue cloth, titles to spine and front cover gilt, pale grey patterned endpapers, edges gilt. Inscribed by the author on the title page, “Yours ty, A Conan Doyle, March 16 /15”. Illustrated throughout the text by Sydney Paget. A very good copy indeed with minor wear to the spine ends and edges and light abrading to the gilt panels on the spine. Internally tight with a previous ownership inscription on half-title and a little scattered foxing. [40257] £85,000 Although Sherlock Holmes made his first appearance some four years earlier in ‘A Study in Scar - let’, The Adventures of Sherlock Holmes marks the great detective’s debut in a short story, the form in which he is best known and which propelled Holmes to the status of detective fiction’s most enduring character and his author to literary celebrity. Inscribed copies are of the utmost scarcity, with only four copies offered at auction in the last 100 years.
SIGNED LIMITED EDITION 20. FLEMING, Ian ON HER MAJESTY’S SECRET SERVICE Cape, 1963.
First edition, deluxe issue, number 128 of 250 copies, signed by the author. Original quarter vellum over black boards in publisher’s original clear glassine dustwrapper. Top edge gilt. Frontispiece illustration of Fleming by Amhurst Villiers not included in the trade edition. A fine copy with an unusually clean vellum spine. Page edges slightly tanned with a small mark to the fore edge. The glassine shows a couple of tears, but is mainly complete. [40159] £15,000 On Her Majesty’s Secret Service is the only Bond novel to be issued in this deluxe format and is uncommon by dint of its limitation. Over time, the vellum has shown a tendency to yellow, and copies in such nice condition, with the original glassine, are scarce.
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EXTENSIVELY CORRECTED TYPESCRIPT 21. FLEMING, Ian THE FINAL REVISED TYPESCRIPT OF DIAMONDS ARE FOREV- ER with Fleming’s autograph revisions throughout. 1955-6. Quarto typing paper, 277 leaves, numbered to 265, with 11 supernumerary leaves, plus two preliminaries, the penultimate leaf (264) lacking. Bound in an early, possibly pub- lisher’s or author’s, ‘Interscrew’ binder with brown paper covered boards with rex- ine covering at the spine-side edges and brass screws. Marked on the first leaf “To be returned to author for final revision”. Extensive autograph revisions throughout, affecting almost every page, by Fleming mostly in blue biro. Further marked up by a copy-editor to the preliminary pages with type-sizes and similar technical annotations. Occasionaly marginal proof readers marks in light pencil mainly corrected and one passage noted “?Libel”, later struck through to confirm that it has been read for libel. Light signs of use with the first five leaves pulling loose of the binder and slightly creased and the final leaf loose and frayed, the remainder in excellent condition with a little gentle wear to extremities of binder. Housed in a custom made black quarter morocco clamshell case. [40887] £350,000 Ian Fleming’s revised typescript of Diamonds are Forever, heavily revised by the author with nu- merous autograph additions, revealing Fleming’s working practices as he honed the fourth Bond novel into its final shape. Almost every page of the manuscript shows authorial tweaks in Fleming’s characteristic blue ballpoint. Many tauten the plot, while some are apparently minor: a telephone number, for ex- ample, gets altered from Wisconsin 9.00456 to Wisconsin 7.3697. Others add vigour to the prose: when Bond checks himself into the Hotel Astor it was originally “in front of an elderly woman”; now it is “before a hatchet-faced woman with a bosom like a sandbag”. Or, at page 88, “too many expense-account customers” becomes “too much expense-account aristocracy”. While most pages
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ARTISTS ARCHIVE AND CORRESPONDENCE FOR ‘FOR YOUR EYES ONLY’ 22. FLEMING, Ian; CHOPPING, Richard ARCHIVE FOR THE DUSTWRAPPER OF ‘FOR YOUR EYES ONLY’ [October 14 1959 - April 14 1960]. A collection of correspondence and artwork, comprising eighteen letters between Fleming, Michael Howard (his contact at Cape) and Richard Chopping relating to the production of the dustwrapper design for ‘For Your Eyes Only’, and all Chopping’s preliminary sketches and drawings for the jacket. All housed in a custom-made blue cloth folder in a blue cloth chemise with blue morocco-backed slipcase. The correspondence is initiated by a typed letter signed from Fleming to Chopping dated 14 October 1959, ”We have a new jacket problem which I very much hope you will execute again...”. Chopping replies by return to say he is “in a frenzy of work... Some how I have got involved in nineteen commissions”, can he meet for lunch or a drink next Monday and that “I must warn you that prices have had to go up”. Fleming’s secretary (Mina Trueblood) replies to say Fleming has left the country and could probably meet for a drink on Monday. Fleming and Chopping having met, Chopping writes to Fleming on a page which he appears to have initially used as notes and questions on the jacket design. “Title - RED - “For Your eyes alone only”... Is Bond:- dark or fair... black eyebrows and black eyelashes and (cold) grey(-blue) eyes - possibly””. The note shows Chopping’s notion of the design brief given by Fleming taking shape, “I think I can do a cover in keeping with the other two... title and authors name in the same lettering or paper pinned to it and between them a hole.. through which an eye is looking.” The next letter in the sequence, dated 26 October, is a signed carbon of a letter from Fleming to Howard, enclosing and approving of Chopping’s proof design, “I think it is absolutely splendid... I really do think Dickie is an ingenious chap...”, refining the de - sign “I’m prepared to sacrifice the grey-blue of James Bond’s eyes for a brighter blue...”,
contain one or two alterations, on eight occasions Fleming makes substantial prose additions: to pages 23 (Bill Tanner’s disquisition on American gambling), 79 (Felix Leiter on “night eye” callus- es), 111 (the auctioneer’s patter), 119 (a racing announcement), 120 (ditto), 194 (Spang gives Bond a grilling), 221 (Bond receives Tiffany’s message), and 263 (the Captain’s remarks to Bond). Chapter 17 was originally called “Bond Forces the Race” but becomes “Thanks for the Ride”. Every now and then the nagging voice of the publisher’s reader can be heard, protesting at one point “but surely the world’s diamond centre is Amsterdam?” The first draft of Diamonds are Forever was typed by Fleming at Goldeneye early in 1955, both the top copy and carbon being now at the Lilly Library at the University of Indiana. This final draft was then typed by Fleming’s secretary Ulrica Knowles from the Goldeneye typescript, as a fair copy with this top copy going first to the publisher’s reader and then to Fleming for his final revisions. The carbon copy was sold by auction in December 2002. The carbon was marked up by the copy-editor, but had only “two annotations... apparently in the author’s own hand”. Original manuscripts and typescripts of Fleming’s major works are extremely rare on the market, this being one of only three full typescripts known in private hands, the other two The Man With The Golden Gun and You Only Live Twice, both containing significantly fewer authorial anno - tations.
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deletions indicating Chopping’s unease. “I am afraid that a bad misunderstanding occured over the question of my fee... The figure you urged me to charge in the future was 200 gns. I was in fact doing this job with 150gns in mind. So you can imagine my surprise when Michael sent me 1/2 that amount.” Eventually Fleming sends a typed letter signed to Chopping dated 22 March 1960, agreeing that Chopping’s work should be more highly paid but by “squeezing the mil- lionaires” (presumably Cape), explaining that Cape pay “their standard fee of 25 guin- eas and I pay the rest... How would 100 guineas suit?”, but goes on to say “I shall not argue if you think a higher price would be right.” With no response from Chopping on 8 April, Howard writes a short letter to Chopping enquiring whether “everything has been squared up to your satisfaction.” Chopping replies with an undated autograph letter (but 11 April, on the back of Flem- ing’s letter of 22 March) saying, “I find the whole business of money so embarrassing... I really cannot argue about it and will settle for 100 guineas” Fleming replies by return (12 April), “in view of your fine jacket and my vast admira - tion for your work I propose that 125 guineas would be a fair compromise... But you must promise to do my next jacket also!” Chopping replies (written on the back of Fleming’s letter) thanking Fleming for his “generous proposal” and confirming payment. The artwork comprises several draft pages typed with the ‘dossier text’ used on the jacket (”The case of Kurt Hammerstein or von Hammerstein...”), two marked up by
the positioning of the lettering “logically “For Your Eyes Only” should be stamped on a portion of the document.... I enclosed a draft of how this might look... The title should be red and perhaps... rather fuzzy as if it really were a rubber stamp.” Two drafts of a page from a dossier typed by Fleming with FOR YOUR EYES ONLY written in pen, twice on one draft (one in a box) and once on the other. Howard then writes to Chopping (Nov 4th 1959), “Ian Fleming has gone off round the world to visit all the wicked cities and write a series of titillating articles for The Sunday Times... I think between you you have cooked up an idea of really masterly ingenuity which should make one of the most intriguing jackets you have done...”. Howard goes on to mention proposed deadlines and sizing, and encloses Fleming’s dossier draft of the previous letter. The design now complete, the letters turn to the thorny issue of Chopping’s fee. How- ard writes to Chopping on 6 January 1960, “Ian has just gone off to Jamaica for his annual hibernation... Ian has also asked me to send on his behalf a cheque for £75... this is double the highest fee I have ever heard of being paid for a jacket design in this country...” Chopping is not impressed, “You seem prepared for me to be dissatisfied with £75 and indeed I am... it is between Ian and me I would like to write direct to him.” Howard writes supplying Fleming’s Jamaican address, followed by a letter on 10 March asking if he and Fleming have sorted out his fee and mentioning difficulties with printing the jacket. Meanwhile Chopping sends an undated and unaddressed (though presumably to Goldeneye) note to Fleming. It is characterised by a large number of corrections and
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Fleming illustrating possible positioning for the title and two with Chopping’s annota- tions and lettering and several unused. One page of what appears to be an aborted typescript of the first page of Goldfinger with two pencil sketches of eyes on the reverse. Five pages of watercolour palette examples, one with rough pencil design for jacket layout, two with notes on the colours of the various elements, noting for instance that the flesh colour is made up of “Yellow Ochre, Light Red, White, Alizarin Crimson” and “To get high light on eye clearer draw head back - put eye lashes in late”. Two pages of watercolour on paper design for the wooden background, one in light wood and one in the eventually used grey wood, with a rough sketch of the brass card holder beneath. Some nineteen pieces of tracing paper containing pencil sketches of various elements of the design in varying detail, including eyes, lettering and name-card holder, as well as alternative design for the layout. The final design for the jacket and spine, pencil on tracing paper held on a piece of artist’s board, signed by Chopping under the drawing, with a protective sheet of paper over it with the holograph note, “Please return to:- Richard Chopping” and his address. A single page taken from a magazine showing a close up of an eye, presumably used for anatomical detail. Three ‘specimen eyes’ each with different colouring. Watercolour on artist’s board with Chopping’s notes on colour in pencil beside each. Signed in pencil at the base. The final preparatory watercolour of the eye looking through the spy-hole with the grey wood finish around it. Watercolour on artist’s board (165mm x 216mm). [40889] £75,000 An extraordinary archive which charts the design and construction of one of the iconic dustwrap- pers in the James Bond sequence. Chopping was introduced to Ann Fleming by their mutual friend Francis Bacon in 1956. She invited him to a party at the Flemings’ house where he was given the commission to design the jacket for From Russia With Love. He subsequently designed Goldfinger (though curiously not Dr No). For Your Eyes Only was only his third Bond jacket, though it is clear from their correspondence that Fleming is very much taken with his work and thereafter Chopping designed each of Fleming’s Bond books. .
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ORIGINAL RESEARCH NOTEBOOK FOR YOU ONLY LIVE TWICE 23. FLEMING, Ian MANUSCRIPT NOTEBOOK Containing notes taken during a trip to the Far East, including source material for ‘You Only Live Twice’. [1959]. Small perfect bound pocket notebook with cloth-backed card covers. Square-ruled pa- per, 54 leaves of manuscript notes by Fleming written in blue biro written mostly on rectos, with occasional striking through in pencil or red biro. A further seven unused leaves. Near fine condition, housed in a red cloth chemise and a red morocco-backed slipcase. [40890] £95,000 Fleming’s visit to the Far East in 1959 was at the behest of Leonard Russell, The Sunday Times features editor, with the purpose of writing a series of articles on various glamorous spots about the globe. Fleming initially having refused the commission, was eventually persuaded by the pos- sibility of getring some material for his James Bond novels in the process. The Sunday Times articles were later collected in Thrilling Cities , but the real success of the trip was the on-the-ground material he was able to gather for the as yet unwritten You Only Live Twice . This note book, carried everywhere by Fleming, was used to note down impressions, appoint- ments, interesting facts and the odd bit of lexicon (”Moshimosh = hello!”). After a brief stop off in Beruit (”a sprawl of twinkling hundreds + thousands under a theatrically new moon... The first sticky fingers of the East”), he landed in Hong Kong, where he had arranged to meet his Australian friend Richard Hughes, who would become one of the dedicatees of You Only Live Twice and was fictionalised in the books as Dikko Henderson. The several pages of notes taken during the stay in Hong King range from terse comments about the surroundings (the opium pipe sellers in Cat Street Market, popular bars and types of beer: “Ti- ger beer and San Miguel”), to musings on the wildlife (”No seagulls in Hong Kong. In Shanghai they say seagulls have come back because no longer have to fight with humans for the refuse...”). Fleming left Hong Kong via Macau and a visit to the house of P.J. Lobo, who is thought to have been part of the inspiration for Goldfinger (”Well guarded... likes young girls... centipedes + scor - pions... no income tax...”). The journey to Japan is punctuated by Fleming’s notes on air trav- el, “Round the world in 30 days - but at what price in blurred impressions, fudged facts, pirated quotations...”. In Japan they were joined by Torao “Tiger” Saito, the other dedicatee of You Only Live Twice , who was fictionalised in that novel as Tiger Tanaka. His description in Tokyo becomes more detailed. A couple of closely written pages describe his room and its furniture with the precise journalistic detail which characterises his novels. There are notes from a visit to a Kodokan judo institute, and hot springs, as well as many terse observations, such as the Japanese superstition, “Tip of little finger - no nail - must be higher than the first joint of the 3rd finger - means you can rely on your friends”; some useful lingo, “GOKUHI = Top Secret / KEISHIO = Tokyo Metropolitan Police. / SOSAKA - CID”, cultural asides, “Japs drink sweet sherry”, all of which are later drawn upon to lend verisimilitude to his descriptions in You Only Live Twice. An extraordinary insight in the Fleming’s creative process and the painstaking way in which he recorded everyday details of the exotic surrounding he later described in his books. Significant Fleming manuscript material is profoundly uncommon in commerce, the majority of material now being held by Lilly Library’s Fleming collection. This remains one of the very last pieces in private hands.
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FROST TO WILFRED GIBSON
FROST TO WILFRID GIBSON 25. FROST, Robert NORTH OF BOSTON David Nutt, 1914.
24. FROST, Robert A BOY’S WILL David Nutt, 1913. First edition, first issue, binding A. Original bronze pebbled cloth, titled in gilt to upper cover, edges uncut. Inscribed to his close friend and fellow Dymock poet Wilfrid W. Gibson: “W.W.G. from R.F. Sept. 1913.” Housed in custom cloth chemise and slipcase. A very good copy, the spine a little faded, and with occasional spotting internally. [40840] £17,500 An exceptional presentation copy of Frost’s first book. When A Boy’s Will was published in March 1913, Gibson and Frost had not yet met, though Frost had read Gibson’s Daily Bread (1910) and Fires (1912) with some admiration. At the time Gibson was a poet of some standing, and was living in a small room above Harold Monro’s Poetry Book- shop. He read Frost’s debut collection on publication, and later that year wrote to Frost and told him to come to the Bookshop and show him some new poems. Their first meeting and early friendship is memorialised in Gibson’s poem ‘The First Meeting’, as well as in this book, inscribed for Gibson by Frost in the September. The following year Gib- son would convince Frost to move to Dymock, and was the key node connecting him to Rupert Brooke, Edward Thomas, John Drinkwater and Lascelles Abercrombie. Immediately before the move, Frost wrote to Sidney Marsh confessing “I have no friend here like Wilfrid Gibson” (March 1914). Of roughly 1000 copies of the first edition, approximately 350 were issued by Nutt in bindings A and B, before the company went into bankruptcy after the First World War. Copies in the first issue in the primary binding are uncommon, and presentation copies of such literary magnitude are rare. PROVENANCE: Wilfrid W. Gibson (1878-1962; presentation inscription from the author); William E. Stockhausen (sold at his sale, 14 December 1974, lot 704).
First edition, first issue, binding A. Original green cloth , upper cover and spine titled gilt, top edge trimmed, other edges uncut. Inscribed to his close friend and fellow Dy- mock poet Wilfrid W. Gibson: “Wilfrid Gibson from Robert Frost”. Housed in custom cloth chemise and slipcase. A very good copy indeed, some light marks to the upper cover. [40841] £12,500 An exceptional presentation copy. By the time Frost met Gibson in the autumn of 1913, he was putting the finishing touches to this collection, and brought many of the poems in it to their first meeting. Gibson was impressed, and the two quickly became friends. In March of the following year, Gibson recommended Frost move out from Beaconsfield to Gloucestershire, and join the community of poets he had established there with Rupert Brooke, Edward Thomas, John Drinkwater and Lascelles Abercrombie. North Of Boston contains some of Frost’s greatest early work, including the poems Mending Wall and The Death Of The Hired Man. Reflecting on this a few years later, Frost would write that North Of Boston “was the book that got me invited down to live with those fellows in the country” (Letter to Amy Lowell, 1917). As in the publication of A Boy’s Will, approximately 350 copies were bound up in the first binding in 1914 to be sold by David Nutt in London, from a total edition of 1000. Contemporary presenta- tion copies with such literary magnitude are rare. PROVENANCE: Wilfrid W. Gibson (1878-1962; presentation inscription from the author); William E. Stockhausen (sold at his sale, 14 December 1974, lot 711).
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