Fine Books & Manuscripts

F I N E B O O K S & M A N U S C R I P T S

JONKERS RARE BOOKS

C A T A L O G U E 8 9

JONKERS RARE BOOKS

MMXXI I I

J O N K E R S R A R E B O O K S

Offered for sale by

Jonkers Rare Books 27 Hart Street Henley on Thames RG9 2AR

01491 576427 (within the UK) +44 1491 576427 (from overseas)

orders@jonkers.co.uk

www.jonkers.co.uk

All items are unconditionally guaranteed to be authentic and as described. Any unsatisfactory item may be re- turned 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 3,000 books, manu- scripts and pieces of artwork from our stock, as well as a host of other information. Front cover : The Original Autograph Manuscript of Max Beerbohm’s The Happy Hypocrite (1896) item 13. Rear endpaper: Detail from Katherine Cameron’s original watercolour The Fairy Pageant (1902) item 15. Frontispiece: Wood engraving by Agnes Miller Parker from The Fables Of Esope (1931) item 39.

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The Field Bible, In Fine English Calf By Kalthoeber, With A Fore-edge Painting Of Norwich Cathedral

1. The Holy Bible Containing The Old Testament And The New. Bound with: The Book Of Common Prayer (John Field, 1666); Index Biblicus (John Field, 1668); The Whole Book Of Psalms (John Field, 1666). [FORE-EDGE PAINTING]; FIELD, John John Field, 1666-8. 4to (228 x 170mm). Bound in handsome late 18th century red calf by Kalthoeber, gilt borders to covers, five raised bands to the spine decorated gilt, let - tered gilt to spine. All edges gilt. With a large and accomplished fore-edge painting of Norwich Cathedral and the picturesque riverside around it (likely 19th c., measuring 110 x 288mm fanned). With a 19th century broadside, beginning “Reader, search the scriptures”, printed by W. Fox of St. Neots, pasted to the front endpaper (160 x 115mm). A near fine copy, the binding very well preserved indeed, with only the faintest rubbing to its extremities, internally fresh. [42667] £3,500 Known as The Preacher’s Bible, owing to its suitability for use at the pulpit, Field’s 1668 Bible was printed in the last year of his life. Between 1655 and his death in 1668, John Field dominated the field of Bible production in England. A wonderful combination of a significant edition of the Bible, a fine 18th century binding, and an attractive, early, fore-edge painting. ESTC R18074 (Bible); ESTC R4628 (Common Prayer); ESTC R25715 (Index Biblicus); ESTC R17943 (Psalms). PROVENANCE: Samuel (1774-1815) and Elizabeth Whitbread (1765-1846), bookplates to front pastedown; Helena Shaw Lefevre (1823-1897), ownership inscription to first blank dated Febru - ary 1847.

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A Fine Copy

2. Northanger Abbey: And Persuasion. By the author of “Pride and Prejudice,” “Mansfield-Park,” &c. with a biographical notice of the author [AUSTEN, Jane] Murray, [1817] 1818. Four volumes, all first editions. 12mo. Contemporary half orange straight-grained sheep over marbled boards, black spine labels lettered in gilt. Edges speckled, silk marker to each volume. Half-titles present in all volumes . A superb fine set, exceptionally clean and crisp both externally and internally, with just the occa- sional marginal stain and some offsetting to the text particularly in the volumes of Persuasion. Externally the binding is entirely unrepaired with just the merest trace of wear to the corners. An exceptional set. [42973] £35,000 First edition of Jane Austen’s final published work, pairing Northanger Abbey, probably the first full-length novel she wrote, with Persuasion, her last completed novel. Her brother Henry’s biographical notice, dated 13 December 1817, announces to Austen’s readership her authorship of her six novels.

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The Insley Blair Copy Of One Of Keats’s Greatest Poems 3.

Endymion A Poetic Romance KEATS, John

for Taylor and Hessey, 1818. First edition. Finely bound by Riviere in full burgundy morocco with gilt ruled border and scalloped corner pieces to the covers, gilt turn-ins and green silk doublures. Raised bands to the spine with gilt titles and ornaments to the compartments. Top edge gilt, others untrimmed. With the half title, five-line errata slip and one-line errata page, and 4pp publisher’s advertisements dated May 1818 at the rear. Housed in custom chemise and slipcase. A fine copy, the binding in immacu - late condition and the contents generally clean and fresh, a couple of openings lightly toned. [42975] £17,500 The second of only three lifetime publications by Keats, comprising his longest single sustained poem, famous for its opening line: “A thing of beauty is a joy for ever”. PROVENANCE: The Insley Blair copy, with the green morocco Blairhame bookplate to the front doublure.

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One Of Just 250 Copies Of Shelley’s Drama In Verse

4. The Cenci

A Tragedy, In Five Acts. SHELLEY, Percy Bysshe

Printed for C. and J. Ollier, 1819. First edition. Large 8vo (217 x 145mm). Bound in late-nineteenth century full scarlet crushed morocco by MacLehose, without the initial blank. Gilt inner dentelles, marbled endpapers. A tall, near fine copy, some occasional light spotting internally. Neat inscription to front free endpaper. [42808] £3,750 In 1818 the Shelleys made for Italy and came to stay with friends, the Gisbournes, in Livorno. Mary Gisbourne introduced Mary Shelley to the ‘Cenci Manuscript’, a sensational Renaissance story about the evil Count Cenci of Rome who committed incest with his daughter, the beautiful Beatrice, and was subsequently murdered by her. Mary transcribed the story and one year later Percy Shelley returned to the manuscript and wrote a melodrama in verse, his first work for the theatre. The book was printed for Shelley while in Livorno in a run of 250 copies, and the unbound sheets were sent by him to Charles and James Ollier in London to be bound up.

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Rare Book Of Thames Scenery

5. Thirty-Five Views On The Thames At Richmond, Eton, Windsor and Oxford. WESTALL, W.

Rodwell and Martin, 1824. First edition. Folio (435 x 325mm). Original publisher’s bind- ing of quarter morocco over paper covered boards, printed in black to the upper cover and lettered gilt to spine. Thirty-five lithographs on India paper, printed by Hullman - del after drawings by Westall. A very good copy indeed, the binding well-preserved. Some light foxing internally, occasionally infringing on the illustrations. [42907] £6,000 PROVENANCE: John Rushout, Baron Northwick (1770-1859), bookplate to front pastedown.

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Rare Hand-Coloured Issue Of An Important, Early Collection Of Nursery Rhymes

6. Songs For The Nursery Collected from the Works of the Most Renowned Poets, and Adapted to Favourite National Melodies [DARTON, William] William Darton, 1825. Third Darton printing, rare hand-coloured issue. Square 16mo (130x105mm). Original muslin covered boards with title label to upper cover. Twen- ty-four wood engraved plates after William Marshall Craig each with original hand colouring. A very good copy indeed, sometime neatly rebacked and front endpaper renewed, small chip to the title label. Internally fresh, a very well preserved copy. [42445] £15,000 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. Many of today’s well known nursery rhymes and songs found their origins in the sixteenth and seventeenth centuries but were passed down in the oral tradition until the mid eighteenth centu- ry 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 illustra- tions 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 co- louring 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 Chicago) none of which have hand coloured illustrations.

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“Do Me The Favour To Accept A Copy Of Nickleby” Presentation Copy, With An Autograph Letter From Dickens 7. The Life And Adventures Of Nicholas Nickleby DICKENS, Charles Chapman & Hall, 1839. First edition. Original publisher’s presentation binding of full green morocco with gilt titles and decorated raised bands to spine. Borders stamped in blind on the covers. All edges gilt. Author’s presentation copy to the radical political journalist Albany William Fonblanque, with an autograph letter signed by Dickens presenting the book bound in. Steel engraved frontispiece of Dickens after D. Maclise, and 39 full page steel engraved plates in the text by Phiz [Halbot Browne]. A very good copy with a little wear to the extremities, neat repairs to the upper corners and base of the spine and a superficial split to the front joint. Hinges split but holding. Fonblan - que’s ownership signature to the front endpaper. Housed in a half morocco slipcase. [42823] £50,000 The presentation letter from Dickens, dated 14 November 1839, reads, “My Dear Sir, Do me the favor [sic] to accept a copy of Nickleby , and with it the assurances of my warm regards and admiration. I shall be removing in the course of a few weeks nearer to your neighbourhood - Devonshire Terrace, York Gate - and when this comes to pass, I cherish the hope of seeing you more frequently. Believe me always my dear sir faithfully yours Charles Dickens”. It is telling that the outside edge of the letter is gilded in the same way as the page edges of the book, suggesting Dickens might have given the letter to his publishers to be tipped into the book prior to binding. The gap between publication in book form (23 October) and date of the letter, would be consistent with the time it might take to prepare copies for presentation bindings. Fonblanque had risen to prominence as a major voice of English radicalism, inspired by Owenite ideals. “Fonblanque’s period of greatest influence as a journalist was from 1826 to 1837, when he was a prominent ‘philosophic radical’. He was strongly opposed to the aristocratic principle, a fierce champion of suffrage extension, and thus a leading supporter of the 1832 Reform Bill... Thomas Carlyle, from a different political perspective, considered that Fonblanque’s journal- ism made him ‘the cleverest man living of that craft at present’” (ODNB). During the 1830s, his radicalism eased, and he moved closer to mainstream whiggism in his subsequent journalism, though he remained esteemed and feared for his force and wit. Dickens met Fonblanque through his friend and future biographer John Forster. The pair thereafter moved in similar circles; Fon- blanque attended Dickens’s dinner parties and later wrote political leaders for Dickens’s news- paper the Daily News. Nickleby is Dickens’s third novel. Following on from the success of Pickwick Papers and Oliver Twist , it owes much to the author’s admiration of the picturesque eighteenth century novels of Smollet and Fielding. Nickleby marks a development in Dickens’s narrative style, and can be con- sidered the first of his ‘romances’. His characters show an emotional sensibility that is not senti - mental nor at the expense of realism.

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“Reader, I married him.”

8. Jane Eyre An Autobiography [BRONTË, Charlotte] BELL, Currer

Smith, Elder & Co., 1847. First edition. Three volumes. Early twentieth century straight grain green morocco by Lloyd, Wallis and Lloyd with raised bands to the spine and gilt titles and floral ornamentation to the compartments. Triple ruled border to cov - ers with ornamental gilt turn-ins and marbled endpapers. Early bookseller’s ticket to the rear pastedown. All half-titles present. Top edge gilt, others uncut. A very good, tall set with a trace of wear to the corners at the heads of the spine. Internally fresh, unwashed and unpressed. A number of discrete, old marginal repairs to closed tears and small chips throughout with only one tear (P2 of vol I) venturing into the text. A handsome set. [42304] £50,000 Charlotte Brontë’s first novel and keystone of nineteenth century literature. Having collaborated with her sisters in an unsuccessful self published volume of poetry, Charlotte embarked on writ- ing a novel, The Professor. This was declined by all the publishers it was sent to and, stung by the fact that both her sisters had found publishers for their novels, she set about writing a new novel on an entirely different emotional scale. The work was swiftly completed and immediately found a willing publisher in Smith, Elder. The book was published in an edition of just 500 copies, whilst both her sisters’ works languished in production. The novel was greeted with almost instant acclaim. Critics seized upon its imaginative power and the reality and freshness of its style. William Thackeray, to whom Charlotte dedicated the second edition, “lost a whole day in reading it.” To this day it remains one of the most popular and widely read English novels.

Gaskell On Brontë

9. The Life Of Charlotte Brontë Author of “Jane Eyre,” “Shirley,” “Villette,” &c. GASKELL, E. C.

Smith, Elder & Co., 1857. First edition. Two volumes. Original publisher’s brown chocolate cloth, decorated in blind to the covers and with gilt titles to the spine. Engraved frontispiece to each volume. A very good set indeed, in unrestored original cloth. Each volume slightly cocked, with some rubbing to the spine ends. Contemporary ownership inscription to front pastedowns in each volume. [42888] £1,750 A significant work of nineteenth century literary biography, in which one great female novelist of the period is profiled by another.

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F I N E B O O K S & M A N U S C R I P T S

Rare First Edition of Le Fanu’s Most Famous Work

10. Uncle Silas A Tale Of Bartram-Haugh LE FANU, J. Sheridan

Richard Bentley, 1864. 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 mar- bled, marbled endpapers. Each volume housed in a later cloth slipcase. A very near fine set, the bindings well-preserved with just a touch of rubbing to the head of the spines of the first two volumes. Generally clean, with sporadic light spotting. [42809] £18,500 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, detective fiction, and supernatural thriller, without strictly conforming to any of those 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 influence 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 publisher’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.

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A Fine Copy

11. The Mayor Of Casterbridge The Life and Death of a Man of Character HARDY, Thomas

Smith, Elder, & Co., 1886. First edition. Two volumes. 8vo. Original blue cloth, spines lettered in gilt, decorative bands and floral decorations on front covers and spines in black, grey floral endpapers. Single advertisement leaf at the end of each volume. A near fine copy, the covers bright with only very light rubbing to the spine ends. A couple of light, superficial repairs to the hinges and some light spotting to the titles and first page of text of each volume, but otherwise fresh internally. One gathering roughly opened, not affecting the text. Neat ownership inscription to each half-title. A superb copy. Housed in a morocco-backed solander box. [42552] £12,500 Originally serialised in the Graphic between January and May 1886, an edition of 758 copies of The Mayor of Casterbridge was printed on 10th May 1886. Despite interest in the novel, only 650 copies of the first edition were bound. In January 1887, 145 bound and unbound copies were remaindered to Sampson Low. As such, only 613 copies of the first edition were actually issued, making copies such as this, in the original cloth and in fine condition, understandably rare.

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Wells’s First Foray Into Science Fiction

12. The Time Machine

An Invention WELLS, H.G.

Heinemann, 1895. First UK edition, first issue in oatmeal grey cloth lettered in purple and top and foredges uncut (i.e. Curry’s A state). Sixteen undated pages of adverts at the rear headed The Manxman. A near fine copy, with a little toning to the spine but the cloth and lettering to the upper cover notably clean and bright. [42657] £7,500 In 1888 Wells had written a series of articles concerning time travel entitled “The Chronic Argo- nauts” for The Science Schools Journal, a magazine 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 journals, W.E. Henley, then persuaded Heinemann to publish the whole story 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. PROVENANCE: Michael Sadleir (noted collector of Victorian fiction). An early acquisition with his pencil inscription “M.T.H.Sadler”, dated 1914 (before he changed the spelling of his name); Pierre Berge (book collector and auctioneer, bookplate to front pastedown).

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Original Autograph Manuscript

13. The Happy Hypocrite BEERBOHM, Max

[1896]. The original autograph manuscript. 54 hand written pages on 53 foolscap leaves, all but one leaf written on rectos only with extensive deletions, emendations and periodic marginalia throughout. Ten of the versos contain drawings by Beerbohm. Initial notes “To the type-writer - The marks in red chalk merely signify the beginning of a fresh paragraph and are not to be reproduced. / Please be very careful about punctuation / The long lines in red chalk signify a fresh part of the story and are to be reproduced.” All bound in full emerald morocco and housed within a cloth chemise and slipcase. Near fine condition, the first page of manuscript is a little browned and slightly worn from storage before the manuscript was bound and some offsetting from Beerbohm’s brushstroke deletions, but generally very fresh. The binding, probably commissioned shortly after 1907, shows a little wear to the corners but is in excellent condition. [42853] £110,000 The complete original manuscript of Beerbohm’s first work of fiction and one of the most notable and enduring short stories of the 1890s.

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Beerbohm appears to have written The Happy Hypocrite in the spring of 1896 and sent the manu- script to John Lane. Lane liked the work but thought it too short to make a book of it, but agreed to take it for publication in The Yellow Book, in which it appeared in October 1896. Its immediate success is perhaps the reason that, despite his reservations, Lane published it separately as the first of the Bodley Booklets in April 1897. No preliminary drafts of The Happy Hypocrite are known and this manuscript appears to be the fully formed conception and refinement of the work in a single document, resulting in a text in its final iteration, as published in The Yellow Book and subsequently. It was written in Beerbohm’s habitual style at the time, on foolscap sheets of Wessex Antique laid paper, his fanciful hand in Chinese ink, with the characteristic use of a paintbrush dipped in Chinese ink to blot unwanted words, phrases and sentences, rendering them indecipherable. In discussing his manuscript for Zuleika Dobson, Beerbohm neatly encapsulates the value and interest in his manuscripts to the scholar “It has, for anybody who is interested in the art of writing, this value: that it shows the sentences in the act of growing, and of being pruned and tended. Also it has interspersed in it here and there scribbled caricatures done to refresh the fatigued scribe.” Like the Zuleika Dobson manuscript, The Happy Hypocrite is also punctuated with sketches and drawings, which are a notable addition particularly given Beerbohm’s equal status as writer and artist. Ten of the blank versos contain drawings and a further drawing sits in the margin of one of the pages of text. Four of these pages are studies of hands and the remainder are mostly fully formed drawings of the characters, mainly Lord George, at the various stages of the narrative. These drawings, far from idle doodling, appear to be a part of the creative process, helping to create or cement a visual image of the characters described in the story. PROVENANCE: Max Beerbohm (marked up for printing in The Yellow Book 1896); apparently given away by the author c.1900; sold at Anderson Galleries May 1907, “his most famous piece of work”; at some point acquired by the Roosevelt or Witney families, possibly John Hay Whitney, whose extensive art collection contained a number of pieces of the 1890s by Beardsley and Beer- bohm; by descent to Sara Wilford (1932-2021, adopted daughter of John Hay Whitney).

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A Fine, Large Watercolour

14. Fairy Pageant CAMERON, Katharine

1902. Ink, water colour and graphite on paper. 75 x 31 cm. Signed and dated K. Cam- eron 1902 to lower right corner. Mounted framed and glazed. In fine condition. £7,500

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Katherine Cameron (1874-1965) was one of a group of female artists to emerge from the Glasgow School at the end of the nineteenth century known collectively as the ‘Glasgow Girls’. Her style, with its “bold outlines and vivid colours” (Rosemary Addison) and characteristic combination of Art Nouveau and Celtic Revival lent itself perfectly to the more fantastic elements of book il- lustration. She illustrated a series of books of fairy tales, most notably The Enchanted Land and In Fairyland , for the publishers T.C. & E.C. Jack. This painting predates either of those commissions but captures the same element of otherworldly wonder.

[42873]

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F I N E B O O K S & M A N U S C R I P T S

Fine Original Drawing On Vellum

15. Perceval Seeth The Questing Beast From A High History of the Holy Graal KING, Jessie Marion [1875 - 1949, Scottish] [1903]. Original pen and ink on vellum. 19cm x 12cm. In excellent condition. [42864] £22,500 A detailed and finely drawn piece, created for the book which represented some of King’s best work, set within its original decorative border. Below the image in the artist’s trademark stylised lettering is the legend’ “Perceval Seeth the Questing Beast.” LITERATURE: The High History of the Holy Graal by Sebastian Evans (Dent, 1903). PROVENANCE: Dent Archives, sold at their sale, Sothebys 1987; The Collection of A.D. Portno.

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Original Watercolour For Oscar Wilde’s Fairy Tale

16. The Dwarf’s Dream From A House of Pomegranates by Oscar Wilde KING, Jessie Marion

[1915]. Original ink and watercolour, heightened in silver on vellum. 28cm x 21cm. Signed in full to the lower right hand corner. In very good condition. [42862] £18,500 This painting, in pastel shades of violet and sage green, is strikingly heightened with silver paint to the trunks of the silver birch trees and was used to illustrate the Oscar Wilde fairy story, The Birthday of the Infanta. LITERATURE: A House of Pomegranates by Oscar Wilde (Methuen, 1915). Opposite p.52.

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Original Watercolour For Oscar Wilde’s The Star Child 17. Under A Chestnut Tree From A House of Pomegranates by Oscar Wilde KING, Jessie Marion [1915]. Original ink and watercolour, heightened in gold, on paper. 20cm x 25cm. Signed in full to the lower right hand corner. In fine, clean condition. [42863] £12,500 A striking painting with a distinctive Glasgow feel. Below the image, in the artist’s trademark stylised lettering, is the legend’ “And being weary she sat down under a chestnut tree to rest.” LITERATURE: A House of Pomegranates by Oscar Wilde (Methuen, 1915), opposite p.142.

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Fine Original Drawing On Vellum

18. Old Houses In Gallowgate From The City of the West KING, Jessie Marion

[1911]. Original pen and ink on vellum. 9 x 23 cm. Signed Jes- sie M. King to lower right hand corner. Mounted framed and glazed. In fine condition. [42879] £6,500 LITERATURE: The City of the West (TN Foulis, 1911), plate XIX.

Fine, Lilac-Stained Chivers Vellucent Binding 19. The Day Book Of John Stuart Blackie Selected and Transcribed from the Manuscript by his Nephew STODART-WALKER, Archibald; CARLETON SMYTH, Dor- othy Grant Richards, 1902. An exceptional Chivers binding. Second edition. 8vo. Finely bound in a full lilac-stained vellucent bind- ing by Cedric Chivers (stamp-signed in gilt on rear turn-in), designed by Dorothy Carleton Smyth in the Glasgow Style. The upper cover decorated with sprays of painted thistles, fine gilt rules and pointelle, large mother of pearl inlays, and a central clock motif. The spine lettered in black and painted in lilac and green, with fine gilt rules and pointelle. The low - er cover with a central mother of pearl inlay, circled in gilt, with fine gilt pointelle and painted thistles in lilac and green. Portrait frontispiece under loose tissue guard. A near fine ex - ample, some variance to the lilac staining but the overall effect is uninhibited. Internally fine. An exquisite example of an am - bitious Chivers vellucent binding. [42791] £5,000 An intricate and ambitious binding, one of Dorothy Carleton Smyth’s finest designs.

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F I N E B O O K S & M A N U S C R I P T S

An Intimate Presentation Copy Of Conrad’s Most Important Collection

20. Youth CONRAD, Joseph

Blackwood, 1902. First edition. First state with adverts dated 10/02. Original green cloth titled in gilt and black. Presentation copy inscribed on publication by Conrad for his friend and advisor, “To Marguerite Poradowska with the author’s dear love, 20th Nov 1902”. Housed in a custom slipcase. A near fine copy, slightest rubbing to gilt on spine, very minor bumping to corners. [42568] £75,000 A rare presentation copy of Conrad’s most important collection of stories. Conrad and Porodowska were related by her marriage to his cousin and, as Anne Arnold’s 2009 paper on the subject shows, their correspondence reveals Porodowska as a privileged interloc- utor, particularly early in Conrad’s career. She was a prolific author in her own right, adapting Polish authors and writing eight novels of her own. Her relationship with Conrad had a literary and romantic influence on him and his work: “Indisputably, therefore, Marguerite Poradowska had an impact on Conrad... providing, at a crucial moment of his life, the moral support of an intimate friend and the knowledge of a pro- fessional adviser” (Anne Arnold, ‘Marguerite Poradowska as Conrad’s Friend and Adviser’, The Conradian, Spring 2009). Youth comprises three lengthened stories or novellas including one of Conrad’s highest regarded works, ‘Heart of Darkness’, from which T.S. Eliot took the epigraph “Mistah Kurtz. He dead” for his ‘Hollow Men’. Described by Connolly in his Modern Movement as “a masterpiece of sinister deterioration seen by the narrator who is himself profoundly altered by it.” Presentation copies of Youth are rare; only six other examples have appeared at auction since 1979.

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The Exceptional Lemperly-Doheny Copy

21. Under Western Eyes CONRAD, Joseph

Methuen, 1911. First edition. Original red linen-grain cloth, spine lettered and decorat- ed in gilt in rare green printed dustwrapper. A fine copy in a very near fine dustwrap - per, which is notably bright with just a small nick to the lower joint and light wear to the spine ends and corners. Three bookplates to the front endpapers, including those from the notable collections of Paul Lemperly and Estelle Doheny. [42415] £28,500 Under Western Eyes is the last book in the astonishing sequence of novels that constituted Con- rad’s major literary output, beginning with The Nigger of the “Narcissus” (1897), taking in Lord Jim , Youth , Typhoon , Nostromo and The Secret Agent . “With Under Western Eyes he even dared to challenge (and arguably surpassed) Dostoyevsky’s Crime and Punishment ” (ODNB). Notably rare in any dustwrapper, particularly one so well preserved. PROVENANCE: Paul Lemperly (1858-1939, noted American book collector) sold Park Bernet, 1940 to; Estelle Doheny (1875-1958, sold Christies 1988); Notable private London collector.

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The First Modern Spy Novel

22. The Riddle Of The Sands CHILDERS, Erskine

Smith, Elder & Co., 1903. First edition. Original black cloth with enamel lettering to the spine and yacht vignette to the upper cover. Map of the North Sea facing the title page as called for. A fine copy, extraordinarily with no flaking to the enamel on the spine or upper cover and no mentionable wear to the cloth. Internally very clean with the faintest foxing to the foreedge and the neat bookplate of Alexander McGrigor to the front pastedown. An exceptional copy of a scarce and very susceptible book. [42769] £15,000 The author’s only novel, and the first modern spy novel. Set before the First World War the novel pits two amateur sailors-cum-sleuths against the secret forces of Germany. Their navigational skills prove equally as important as their powers of deduction in uncovering a plot which threat- ens national security. Apparently Childers, himself an accomplished yachtsman, wrote the novel as a wake up call to the British government to look to their North Sea defences, and in due course a North Sea port for the Royal Navy, Rosyth, was constructed in response to this book.

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Rare, Privately Printed Sassoon

23. An Ode For Music SASSOON, Siegfried

“Printed for Siegfried Sassoon” [at the Chiswick Press], October 1912. First edition. A single sewn quire of six leaves. One of fifty copies, printed on Van Gelder Zonen, privately published by the author. Original brown paper wrappers, printed in black. A near fine copy, with some very light spotting internally. [42406] £3,000 Keynes A9

F I N E B O O K S & M A N U S C R I P T S

One Of The Scarcest Wodehouse Novels

24. The Prince And Betty WODEHOUSE, P.G.

Mills & Boon, 1912. First UK edition. Original red cloth lettered in gilt to spine and black to the upper cover. A very near fine copy, bright and crisp and just a hint of fad - ing to the spine. Owner’s name to the front endpaper and date to the rear endpaper. A superb copy. [42693] £4,000 Originally serialised in Ainslee’s Magazine and published by Watt in America, Wodehouse was commissioned by romance publishers, Mills & Boon, to repurpose the work for the British audi- ence. The book was published in May 1912 shortly after the American edition. This copy has the 32pp catalogue of adverts, which is listed by McIlvaine after the state with no adverts, however there seems to be no evidence of precedence. The catalogue lists ‘Spring An- nouncements’ for 1912 and advertises books published at the same time as this one. Furthermore, at least one presentation copy inscribed in July also had the catalogue of adverts. In our experience one of the scarcest of Wodehouse’s novels, particularly so in nice condition.

J O N K E R S R A R E B O O K S

F I N E B O O K S & M A N U S C R I P T S

The Remarkable Archive Of E. H. Shackleton’s Surgeon 25. The Shackleton-Macklin Archive SHACKLETON, Ernest H.; MACKLIN, Alexander Hepburne 1914-1922. The extraordinary record of Alexander Macklin’s service alongside Ernest Shackleton over a remarkable eight years, which saw him join two expeditions to the Antarctic, serve on the Western Front, and head to the Arctic with the North Russia Expedition- ary Force. Comprising unpublished manuscripts, autograph letters, original expedi- tion contracts, photographs and a host of other material. [42894] £50,000 Dr Alexander Macklin wrote to E. H. Shackleton on the 23rd April 1914, seeking to join The Im- perial Trans-Antarctic Expedition as a surgeon. The two letters from Shackleton of May 1914 are in response to his application and about the arranging of an interview, and the employment con- tract of 21st July 1914 confirms Macklin’s appointment and notes his salary of £200 per annum. The story of the Endurance expedition up until the destruction of the ship is covered compre- hensively in Macklin’s own unpublished account, present here in manuscript and typescript. Additional colour is added to the early stages of the expedition by the long letters he wrote to his parents from South Georgia, written throughout November 1914. Although surgeons typically had little medical work to do on Antarctic expeditions, the Endur- ance was an exception. When they had reached Elephant Island Rickinson had a heart condition, Blackborow had gangrene requiring amputation, Hudson was having a nervous breakdown, and Kerr had a tooth removed without anaesthetic; to say nothing of the repeated cases of frostbite. Despite this, Macklin and his fellow surgeon James McIlroy, kept all of their men alive On his return to Britain, Macklin immediately offered his services to the War Office, and served on the Western Front and in Italy, before following Shackleton and other Endurance colleagues to the Arctic circle with the North Russia Expeditionary Force. Shackleton was commissioned as a “temporary major while specially employed” to oversee the supply of Arctic equipment to troops in Murmansk. In this Arctic adventure he was joined by his Antarctic colleagues of Macklin, Joseph Stenhouse and Frank Worsley. The archive contains some of Macklin’s original orders, letters referring to his service, and a complete autograph manuscript titled Influenza Among The Lapps , a medical study on the spread of the disease in the region during wartime. For his service in North Russia, Macklin was awarded the OBE in February 1920. The following March Macklin returned to Shackleton’s service for what would become his final voyage, The Shackleton-Rowett Expedition of 1921-2. In the archive is a carbon of a letter from Macklin to Shackleton dated 31st August 1921 in which he provides his full particulars for the expedition, including his education, previous experience and military service, and salary. Also present is Macklin’s full contract for the expedition, an attractively printed document, sewn with green string in the manner of the Aurora Australis. It is signed by Shackleton and Rowett, and witnessed by their solicitor. The fourteen photographs of the expedition show Shackleton on the Quest, the ship in St Catherine’s Docks and at sea, and Macklin on the foremast. Significant original material relating to the Golden Age of Antarctic Exploration is rare, even in isolation. Extensive collections such as this, spanning letters, contracts, photographs, manuscripts and typescripts are most uncommon, and gives the record of an extraordinary Antarctic career. A comprehensive catalogue detailing the full contents of the archive is available on request.

J O N K E R S R A R E B O O K S

F I N E B O O K S & M A N U S C R I P T S

J O N K E R S R A R E B O O K S

An Extraordinary Set Of The First English Proust, Complete In Unrestored Dustwrappers and Slipcase

26. Remembrance Of Things Past PROUST, Marcel

Chatto & Windus / Knopf, 1922-1931. Seven works in eleven volumes, all first English language editions. Each volume in original blue cloth lettered in gilt, in original cream printed dustwrappers, apart from Cities of the Plain which is in its original slipcase, having not been issued in dustwrappers. Cities of the Plain is number 1943 of 2230 sets. Time Regained is one of 100 not for sale copies (from a total edition of 1350) and is inscribed at length by the books’ translator, Sidney Schiff, to the noted French literary critic Ramon Fernandez. A fine set in very good to near fine dustwrappers, spines slightly tanned with light wear or the occasional small chip to the spine ends or corners, but all entirely unrestored. A truly exceptional set and very rare in such a complete state. [42885] £50,000 A superb set of the English translation of Proust’s magnum opus, A La Recherche du Temps Perdu , widely regarded as the twentieth century’s most influential, even definitive, novel. The novel’s fame and influence in England is mainly due to the translation made by Charles Scott Moncrieff, the first volume being issued a few months before Proust’s death in 1922 and continu - ing until Moncrieff’s own death in 1930, by which time he was part way through translating the final volume, which was completed by Syndey Schiff under the pseudonym, Stephen Hudson. The work’s influence on modernism and the development of the novel is hard to overstate: many techniques which were to become a staple of the twentieth century, such as the extensive use of the interior monologue or the stream of consciousness style have their origins in this work. Between approximately 1,000 and 2,500 copies of each of the volumes of the translation were is- sued, making complete sets uncommon and almost inevitably found without dustwrappers. Sets in dustwrappers, particularly unrestored and so well preserved are very rare indeed.

F I N E B O O K S & M A N U S C R I P T S

M. R. James’s Final Collection Of Ghost Stories

27. A Warning To The Curious and other Ghost Stories JAMES, M.R.

Arnold, 1925. First edition. Original light brown cloth lettered in dark brown in rare pictorial dustwrapper. A near fine copy in a very good dustwrapper which has light chipping to the head of the spine and a couple of closed tears and associated fraying to the rear joint. [42806] £6,000 James’ fourth and final collection of ghost stories. The first edition appears to have been published in smaller numbers than his earlier work and is particularly uncommon in its dustwrapper.

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F I N E B O O K S & M A N U S C R I P T S

Lawrence’s Own Proof Copy

28. The Seven Pillars Of Wisdom A Triumph LAWRENCE, T. E.

Privately Printed for the Author, 1926. The author’s own pre-publication proof copy of The Seven Pillars Of Wisdom. Quarto (trimmed by the binder to 233 x 180 mm from the usual size of 254 x 190 mm). Original black pigskin specially bound for the author, plain white endpapers, black edges. Housed in a custom brown morocco folding case by Sangorski & Sutcliffe. Bound, as usual for proof copies, without the 66 plates or maps, but with the woodcut illustrations in the text (some imperfectly printed) found in regular copies. It does contain the very rare Blair Hughes-Stanton woodcut illus- trating the dedicatory poem, printed on heavier stock than the india proof paper used in the other four recorded copies containing it, trimmed and pasted to the front free endpaper verso. A very good copy indeed, extremities lightly rubbed. [42974] £97,500 The author’s own proof copy, which was later given by him to George Bernard Shaw’s wife, Charlotte, containing several annotations, including an ink curl mark at the foot of pages 119, 176, and 536, a large pencil mark on the inner margin of page 525, and the pencilled word “extra” on the inner margin of page 527. This is the copy described by O’Brien: “One copy (23.3 x 18.8 cm) bound in black pigskin, all edges black, with no plates. Thought to be Lawrence’s proof copy.” That this is Lawrence’s own proof has been confirmed by his correspondence with Charlotte Shaw, published after O’Brien’s bibliography. Lawrence had nine proof copies prepared from spoiled sheets, including one sent to himself as “A/C Shaw”. Before Lawrence left for India at the end of 1926, he gave this proof to Charlotte Shaw, but asked her to return it to him. On his recall from Miramshah in 1929, Charlotte asked to borrow it again, wanting a manageable copy to read during a trip to Italy. In a letter of 18 March 1929, Lawrence writes: “Yes, it would be easy to cut down the S.P. into a smaller and handier size... but imagine anyone wanting it ‘handy to read’. Sounds like a bed-side book... There is no vandalism in connection with modern books: and personally, if I could afford it, and wanted it, I wouldn’t hesitate to have a 1st Folio Shakespeare cut up into separate plays for my private reading.” In order to lend it to her, Lawrence retrieved it from Charles Douglas St Leger, a partner at Sir Herbert Baker’s office, where the first draft of Seven Pillars was written. In a letter of 12 April 1929, he reassures Charlotte: “Of course you shall have the cut-down S.P. and any other S.P. you want! You were one of the architects. I hope St. Ledger [sic] will bring it round to you in time.” The relationship between T. E. Lawrence and Charlotte Shaw has been described by Rhoda Na- than as “a species of spiritual love affair, overcoming the 20-year gap in age and the disparity of their upbringing and life patterns”. When Lawrence sent the first draft of his lengthy manuscript to Bernard Shaw asking for editorial advice, Shaw replied he had no time, but Charlotte declared herself to be “mad keen” to read it. She wrote to Lawrence on 31 December 1922 in fervent en- couragement: “Now is it conceivable, imaginable, that a man who could write the Seven Pillars can have any doubts about it? If you don’t know it is a ‘great book’ what is the use of telling you so... It is one of the most amazingly individual documents that has ever been written: there is no ‘style’ because it is above and beyond anything so silly”.

J O N K E R S R A R E B O O K S

F I N E B O O K S & M A N U S C R I P T S

The Rarest And Most Luxurious Issue Of The Winnie The Pooh Books, Each One Of Twenty Copies In Vellum

29. Winnie The Pooh MILNE, A.A.

Methuen, 1926. First edition. Number 7 of 20 copies of a special deluxe, large paper edition, printed on japon and bound in vellum, signed by both Milne and Shepard. Illustrated throughout in line by E.H.Shepard, with fold-out map to rear. A very good copy indeed, the vellum a little bowed with a few light marks and slight browning to the page edges. [42984] £39,500 The most luxurious and most limited issue of the Winnie The Pooh books.

30. Now We Are Six With Decorations by Ernest H. Shepard MILNE, A.A.

Methuen & Co., 1927. First edition. One of only 20 copies of a special deluxe, large paper edition, printed on japon and bound in vellum. This copy is issued out of series and inscribed “This is a presentation copy for C. W. Chamberlain Esq.”, before being signed by Milne and Shepard. Illustrated throughout by Ernest H. Shepard. A fine copy. [42986] £27,500 An exceptional copy of the most luxurious and most limited issue of the Winnie The Pooh books. PROVENANCE: C. W. Chamberlain (presentation inscription), an employee at Methuen and cor- respondent of Milne’s; Mary Duke Trent (bookplate to front pastedown.

31. The House At Pooh Corner MILNE, A.A.

Methuen, 1928. First edition. Number 15 of 20 copies of a special deluxe, large paper edition, printed on japon and bound in vellum, signed by both Milne and Shepard. Illustrated throughout by E. H. Shepard. A fine copy, vellum slightly bowed. [42985] £35,000 An exceptional copy of the most luxurious and the limited issue of the Winnie The Pooh books.

J O N K E R S R A R E B O O K S

One Of Just 350 Deluxe Large Paper Copies

32. The House At Pooh Corner MILNE, A.A.

Methuen, 1928. First Deluxe edition. 8vo. Number 136 of 350 large paper copies, signed by Milne and Shepard, and printed on handmade paper. Original quarter cloth over paper-covered boards, in the original dustwrapper. Illustrations throughout in black and white by E. H. Shepard. A fine, unopened copy, in a fine dustwrapper, clean and crisp, with just a short closed tear to the base of the spine. [42978] £8,750 The second story book to feature Winnie the Pooh and friends, this is where Tigger first appears.

F I N E B O O K S & M A N U S C R I P T S

Exceptional Rarity From The Golden Age Of Detective Fiction 33. Unnatural Death SAYERS, Dorothy L. Benn, 1927. First edition. Original bright yellow cloth with black border and titles in buff dustwrapper printed in black. A fine copy in a very good dustwrapper which lacks a 35x20mm section from the base of the spine and some surface wear to the head of the rear panel resulting in minor loss, but is otherwise complete and well preserved. [42579] £12,500 The author’s third Peter Wimsey novel, one of only 1000 copies of the first edition. Exceptionally rare in dustwrapper. Gilbert A5.a.i

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Waugh’s Brilliant Debut, In A Fine Jacket Of His Own Design 34. Decline And Fall WAUGH, Evelyn Chapman & Hall, 1928. First edition. Original red and black patterned boards lettered in gilt, in green pictorial dustwrapper designed by the author. Six full page line drawings

by the author. A fine copy with a little foxing to the page edg - es and preliminaries in a very good dustwrapper indeed, which shows the almost inevitable fading to the spine and a tiny chip to the spine label. Short closed tear to the base of the front joint, but an otherwise bright and crisp copy, free from the splits and wear to which this dustwrapper now seems prone. [42729] £15,000 The author’s brilliant first novel, described by Connolly as “anarchic and experimental, surely one of the wittiest and most original of first novels.”

Waugh’s Most Ambitious Novel

35. A Handful Of Dust WAUGH, Evelyn

Chapman & Hall, 1934. First edition. Original mar- bled cloth in pictorial dustwrapper in black and red. Frontispiece sketch of Hetton Abbey. A fine copy, with a little foxing to the page edges, in a superb, near fine dustwrapper which just shows a trace of wear to the spine ends and a couple of short closed tears, but is uncommonly clean and crisp. [42578] £19,500 One of the author’s scarcest books, partic- ularly so in such a fine dustwrapper. Criti - cally regarded as the high point of Waugh’s literary output and as one of the great novels of the twentieth century.

F I N E B O O K S & M A N U S C R I P T S

One Of 50 For Private Distribution, Inscribed For Penelope Betjeman

36. Edmund Campion WAUGH, Evelyn

Longmans, 1935. First edition, limited issue. Number 38 of 50 copies “for private distri- bution”. Inscribed by Waugh for Penelope Betjeman on the front free endpaper, “Pe- nelope with love from Evelyn”. Publisher’s red buckram with gilt titles to the spine. A very good copy, faded to spine. [42526] £4,500 An exceptional presentation copy. Penelope Chetwode married Waugh’s friend John Betjeman in 1933. Despite a decades long at- tempt to convert John from Anglicanism to Catholicism, Waugh never could convince him to, though Penelope did convert in 1948.

Inscribed For John And Penelope Betjeman

37. A Little Learning The First Volume of an Autobiography WAUGH, Evelyn

Chapman & Hall, 1964. First edition. Grey boards lettered in silver, in original dust- wrapper. Inscribed by Waugh for John and Penelope Betjeman on the front free endpa- per, “For John & Penelope, with love from Evelyn, 10th Sept 1964”. With an annotation in Betjeman’s hand to p. 192, indicating that Waugh’s “friend of my heart” who he calls “Hamish Lennox” is in fact “Alistair Graham”. A very good copy in a very good dustwrapper. [42525] £5,000 An exceptional association copy, uniting two of the most prominent British authors of the twen- tieth century. Waugh and Betjeman met at Oxford, and Waugh remained friends and correspondents with him and his wife Penelope. Penelope was very much Waugh’s muse when he wrote Helena (1950), and Waugh confided in a 1945 letter to Betjeman, “I am writing her life under the disguise of St Helena’s”. When Betjeman wrote of his enjoyment of the novel on publication five years later, Waugh replied, “It is you & six or seven others whom I seek to please in writing”. The initial volume of Waugh’s autobiography documenting his youth and education. His death two years after this publication meant that his autobiography was never completed.

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Fine Books & Manuscripts - Catalogue 89