Highlights of the books we shall be exhibiting at San Francisco Book Fair taking place from the 27th February to the 1st of March, at booth 111.
C A L I F O R N I A A N T I Q U A R I A N B O O K F A I R 2 0 2 6
California International Antiquarian Book Fair
27th Febuary - 1st March 2026
B O O T H 111
JONKERS RARE BOOKS
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J O N K E R S R A R E B O O K S
Literature Before 1900
printed in the Netherlands in 1569. His work was the most significant contribution to the debate on ghosts and spirits in the Elizabethan era. Its significance has been lauded by a number of Shakespeare scholars over the course of the previous century. In 1906, F.W. Moorman described it as “the most elaborate treatment of [the] theological ghost question” in ar- guing for the direct bearing it had on Shakespeare when writing Hamlet. More recently Jonathan Bate has cited it as influencing Hamlet’s dilemma in comprehending the ghost of his father. Rare. No other complete copy has been sold for over 70 years, and only one other undefective copy has been offered since 1921, when this very copy was sold at Herman Le Roy Edgar’s sale at the Anderson Galleries. The USTC locates fifteen copies in institutions, with three copies held by the Folger. FIRST EDITION OF SPENSER’S CLASSIC WORK SPENSER, Edmund THE FAERIE QUEEN Disposed into twelve books, fashioning XII. Morall Vertues. [with:] The Second Part of the Faerie Queene, containing the Fourth, Fifth, and Sixth Bookes John Wolf] for William Ponsonbie; [Richard Field] for William Ponson- by, 1590, 1596 [45469] Two volumes, both first editions. Quarto. Early 20th-century crushed red morocco, gilt-lettered on spine, board-edges gilt- ruled and turn-ins gilt, edges gilt, by Roger de Coverley & Sons. Woodcut printer’s device on each title, full-page woodcut on M5v of Vol. I, typographical ornaments and initials. A very good set, with the title to the first part a little soiled with a minor to the lower corner, otherwise extremely fresh with just occasion- al discreet marginal repairs, with some catchwords restored; leaves Pp6-8 supplied from another copy (see notes) with minor repairs to those leaves and some numbers and letters restored in ink facsimile. The second part trimmed close at the top, affecting the headlines slightly on three leaves (Q5, Cc5-6); Hh2 and Ii6 have corner repairs. Occasional minor soiling or spots in both volumes. $120,000 The complete text of Spenser’s classic work, except for two cantos of Mu - tabilitie which did not appear until the folio edition of 1609. Written in praise of Elizabeth I and dedicated to her, Spenser’s allegorical master- piece follows the adventures of six medieval knights, drawing on Arthu - rian legend, Italian romance, classical epic, and Chaucer. John Dryden notes that “Spencer more than once insinuates, that the Soul of Chaucer was transfus’d into his Body; and that he was begot- ten by him Two hundred years after his Decease” (Dryden, f. A1). In its
EARLY MODERN GHOSTS - A SOURCE FOR HAMLET LAVATER, Ludwig OF GHOSTES AND SPIRITES WALKING BY NYGHT And of strange noyses, crackes, and sundry fore- warnynges, which commonly happen before the death of menne, great slaughters, & alterations of kyngdomes. Printed at London by Henry Benneyman for Richard Watkyns, 1572 [44163] First English edition. 4to (183 x 135mm). Bound in full green mo- rocco by Stikeman. A near fine copy, generally very fresh, with light marks to the title page and final leaf, but otherwise crisp. Corner chip to C 3 . $70,000 The first edition in English of one of the most significant and popular ear - ly modern works on demonology, credited as a source for Shakespeare’s Hamlet. Lavater was a Swiss protestant reformer, whose work was originally
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mingling of genres, the poem represented a new departure in English poetry, for which Spenser invented a new stanza, “a hybrid form adopted from the Scots poetry of James I, ‘rhyme royal’, and Italian ‘ottava rima’” (ODNB).
Spenser began composing the work in the 1570s, sharing “parcels” of it among friends.
Though no rough drafts, autograph cop- ies, or foul papers for the poem have survived, the poet alludes to a manu - script copy as early as 1580, when in a letter to Gabriel Harvey he asks for one to be returned to him: “I wil in hande forthwith with my Faery Queene, whyche I praye you hartily send me with al expedition: and your frendly Letters, and long expected Iudgement wythal” (Three Proper, and wittie familiar Let- ters). The poem, or some part of it, was almost certainly circu- lating in manuscript in London in 1588, when Abraham Fraunce quotes a stanza in his Arcadian Rhetorick, correctly citing its book and canto (“Spencer in his Faerie queene.2.book.cant.4”). The first part was finally printed in 1590, possibly intended to coincide with the publication of Philip Sidney’s Arcadia. In this copy, the first part (Vol. I) has the widely spaced date line on title and the “1” of “1590” under the “r” of “for” in the imprint, the printed dedication on verso of title-page, p.332 lines 4 and 5 without the Welsh words and spaces left for them. The terminal complimentary sonnets are present in both states with leaves Pp6-8 (the rejected version of the son - nets) supplied from another copy and the final signature Qq1-4 printing the revised version of the sonnets. The misnumbering of pages is as noted in Pforzheimer, except that on pp. 486-7, which are correctly numbered, and with the number “3” is present at p.403 (but printed backwards). The second part has the misnumberings noted in Pforzheimer, with the addition of p.269 misnumbered 271. ESTC S117748; Grolier, Langland to Wither 231 & 233; Hayward 22; Pfor - zheimer 969 & 970; STC 23081 & 23082. John Dryden, “Preface” in Fables Ancient and Modern, 1700; Edmund Spenser, Three Proper, and wittie familiar Letters, 1580. A COMPLETE COPY IN CONTEMPORARY MOROCCO LOVELACE, Richard LUCASTA Posthume poems of Richard Lovelace Esq. WITH... Elegies Sacred To the Memory of the Au - thor: By several of his Friends. 1660. Printed by William Godbid for Clement Darby, 1659 [1660] [45450] First edition (not to be confused with a different work of 1649 by the same name). 8vo. Contemporary full black morocco with
double ruled gilt borders to the boards and spine and fleurons in each of the corners. All edges gilt. Engraved frontispiece por - trait of Lovelace by Hollar after Frances Lovelace dated 1660 (Pennington’s second state); engraved portrait of Lucasta by W. Faithorne after P. Lely; separate title-page to Elegies, additional engraved allegorical title-page to Elegies by Faithorne after Lilly, woodcut initial at beginning; also loosely inserted is a copy of the Lucasta portrait plate from the 1649 Lucasta. A fine copy with a little wear to the joint at the base of the spine, but the binding entirely unrepaired. Frontispiece neatly remargined, the upper corner restored in early pen. Internally exceptionally fresh, with just occasional minor marginal loss or repair, with the corner of the rear blank torn away, and some marginal annotation. A su- perb copy. $60,000 This collection of poems, as with Lovelace’s 1649 collection, is titled in homage to his mistress and muse, Lady Lucy Scheverell, who married another suitor when Lovelace was incorrectly reported to have been killed in battle in France. However this volume is entirely different from the earlier collection, with completely different poems by Lovelace, and
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conforming to his variant A, but with the correct catchword on p.39 of vol. II. Two volumes. 12mo. Original quarter brown calf over marbled paper boards, volume numbers in gilt to the spine. Uncut and unpressed. An exceptional copy in unsophisticated, original condition. Some wear to the spine ends and corners and general surface wear to the boards with a little loss of paper to volume II. Wanting the front free endpaper and final blank to vol. I. Internally, generally fresh with marginal chips to the cor - ners of C2, E2, F3 and G1 of vol I, none of them affecting the text, and the occasional stain to vol II. $31,500 The exceptional Stockhausen copy of Goldsmith’s masterpiece and one of the most popular and widely read novels of the eighteenth century, at its height on a par with Gulliver’s Travels. Written in 1761-2, Goldsmith had famously sold it to Francis Newbury, with the help of his friend Samuel Johnson, a couple of years later, who in turn “kept it by him for nearly two years unpublished” (Irving Washington). Although its success was not immediate, its popularity grew to the ex- tent that by 1886 there had been some 96 editions printed and numerous translations. Structured and written in the manner of the sentimental novel, a genre popular at the time for seeking to capture the emotion of the characters and induce the same in their readers, it is also seen as an early attempt at a satire on the sentimental novel in the scarcely cred -
includes elegies by Charles Cotton, James Howell, Eldred Revett, Symon Ognell, Thomas Lovelace, and Dudley Posthumos-Lovelace. It has been questioned whether the plate of Lucasta seated originally formed part of this book on the basis that it is a tipped in plate rather than forming an integral part of the sections as the other two engravings do. However, the copy in Hayward’s English Poetry (1950) contained the plate “seldom found in this very rare book” and so did the copies belonging to Robert Hoe (sold 1911) and James Bindley (sold 1818, later in the collection of George Smith, sold 1920), which suggests at least a reasonable likelihood that it was issued with the plate. In any state this book is rare, much more so than the 1649 Lucasta, and copies with the Hollar frontispiece are excessively rare with no oth - er complete copy being offered at auction since the H.T.Butler copy in 1934. Hayward 98; Grolier Wither to Prior 589 IN THE ORIGINAL BINDING [GOLDSMITH, Oliver] THE VICAR OF WAKEFIELD A Tale. Supposed to be written by Himself. Salisbury: F. Newbery, 1766 [45448] First edition, a textual variant unrecorded by Temple Scott,
ible way Goldsmith allows his unworldly Vicar to be fleeced and have misfortunes befall him. It is possible that Jane Austen had this gentle poking of fun in mind when taking similarly ironic ap- proach in Sense and Sensibili- ty. We know that Austen had read The Vicar of Wakefield because she mentions it in Emma. It is evidence of how widespread its influence was throughout the nineteenth century, that the novel is also mentioned in the text of Frankenstein, Middlemarch, Villette and The Professor, David Copperfield and The Tale of Two Cities and Little Women. Rothschild 1028
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Ninteenth Century Literature
found a publisher on the strength of her previous two novels. Despite Egerton’s confidence, he only published 1250 copies in the first edition in May 1814. These were sold out by November, and John Murray later “expressed astonishment that so small an edition of such a work should have been sent into the world.” [AUSTEN, Jane] PRIDE AND PREJUDICE A Novel. In Two Volumes. By the Author of “Sense and Sensibility” Printed for T. Egerton, 1817 [46530] Third edition. 12mo. Two volumes, bound in nineteenth centu - ry full green morocco, by Francis Bedford, with raised bands to the spine, the compartments richly tooled in gilt; triple ruled gilt
FIRST EDITION OF AUSTEN’S THIRD NOVEL AUSTEN, Jane MANSFIELD PARK: A Novel. In Three Vol - umes. By the author of “Sense and Sensibility,” and “Pride and Prejudice.” Egerton, 1814 [45901] First edition. Three volumes, duodecimo (175 x 107 mm). Tan full calf, neatly rebacked to style, raised bands and red morocco title labels lettered in gilt to second and fourth compartments, fillet borders gilt to covers. Lacking half-titles. Gothic initials I.D.E.T in gilt to the upper covers A handsome set, with only minor wear
borders to covers with floriate devices to the cor - ners and elaborately gilt tooled turn-ins. Marbled endpapers, all edges red and gilt. Half titles to both volumes. A near fine set, internally fresh and well margined with just occasional light scattered foxing. Light wear to the front joint of vol. I. An attractive, well preserved set. $27,500 The author’s second and most famous novel, which has
to extremities and a bump to the lower front corner of vol III. In - ternally clean with occasional foxing and finger marks, with one or two larger stains in vol. 2. Short marginal closed tears to G4 and K6 in vol. I and E7 of vol. II and a chip to the corner of I2 in vol. III which removed one letter of text. Excepting these minor flaws, an generally well preserved copy in a handsome binding. $49,500 The author’s third novel, written between 1811 and 1813, which quickly
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Three pages of adverts to the rear of vol III, sixteen page catalogue of adverts dat - ed October 1849 at the end of vol I. A fine set, exceptionally bright and crisp, with a touch of fading to the spine but much less so than usual and the covers still retaining much of the original puce hue. Internally very fresh, superficial splitting to the rear hinges of vol I and III and early owner - ship name to title pages. An exceptional set of a book seldom seen in unrepaired cloth. $35,000
Charlotte Bronte’s second novel. It is one of the foremost examples of the Victorian Social Nov - el, which uses fiction to highlight the impact of social issues, in this case industrialisation and the state of the country’s working class rural and urban poor. The novel is set in Yorkshire against the historical backdrop of the economic depression of the Napo- leonic Wars and the Luddite Riots. The period in which Bronte wrote Shirley was a tragic one for her family, as it saw the deaths of her two literary sisters, Emily and Anne and her brother Bramwell. She wrote to her publisher in August, “Whatever now becomes of the work, the occupation of writing it has been a boon to me. It took me out of a dark and desolate reality into an unreal but happier region”. The two principal characters, Shirley Keeldar and Caroline Helstone are loosely based on a homage to Emily and Anne. Smith 5 IN ORIGINAL CLOTH
become one of the most prominent literary works to come from the nine- teenth century. The first draft of the novel was written under the working title of ‘First Impressions’ in 1796. In 1797 Jane Austen’s father wrote to the publisher Cadell to ask if he would publish the novel. The offer was rejected by return of post. In 1800 The Minerva Press published a novel by Margaret Holford entitled First Impressions, which probably led to Austen chang- ing the title of the work. In the following years, Pride and Prejudice was heavily rewritten and the copyright eventually sold to Egerton in 1812. There is no record of the number of copies of the first edition, but Keynes suggests 1500 as the probable print run. The book sold briskly and was reprinted within the year and then again in 1817. These however, were the only three editions by Austen’s origi - nal publisher and the copyright was subsequently sold by Egerton’s ex- ecuters to Richard Bentley in 1832. Like all Regency editions of Austen’s work, copies retaining the half-titles are rare.
[BRONTE, Charlotte] BELL, Currer VILLETTE Smith, Elder, 1853 [46053] First edition. Three volumes. Original publisher’s brown bevelled cloth titled in gilt to the spines and with blind border and decoration to the boards. A very good set with discreet superficial repairs to spine ends and joints. A little
Gilson A5
IN EXCEPTIONAL CONDITION [BRONTE, Charlotte] BELL, Currer SHIRLEY A Tale. Smith, El- der, 1849 [46412] First edition. Three volumes. Original publisher’s plum-brown, horizontally ribbed cloth with gilt titles to spine and decora- tive border stamped in blind to the covers. Page 304 in vol II is missnumbered 403, though to be an early state of the text.
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wear to boards but generally bright and clean. Internally fresh with hinges intact with just minor repairs and a couple of small marginal tears in vol II. Overall an attractive and well preserved set. $9,250 The author’s third novel, a semi-autobiographical account of her time spent at finishing school in Brussels.
reprinted three times, selling 3500 copies within a year, a most unusual occurrence for contemporary poetry. Despite this early success, Clare died in debt in a lunatic asylum in 1864. His legacy as poet of rural England has few rivals. Hayward 236, Tinker 636
FIRST EDITION IN FINE BAYNTUN BINDING
COLLINS, Wilkie THE MOONSTONE A Romance London, Tinsley Brothers, 1868 [44927] First edition. Three volumes. 8vo. Fine - ly bound by Bayntun in full purple polished calf with double gilt rules to the boards, spine with raised bands, red leather title labels, gilt lettering and decorative gilt vignettes. Gilt dentelles with floral design. All page edges gilt. A handsome set. $13,500 First editions of The Moonstone, often con - sidered to be the godfather of the classic English detective story, are rare. T.S. Eliot, claiming that the genre of Detective Fiction was invented by Collins, declared this to be “the first, the longest and the best of modern English detective novels”. Dorothy L Sayers echoed Eliot pronouncing it “probably the finest detective story ever written”.
IN ORIGINAL BOARDS CLARE, John POEMS DESCRIP - TIVE OF RURAL LIFE AND SCENERY Taylor and Hessey, 1820 [46507]
First edition. 12mo. Original pub- lisher’s blue boards and with grey paper spine with title label to spine. Uncut and unpressed. 4pp of preliminary adverts, with half title, but wanting front blank as always, 10pp of terminal adverts on leaves L4-L8. A very good copy indeed with shallow chipping to the exposed part of the spine ends and joints starting, but sound. First gathering loosening but in tact. A very well preserved and entirely unsophisticated copy of Clare’s rare first book. $5,500 An exceptional copy of John Clare’s scarce first book, in original publish - er’s boards. Born in 1793, the son of humble and almost illiterate parents, Clare grew up in the Northamptonshire village of Helpston. His formal education, such as it was, ended when he was eleven years old, but Clare began writing poetry when he was thirteen and was astonishingly prolific. Like Robert Burns, with whom he has been compared, Clare was profoundly influenced by his surroundings, and his poetry is enriched by the use of his native Northamptonshire vernacular. Clare’s poery might never have remained in obscurity had not a local sec - ond hand bookseller, Edward Drury, found one of his poems on a “half sheet of dirty foolscap paper on which was penned ‘The Setting Sun’”. Drury introduced Clare to his cousin, John Taylor, who published this volume in an edition of 1000 copies. It was an immediate success and was
DICKENS, Charles A CHRISTMAS CAROL Chapman & Hall, 1843 [45757] First edition, first issue with ‘STAVE I’ on page [1]. Original red- brown cloth with gilt vignettes on upper cover and spine, and blind stamped border (Todd’s first issue binding). Yellow coated endpapers and a blue and red title page dated 1843. All edges gilt. Four hand coloured plates by John Leech, with four wood - cuts in the text. A very good copy indeed, with the cloth and gilt notably bright and entirely unrepaired, just a little wear to a cou- ple of corners and a couple of tiny hairline splits to the rear joint. The spine is a little cocked and there is a bookplate to the front pastedown and neat ownership initials to the front endpaper.
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Internally very fresh and hinges perfect. A very well preserved copy. $42,500 Dickens completed writing A Christmas Carol in November 1843 and was determined to produce it as a beautiful gift book. He stipulated that it should have a fancy binding, all edges gilt and four full page hand coloured etchings. The book was an instant success, reportedly selling all 6000 copies of the first edition on the first day of publication, almost single-handedly spawning a new genre of “Christmas literature”. “it is rather as if Dickens had rewritten a religious tract and filled it both with his own memories and with all the concerns of the period. He had, in other words, created a modern fairy story. And so it has remained.” - Peter Ackroyd (Dickens) Smith II 4 ELIOT, George MIDDLEMARCH A Study of Provincial Life Blackwood, 1871-2 [46335] First edition in book form. 8vo. Four volumes, handsomely bound in later half calf over marbled boards with blind tooling to calf edges. Lettered in gilt and decorated with gilt banding and tooling to the spine, raised bands creating six sections with two morocco title labels in green and red. All edges marbled. Marbled endpapers. A near fine set, with very occasional spots of internal foxing and the trimming of the title pages of vol I and IV clipping some of the “translation rights” text slightly. $6,500
ies on large handmade paper, signed by Hardy. Original pub- lisher’s quarter vellum over marbled boards, with the rare buff dustwrapper, printed in navy. Forty-one wood engraved plates by Vivien Gribble. Fold-out map of Wessex to the rear. A near fine copy, with some very slight foxing to the endpapers and page edges only, in a very good dustwrapper which shows some wear to the head of the spine with a small chip to the upper cor- ner and some spotting to the spine and light scuffing to the rear panel. $6,500 A beautifully illustrated, printed and bound edition of Hardy’s great novel, issued two years after its stage debut. IN ORIGINAL CLOTH HARDY, Thomas THE TRUMPET MAJOR Smith, Elder & Co., 1880 [44937] First edition. Three volumes. Original publisher’s red pictori - al cloth with decoration in black to the upper cover and gilt to the spine. Purdy’s secondary binding with three blind rules to the rear panel. A very good set indeed with a little fading to the spines, but generally bright and crisp. Ownership stamps to each pastedown, section G in volume III loosening and sitting slightly proud of the text block, but hinges fine and generally fresh. An attractive set. $13,500
Eliot’s greatest novel written at the height of her artistic maturity. V.S. Pritchett in his introduction to a later edition of the novel, opines, “No Victo - rian novel approaches Middlemarch in its width of reference, its intellectual power, or the imper- turbable spaciousness of its narrative... No writer has ever represented the ambiguities of moral choice so fully.” IN RARE ORIGINAL DUSTWRAPPER HARDY, Thomas TESS OF THE D’URB- ERVILLES A Pure Woman Macmillan, 1926 [46558] First illustrated edition, limited to 325 cop-
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ONE OF TWO KNOWN CONTEMPORARY PRESENTATION COPIES KIPLING, Rudyard THE JUNGLE BOOK Macmillan, 1894 [46676] Second impression, issued just a few of weeks after the first print - ing in the identical format. Original blue cloth with gilt vignettes to upper cover and spine, gilt borders and titles. All edges gilt.
famous and a key work of children’s literature. Hugh Edward Poynter, who was 12 at the time of the presentation, was part of the artistic Poyn- ter family and Kipling’s cousin of via their respective mothers, who were part of the MacDonald family: Louisa (Stanley Baldwin’s mother), Geor - gina (who married Edward Burne Jones), Alice (Kipling’s mother) and Agnes (who married Sir Edward Poynter). Contemporary presentation copies of The Jungle Book are of the utmost scarcity and practically unheard of in commerce. A survey of institution - al holdings and auction records over the last hundred years reveals no other sales of genuine presentation copies, and just three signed cop- ies all of which were solicited. The only other known known authorial presentation copy, is the Wimpole Hall copy (now held by the National Trust), inscribed by Kipling to his daughter on publication. KIPLING, Rudyard THE JUNGLE BOOK with THE SECOND JUNGLE BOOK Macmillan, 1894, 1895 [45854] Two volumes, both first editions. Finely bound by Bayntun Riviere in full blue morocco with inlaid leath - er scenes to the upper cover of each volume depicting an elephant and a bear, surrounded by an ornamental gilt border. Raised bands to spine with gilt titles and vignettes. Gilt decorated turn-ins and marbled endpa - pers, all edges gilt. Illustrations in black and white by J. Lockwood Kipling, W.H. Drake and P. Frenzeny. A fine set in a handsome and elaborate binding, housed in a fleece-lined, cloth slipcase. $6,500 SCARCE FIRST EDITION IN CONTEMPORARY BINDING LE FANU, J. Sheridan UNCLE SILAS A Tale Of Bar- tram-Haugh Richard Bentley, 1864 [42809] First edition. Three volumes. 8vo. Half-titles present. Bound (possibly for the publisher) in contemporary quarter roan over pebble-grained cloth boards, the covers ruled in blind, the spine lettered and decorated gilt. All edges marbled. Marbled endpapers. Each volume housed in a later cloth slip - case. A very near fine set, the bindings very well-preserved with just a touch of rubbing to the head of the spines of the first two volumes. Generally clean internally, with sporadic light spot - ting. $26,000
Author’s presentation copy, in- scribed on the title page to his nephew, “Hugh Poynter from
Ruddy. June. 1894”. Poynter’s juvenile ownership inscription in scarcely visible pencil to the front endpaper, noting it was given by Kipling at his school, and his later ink monogram to verso of frontispiece. Illustrations in black and white by J. Lockwood Kipling, W.H. Drake and P. Frenzeny. A very good copy, bright and tight with just a little wear to the spine ends. $21,500 An exceptional presentation copy of the book for which Kipling is most
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The first edition of Le Fanu’s most famous work and the first to gain the author widespread success. Its success is partly because it was, of its time, sui generis: it can be rightly viewed as a gothic novel, detec - tive fiction, and supernatural thriller without strictly conforming to any of these genres. It is also an early example of what has become known as the ‘locked room mystery’. Elizabeth Bowen notes in 1947, “Uncle Silas was in advance of, not behind its time: it is not the last belated Gothic romance but the first (or among the first) of the psychological thrillers.” Its reception was instant and warm and its influence long lasting, with Bram Stoker, Conan Doyle and M. R. James all acknowledging the in - fluence of Le Fanu’s work on their own. James famously commenting, “[He] succeeds in inspiring a mysterious terror better than any other writer... I do not think that there are better ghost stories anywhere than the best of Le Fanu’s.” Published in an edition of just 500 copies, the first edition has always been rare in commerce. Only three copies appear to have been sold at auction in the last 70 years. The binding, whilst unsigned, bears many of the hallmarks of a publish- er’s special binding. We have been unable to find conclusive evidence that such a binding was issued by the publishers, but a copy in a binding very similar to this was sold at Sotheby’s in 1949. ONE OF 45 COPIES ON VELLUM MORRIS, William GOTHIC ARCHITECTURE: A LECTURE FOR THE ARTS AND CRAFTS EXHIBITION SOCIETY Kelm- scott Press, 1893 [46720] First edition, one of 45 copies on vellum. Large 16mo. Original holland-backed boards with brown linen spine. Red and black ornate lettering on vellum with decorative arts and crafts style title letters. English architect Halsey Ricardo name inscribed in ink on the front free end paper. A near fine copy, with a few faint stains to the boards but internally bright and clean. $28,000 William Morris established the Kelmscott press in 1891, and proceeded to print over fifty three medieval style books. This particular title, first published at a half-crown, was produced from a lecture on Gothic Archi- tecture in 1889. The arrangement was printed during the Arts and Crafts exhibition of 1893. Due to its popularity, the text was reprinted twice during the two month Art and Crafts show, but the later issues correcting the errors on pp 41 “guilds” and 45 “Van Eyck.” Peterson states that all vellum copies con - tained the corrections of the second state, but this is one of a few known
versions in the first state. This copy belonging to Halsey Ralph Ricardo, an English architect, who taught at an Arts and Craft School in London and was later elected a Fel- low of the Royal Institute of British Architects and a member of the Art Workers Guild. Peterson A18, Cary 187 THE BLACK TULIP OF NINETEENTH CENTURY FICTION TROLLOPE, Anthony THE MACDERMOTS OF BALLY - CLORAN Thomas Cautly Newby, 1847 [44912]
First edition, first issue with ti - tle pages dated 1847. Three vol - umes. Contemporary half green morocco over marbled boards. Top edge gilt. A little wear to the corners of the binding and to the boards, but generally attractive. Internally very fresh with just a little foxing to the preliminary leaves. A very well preserved copy of a fabled rarity. $100,000 Trollope’s rare first work, described
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by Michael Sadleir as, “not only the rarest of Trol - lope’s full length works, but one of the rarest first editions in the whole range of nineteenth century fiction.” (Trollope A Bibliography) Although Newby’s ledgers show 400 copies were printed (itself a tiny number), of these “the great- er part... would have been taken by libraries and ultimately destroyed. Of the balance remaining to the publisher some were reissued in 1848 with the second title page and the remainder pulped.” (Sadleir). One can see therefore how presentable copies became of the utmost scarcity even from the point of publication. In recent commerce it has been tantamount to unobtainable with just a sin- gle copy offered at auction in the last 40 years and ardent collectors despairing of ever seeing a copy, let alone owning one. Sadleir 1 WELLS, H.G. THE TIME MACHINE An In - vention Heinemann, 1895 [46479] First UK edition, first issue in oatmeal grey cloth lettered in purple, top and foredges uncut (i.e. Curry’s A state). Sixteen undat- ed pages of adverts at the rear headed The
Children’s Literature
Manxman. A very good copy indeed, with some tanning to spine and some dustiness to the covers, though less than is usually seen. Internally clean. $7,000 In 1888 Wells had written a series of articles concerning time travel enti - tled “The Chronic Argonauts” for The Science Schools Journal, a maga - zine that he had founded whilst a student. Some six years later he revised them for the National Observer, and then rewrote them as the serial “The Time Traveler’s Story” for the The New Review. The editor of both jour - nals, W.E. Henley, then persuaded Heinemann to publish the whole sto- ry as a book. So it was that Wells came to write The Time Machine, not only his first novel but also a pioneering highlight of the science fiction genre. “And if you want to know what impresses me it is to see how you con- trive to give over humanity into the clutches of the Impossible and yet manage to keep it down (or up) to its humanity, to its flesh, blood, sor - row, folly. THAT is achievement!” (Joseph Conrad)
INSCRIBED TO SHIRLEY HUGHES BRIGGS, Raymond; HUGHES, Shirley THE SNOWMAN Hamish Hamilton, 1978 [46532] First edition. 4to. Original laminated pictorial boards. Author’s presentation copy, inscribed on the title page to fellow children’s author and illustrator Shirley Hughes, “For SHIRL With Best Wishes from Raymond / Raymond Briggs”. Together with a preliminary sketch by Hughes in pencil and watercolour and four leaves of autograph manuscript by Shirley Hughes. The story of the Snowman is told entirely with colour illustrations by Briggs without any text. The sketch by Hughes in pencil and watercolour, of the Snowman and a little boy (though looking very much like Alfie) in preparation for a watercolour Hughes created for an exhibition of 2018. A fine copy, with just
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the slightest bumping to spine ends. The drawing and manu- script in excellent condition. $4,250 An exceptional association copy of the first appearance of Briggs’s most famous work, linking to of the foremost modern author-illustrators. They were strict contemporaries, having long careers both as illustrators and then as authors in their own right. In an interview in 2010, Hughes re - marked that she had known Briggs “for years” and had read The Snow- man to her children. They both died within six months of one another in 2022. Hughes’s manuscript piece on Briggs, in which she shows a tremendous respect for his work, appears to be unpublished and is possibly for a short speech in connection with the 2018 Snowman exhibition, where a number of prominent illustrators including Hughes and Quentin Blake, created their own versions of The Snowman. “Raymond Briggs is a mas - ter draughtsman,” she writes, “one of the finest graphic storytellers of his generation.” WITH ORIGINAL DRAWING BRUNHOFF, Jean de LE VOYAGE DE BABAR Editions du Jardin des Modes, Conde Nast, Paris, [1932] [45874] First edition, presentation copy with full page pen and ink draw- ing of Babar and inscription on the title page. Folio. Red cloth spine, with vibrant pictorial boards. The large original pen and ink drawing depicts Babar dressed in a smart oversized coat, purchasing a hat from a milliner to be sent to “Mr. Gregory au chalet La Fenière”. Beneath the ink drawing, Brunhoff’s distinct cursive reads: “Babar - Je voudrais un chapeau pour Mr. Greg - ory. /Le vendeur - Voilà un modèle que je vous recommande. /Babar - Très joli! Vous l’enverrez aujourd’hui /de ma part à Mr. Gregory au Chalet La Fenière.-:” On the title page Brunhoff writes “A monsieur et madame Gregory /en souvenir de Mon - tana et de leur excellent traduction/hommage respectueux de l’auteur /Jean de Brunhoff”. There also is a later inscription (“To my darlingest Winkie, with all my love, Bernard, 1971”) beneath a tipped-in bookplate on the verso of the title-page. Original pen and ink drawing on the verso of the front free end paper. Pictori - al endpapers and colour illustrations throughout by the author, including some wonderful double page images. A very good copy with some wear and soiling to the binding and some res- toration to spine and boards. Internally some foxing, and finger marks to contents. $49,500
An exceptional copy inscribed as a gift for Monsieur and Madame Greg - ory, who became acquainted with Brunhoff in Montana, Switzerland. Since his formative years, Brunhoff suffered from tuberculosis, and vis - ited Crans-Montana frequently for treatment in a specialist sanatorium. In the story of Le Voyage de Babar, Brunhoff illustrates a resort where Babar, Celeste and the Old Lady go for “le bon air des montagnes et faire un peu de ski.” Brunhoff later died of his condition, aged just 37, making his few presen - tation copies extremely rare. His artwork of Babar is considered scarce, and an inscription such as this, alongside the large personalised illus- tration, is exceptionally special. Previously, in 1931 Brunhoff illustrated and inscribed a copy of “Histoire de Babar” for Monsieur and Madame Gregory which gives us insight into his esteem for the couple. These two copies are the only known books by Jean de Brunhoff to have been both inscribed and hand illustrated. It is the second book about Babar the elephant. This is the French edition, which is the true first, preceding the UK edition by three years.
AUTHOR’S PRESENTATION COPY IN PRESENTTION BINDING AND DUSTWRAPPER
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CARROLL, Lewis (DODGSON, Charles Lutwidge) THROUGH THE LOOKING GLASS, And What Alice Found There Macmil- lan, 1877 [35715] Fortieth thousand, i.e. a later issue of the first edition as per Wil- liams Madan Green 84. Publisher’s special deluxe binding of white textured paper covered boards to imitate vellum, with gilt letter - ing and vignettes, in the exceptionally rare unprinted original lilac dustwrapper. All edges gilt. Author’s presentation copy, in- scribed 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. Dustwrapper 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. $55,000 Mary Forshall (known as May) was the daughter of the High - gate 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 re- peated 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 spe - cially 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, wanting to have a ready supply of special bindings, which differed from the shop bought ver - sion, 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 commissioned 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 origi- nal dustwrapper, itself probably a unique occurrence, has meant that the white binding has remained in exceptional condition. Williams, Madan, Green 84
SIGNED BY DAHL DAHL, Roald DANNY THE CHAMPION OF THE WORLD Jon- athan Cape, 1975 [46588] First edition. 8vo. Brown boards lettered in gilt in the original pictorial dustwrapper. Top edge orange. Inscribed “Love Roald Dahl” on the front endpaper by the author. Illustrated through- out in black and white by Jill Bennett. A near fine copy with a strip of fading to the upper board, in a very good dustwrapper indeed, a little faded to spine with some rubbing to extremities. $4,250
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First edition. Original publisher’s laminated pictorial paper cov - ered boards decorated in a wrap- around design by Axel Scheffler. Pictorial endpapers. Illustrated in colour throughout by Scheffler. A near fine copy, with a little wear to one corner and a few tiny indenta- tions to the boards, but overall an crisp, bright copy. $17,500 The author’s most famous work, the first edition of which has become one of the rarest and most keenly sought of all modern children’s literature. The idea for the book was suggested to Donaldson by her publisher in 1994. The year before Methuen had pub - lished A Squash and a Squeeze, based on a song written for BBC Children’s Television and they now suggested something based on a folk story. Don-
RARE STATE WITH HAND COLOURING [DARTON, William] SONGS FOR THE NURSERY Collected from the Works of the Most Renowned Poets, and Adapted to Fa - vourite National Melodies William Darton, 1825 [42445] Third Darton printing, rare hand-coloured issue. Square 16mo (130x105mm). Original muslin covered boards with title label to up - per cover. Twenty-four wood engraved plates after William Marshall Craig each with original hand colouring. A very good copy indeed, sometime neatly rebacked and front endpa- per renewed, small chip to the title label. In- ternally fresh, a very well preserved copy. $21,500
The 1825 printing, with rare hand colouring, of one of the most important and influential books of nursery rhymes, which originally contained the first appearance in print of such rhymes as Miss Muffet and Old Mother Hubbard. First published, unillustrated, by Tabart in 1805 and then with illustra - tions in 1808. Darton issued 1818 with re-engraved illustrations. Many of today’s well known nursery rhymes and songs found their ori - gins in the sixteenth and seventeenth centuries but were passed down in the oral tradition until the mid eighteenth century when collections were committed to print. Songs For The Nursery was the culmination of these early endeavours, without which many rhymes would have been lost. Darton’s printings were available in three states: without illustrations for sixpence, with illustrations for 1/6 and with hand coloured illustrations for 2/6. Anecdotally, it seems the majority of copies purchased were with uncoloured illustrations and examples with the original hand colouring are extremely rare. Two other copies of the 1825 printing are recorded at auction, the only hand coloured version of which was in 1978 and only three copies are recorded in institutions (V&A, Lilly Library and Chica - go) none of which have hand coloured illustrations.
aldson unearthed a Chinese fable about a girl who escapes being eaten by a tiger by claiming to be the fearsome Queen of the Jungle and inviting him to walk behind her. The tiger misinterprets the terror of the various animals they meet as being related to her rather than him, and flees. She painstakingly adapted the fable for a wood in the English countryside, creating a fictitious monster, revising frequently until the final draft was sent to Reid Books, who had taken over Methuen’s Children’s Books. It supposedly sat on the desk of an editor for over a year, before Donaldson sent the manuscript to Axel Sheffler, who had illustrated her first book. He in turn showed it to Macmillan who agreed to publish it on the spot. Success wasn’t immediate, but sales were steady and grew persistently as the book developed first into a best seller and then a modern classic, selling over 13 million copies worldwide in over 100 languages. Why the first edition should be quite so scarce is hard to fathom. Mac - millan report an initial print of 2000 hardback copies published in 23 March 1999: a small number but not miniscule considering it appears in commerce meaningfully less frequently that the hardback issue of Harry Potter and the Philosopher’s Stone, which was issued in an edition of only 500 copies. It is likely that the a large proportion of the hardback issue would have been sold to school or public libraries to be read into oblivion, and that the remainder received scarcely less rough handling by the young audience at which it was aimed. Whatever the reasons, de - spite worldwide demand among collectors, first editions of The Gruffalo
ONE OF THE RAREST MODERN CHILDREN’S BOOKS DONALDSON, Julia; SCHEFFLER, Axel THE GRUFFALO Macmillan, 1999 [46666]
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appear in commerce less frequently than any other modern collectable children’s book.
Ruth Ward was the daughter of family friends of the Grahames, Sidney and Katherine Ward. Sidney Ward was a colleague of Grahame’s at the Bank of England who became a close friend and “companions for hearty country weekends”. (ODNB) Ruth was the same age as Grahame’s son, Alastair, (known to his parents as Mouse) and became a close childhood friend. Wind in the Willows had its genesis in a series of impromptu bedtime stories which Grahame told Alastair. Katherine Ward was one of the first to hear about these stories, as Grahame refers to them in a letter to her of May 1904, “[Mouse] had a bad crying fit on the night of his birthday, and I had to tell him stories about moles, giraffes & water-rats (he selected these subjects) till after 12.” This copy was sent by Grahame to Ward as a birthday present. In a letter to her, Grahame’s wife Elspeth writes, “I thought you might like per- haps better than anything else a new book that Mouse’s Daddy has just written, so I asked him for one for your birthday present. I want to know how you like it.” The two families remained in contact throughout Grahame’s life, Elspeth writing to Ruth Ward on Grahame’s death in 1932 to tell him that he had been buried next to Mouse (who had committed suicide in 1920), “Ken - neth so loved the Boy & so loved Oxford itself that we are glad to think he rests there. I felt you knew Mouse so well & Kenneth also that I would like you to know they were together...” Presentation copies of the first edition of Wind in the Willows are of the utmost rarity in commerce. We know of but six copies, 1. Inscribed to Helen Grahame (Oct. 1908). Private American Collection. 2. Inscribed to Ruth Ward (Oct. 1908). Present copy. 3. Inscribed to Foy Quiller-Couch (Oct. 1908). Private American Collec - tion. 4. Inscribed to Thomas Anstey Guthrie (“F. Anstey”) (Oct. 1908). Private British collection. 5. Inscribed to Constance Smedley (Oct. 1908). Sold Sotheby Oct. 1981. 6. Inscribed to Mary E. Richardson. Sold Sotheby July 1965. Osborne p. 349 DEDICATION COPY HUGHES, Ted THE IRON MAN A Story in Five Nights Faber and Faber, 1968 [39444] First edition. Publisher’s paper covered boards illustrated by George Adamson in matching pictorial dustwrapper. Dedica- tion copy, inscribed by Hughes to his son, Nicholas, “To Nicky
DONALDSON, Julia; SCHEFFLER, Axel ROOM ON THE BROOM Macmillan, 2001 [46668] First edition. Oblong 4to. Original pictorial boards with match- ing dustwrapper. A fine copy in a fine dustwrapper with the most trivial wear to the head of the spine. $1,800 The author’s rare and popular fourth children’s book which follows on from the success of The Gruffalo in 1999. AUTHOR’S PRESENTATION COPY GRAHAME, Kenneth THE WIND IN THE WILLOWS Methuen, 1908 [38987] First edition. 8vo. Original blue-green cloth with gilt vignettes and titles to the spine and upper cover. Top edge gilt. Author’s presentation copy, inscribed by Grahame on the half title, “To Ruth Ward, from her friend Kenneth Grahame / Oct. 1908” Woodcut frontispiece by Graham Robertson. A little wear to the spine ends and corners, but generally bright and clean and nota- bly fresh internally. $100,000 A rare presentation copy of one of the classics of children’s literature.
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/ from Dad / 31st Jan 1968”. Illustrated in black and white by George Adamson. A fine copy in a fine dustwrapper, almost per - fect. $31,500 This book had its genesis as “a story I told my own chil- dren” (The Letters Of Ted Hughes, 2007), specifically, Nicholas and Frieda aged six and seven at the time of publication. They, along with their two year old half sister, Shura became the dedicatees of the book. It is now, “Ted’s best selling and best-loved work. It firmly established his place as one of the world’s leading children’s authors as well as one of its most admired poets.” (Jonathan Bate) The publication date was 26 February 1968, this copy being an advance copy, inscribed by Hughes nearly a month before publication.
SIGNED BY MILNE AND SHEPARD MILNE, A.A. WHEN WE WERE VERY YOUNG Methuen, 1924 [46524] First edition, first issue with plain endpapers. Signed by both A.A. Milne and E.H. Shepard to the title page. 8vo. Original blue cloth with gilt lettering and gilt vignettes to upper cover, top edge gilt. The collection of verses is illustrated throughout by E.H. Shepard. A near fine copy, with a small nick to the left side of the spine. Previous owner’s bookplate on the front paste - down. $14,000 This book is the first in a series of four which introduces the characters of Pooh and Christopher Robin. The bear in the poem entitled “Teddy Bear” gives us the first glimpse of the bear who has gone on to become one of the most popular children’s characters of all time. Christopher Robin appears in “Vespers”, “Buckingham Palace” and various other places. At the time of publication the writers and publisher’s had no idea of the huge success which awaited these characters, their initial print run was only 4500 copies, these sold out in the first week and since then all of Milne and Shepard’s “Pooh” books have been reprinted in very many different formats. This luxurious look with gilt embossed vignettes and top edge gilded was only maintained for a few years. IN ORIGINAL BOX MILNE, A.A. THE HOUSE AT POOH CORNER Methuen, 1928 [46718] First edition, deluxe issue. Original publisher’s blue limp roan with gilt border and vignette to upper cover and gilt vignettes of the principal characters to the spine. All edges gilt with silk marker sash present. Housed in original publisher’s card box with title label to upper cover. Pink pictorial endpapers and line illustrations throughout by E.H. Shepard. A fine copy, with some very faint spotting to the covers, in original publishers card box which has a few repairs to the edges. $2,800 ORIGINAL MANUSCRIPT FOR NOW WE ARE SIX MILNE, A.A. ORIGINAL MANUSCRIPTS FOR NOW WE ARE SIX [1927] [45908] A collection of manuscripts by A.A. Milne relating to the compo - sition and publication of Now We Are Six . Comprising:-
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1. The autograph manuscript of Milne’s introduction to Now We Are Six . Three single page of closely written text (approx. 400 words) made up of three sections pasted together. 2. The autograph manuscript of the dedication page. One page of headed notepaper, written in pencil. 3. Two manuscript poems included in Now We Are Six . Wind on the Hill, which appears on p.93/94, five four line stanzas on a page of headed letter paper. ‘A Thought’, which appears on p.69, a single four line stanza in pencil on notepaper, headed Now We Are Six, with paper-clip mark to upper edge. 4. Two very short autograph letters, signed with initials, to Frederick Muller. One on Mallord Street note paper (undated but stamped received 25 March 1927) confirming the poem King Hillary should be included in the book. The other (also undated, received 5 May 1927) on Cotchford Farm note paper, simply stating that Milne was back in London again to meet. 5. Author’s original typescripts for ten of the poems included in Now We Are Six , with a number of autograph annotations throughout. 6. A single page of Milne’s autograph instructions for the order - ing of the poems. Rather than a definitive list, Milne gives those poems to come at the beginning part and those to come in the later part and further poems which should be placed together and those which should be well separated. $100,000 The remaining manuscripts from the formation of Milne’s third Winnie the Pooh book, Now We Are Six, from the collection of Milne’s pub - lisher. Following the exceptional success of When We Were Very Young, Milne continued to write children’s verse, even as he was writing Win - nie The Pooh. The poems Dinker, Busy and The Little Black Hen, had already made their first appearances in Pears’ Annual in late 1924 when Milne wrote to his agent, Curtis Brown, in April 1925 to say “I am pre - pared to do more verses of the When We Were Very Young kind for serial use in the next year...” The disparate genesis of the poems that would eventually make up Now We Are Six, meant that when the time came to publish the col- lection, much of the creative work had already been done and it was a question of drawing together the already published poems and order-
ing them. Some additional material needed to be found, Muller wrote to Milne in July 1927 to say that the 24 poems they had “the book will not make so many pages as we were originally reckoning on”. So a further eleven poems were found or created to form the final 35 poems of the book, in time for publication in October that year. Milne alludes to this extended gestation in his introduction, “We have been nearly three years writing this book. We began when we were very young... and now we are six. So, of course, bits of it seem rather baby-ish to us... and when we read it to ourselves just now we said, “Well, well, well,” and turned over very quickly.” The introduction finishes with a whimsical p.s., to remind readers of
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