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Sonnets For Caresse.

CROSBY, Harry. Octavo (206 x 150 mm). Original full calf by Lafon, spine gilt-ruled in compartments with red morocco title label, marbled endpapers. A near-fine copy, with perhaps some very discreet refurbishment to the front joint. Presentation copy of the very scarce second edition of Harry Crosby’s first book, inscribed on the first blank, "Tolstoy from Harry, Paris 1926". This is one of 27 copies printed in January 17 1926 and containing 37 poems, expanded from the 30 poems in the first edition of October 1925. More commonly seen is the third edition of October 1926, in an edition of 108 copies, with copies often found inscribed by Caresse Crosby. One of the poems ("Metamorphose", p.3) has correction in Crosby’s hand. Sonnets for Caresse marks the poetic beginning of an extraordinary love affair. Harry Crosby (1898-1929) was born the heir to one of Boston’s wealthiest banking families (he was the nephew of J. P. Morgan), but after serving as an ambulance driver during the First World War he met and fell in love with a married lady, Mary Peabody (née Jacob), another Bostonian heiress with a passionate and unruly disposition. (She was also, incidentally, the inventor of the backless bra.) They soon eloped to Paris and she changed her name to Caresse (though she briefly entertained "Clytoris", before bestowing that name on their pet whippet). Harry and Caresse embedded themselves in the avant-garde cultural scene, holding wild parties in their palace on the île Saint-Louis, and founding the Black Sun Press, which published (in small, exquisite editions and with no expense spared) the work of English and American expatriate modernists such as Crane, Eliot, Jolas, Joyce, Lawrence, MacLeish, and Pound. The couple lived a life of utter dissolution off Harry’s inheritance which, when it ran out, had to be supplemented by telegrams to his banker father such as the infamous, "PLEASE SELL $10,000 WORTH OF STOCK. WE HAVE DECIDED TO LIVE A MAD AND EXTRAVAGANT LIFE", (to which the father, reluctantly but nonetheless amazingly, assented). Following Crosby’s tragic death in 1929 (he was found shot dead in the same bed as Josephine, "The Fire Princess", one of his many lovers), the Black Sun Press continued issuing books in Paris and New York under the directorship of Caresse, who survived until 1970. This copy was presented to Mary Koutzouzow Tolstoy (1884-1976) an American-born writer and couturier who had gone to Paris to study art in 1904 and in 1910 had married Count Alexander Koutzouzow Tolstoy, nephew of the novelist Leo Tolstoy, in 1910. He died in 1914 leaving her an independent woman. Like Harry Crosby she was involved in the First World War, volunteering as a hospital nurse and being awarded the Croix de Guerre and Medal of Verdun in 1917. She later worked with the French Resistance during the Second World War. Connected both by shared war experiences, and by being wealthy Americans in Paris, Crosby and Tolstoy became friends and Caresse bought her dresses from Tolstoy’s store. Tolstoy was also a writer, with her first book, a First World War memoir entitled As the Old Order Was Changing, being published by Harry Crosby in 1927. In a later book, Charlemagne to Dior, a History of French Fashion (1967), Tolstoy remembered her association to the Crosbys: "There was a group of intellectuals and joyous new realists around the Crosbys, Harry and Caresse, who were the instigators of many a wild party at their large flat on Rue de Lille, or at. the Mill, their country place near Senlis. They took up publishing seriously and brought out Black Sun editions of well known writers such as Hemingway and Kay Boyle, both friends of theirs. My book of experiences in the First World War was one of their first publications." Laid-in is an autograph letter to Tolstoy, dated 1924, written in English and signed "Phyllis J. Grimms", an excuse for not paying a bill in expectation of "a check from America". The hand is quite similar to Crosby’s, who was the sort to make up names like Phyllis Grimms, though we cannot confidently ascribe it. Minkoff A3-b
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Le Deuxième Sexe. Les faits et les mythes; [together with] L’expèrience vècue.

BEAUVOIR, Simone de. 2 volumes, octavo. Original black paper-covered boards, titles to spines gilt, pictorial decorations to boards and spines after design by Mario Prassinos, pegasus-decorated endpapers. Minor rubbing to ends and corners, excellent condition. First edition, limited issue of one of the most influential texts of modern gender politics. This edition limited to a total of 2,105 copies, including 2,000 numbered copies on Alfama Marais paper of which these are numbers 293 and 359. Of the remaining 105 copies, 55 were printed on vellum, and the remaining 50 were unnumbered and retained by the author. The two volumes were published several months apart (20th April and 14th September 1949), so it is usual to find the volumes together with different numbering. There was a trade issue in wrappers but only this cloth-bound limited issue features a striking design by the Turkish-born French artist-illustrator Mario Prassinos, who frequently worked on these prestigious post-war editions for Gallimard. The publication of Beauvoir’s work was a monumental and revolutionary moment for the modern women’s movement. Despite drawing immense criticism, being denounced as pornographic, and even securing a place on the Vatican’s Index of Forbidden Books, 22,000 copies were sold in the first week alone, and it soon gathered the reputation for being "the only book women who wanted to think about their status in the world could turn to". The insights of Le Deuxième Sexe are generally regarded as the foundations of modern feminism, and several critics have proclaimed the text as something of a "feminist bible", for "whether they acknowledge it or not, all contemporary feminists build on Beauvoir’s achievement" (Moi, LRB, vol. 32, no. 3). An extremely well-preserved set of this foundational work, here in the uncommon limited issue. See Borde & Malovany-Chevallier, The Second Sex, p. 12; Moi, London Review of Books, Vol. 32, No. 3, 11 February 2010; Jo-Ann Pilardi, The Changing Critical Fortunes of The Second Sex, History and Theory, Vol. 32, No. 1, February 1993, pp. 51-73.
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The Trial of the Suffragette Leaders.

WOMEN'S SUFFRAGE.) Octavo. Original pictorial buff paper wrappers, wire-stitched. Without the rear cover, but the front preserved; browned, chipped and with some areas of loss to spine and lower left corner. Contents browned with the occasional nick; a good copy of a notoriously fragile publication. Votes for Women advertisement printed in blue to front cover verso. 7 black and white photographic illustrations: front wrapper photograph showing the Pankhursts and Drummond being arrested, provided by the London News Agency; a portrait of Emmeline Pankhurst; 3 scenes showing the three suffragettes addressing the rally at Trafalgar Square on Sunday 11 October 1908, provided by the World’s Graphic Press; 2 candid shots of Lloyd George and Herbert Gladstone giving evidence in court, provided by The Daily Mirror. First edition of this scarce pamphlet, issued by the National Women’s Social and Political Union, documenting the infamous trial of Emmeline Pankhurst, Christabel Pankhurst, and Flora Drummond, charged with incitement to rush the House of Commons on 13 October 1908: comprising an indispensable record of one of the UK suffrage movement’s most critical moments. Initially summoned by the police on 8 October for circulating a leaflet encouraging members of the public to support the rush, both Pankhursts and Drummond ignored the instructions thrice over, choosing instead to attend large rallies and WSPU meetings. They were eventually arrested on the evening of the rush. Despite the three leaders being unable to attend, over 60,000 people gathered in Parliament Square to break through the 5,000-strong police cordon to rush the House – and though none technically succeeded the event was considered a great success. On 14 October the Pankhursts and Drummond appeared at Bow Street court for a trial that lasted two days and provoked much press and public attention. All three defendants were found guilty, and were imprisoned upon refusing to pay fines. The pamphlet prints each of their speeches and provides a full transcript of the hearing; the introduction is provided by Frederick Pethick-Lawrence. As he summarises: "In the annals of history this trial will play an important part. The brilliant conduct of the case by Christabel Pankhurst [a trained lawyer who undertook their defence], the startling evidence given concerning a police magistrate, the presence of two Cabinet Ministers as witnesses, the profound speeches for the defence – all these will attract attention, but far beyond all in importance will be remembered the direct attack of the Government upon the leaders of the women’s movement and their futile attempt to break down by coercive measures the agitation for constitutional right" (p. 4). OCLC and Copac locate copies at just four UK institutions (BL, UoL, Sussex, LSE), three US (LOC, NYPL, Oberlin), and one each in Australia (State Library of Victoria) and the Netherlands (International Institute of Social History).
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The Mystical Number Seven; Including a Variety of Other Curious and Interesting Particulars, Collected Chiefly From the Sacred Scriptures.

GREEN, John, L.T. Octavo (178 x 108 mm) pp. iv, (5)-36. Crudely bound, sewn to two vellum tabs pasted into to limp sheepskin wraps, "pastedowns" lined with sheets from an accounts book. Wraps a little rubbed and soiled, spine mildly scuffed, first and last leaves tan-browned from the wraps, small piece torn from the inner edge of the title without loss of text, some light browning throughout, leaves becoming loose, a rather battered survival, but remaining about very good. First and only edition, no other copy traced. Green – who styles himself L.T., perhaps "lay teacher"? – opens with what he evidently felt was a clear statement of the underlying principle of his publication; "Seven is composed of the first two numbers, equal and unequal, three and four; for the number two consisting of a repeated unity which is no number, is not perfect. It comprehends the primary numerical triangle or trine, and square or quartile, conjunctions considered by the favourers of planetary influence as the most benign aspect". What follows is a thorough, densely written, winnowing of the Bible for significant appearances of the number seven – "within this number are concealed all the mysteries of the Apocalypse revealed to the 7 churches in Asia" – with occasional digressions into such themes as the age of the kings and queens of England, or English judges; "From the above statement, we find that 7 of the Judges are between 60 and 70 years of age, and that the ages of all the judges amount to 1001 which 143 times 7". Intriguing and rather pleasing.
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The House at Pooh Corner.

MILNE, A. A. Octavo. Original pink cloth, spine lettered in gilt, vignette in gilt to front cover within single gilt rule border, illustrated endpapers, top edge gilt. With the supplied dust jacket. Slight lean to spine, cloth generally dust soiled, few brown marks to endpapers, a good copy in the supplied jacket with a small closed tear at head of spine, brown stain to the front right edge of cover and a few small nicks to extremities. Frontispiece and illustrations in the text by E. H. Shepard, of which 7 are full-page. First edition, first impression. Milne began planning his final Pooh book in 1927. Three years of intense publicity were taking their toll on the family, and Milne longed to return full-time to adult literature, telling his brother that "after one more Pooh book I must think of something else. In fact, it’s time I tried a novel" (Thwaite p. 328). Christopher Robin was growing up, soon to leave for boarding school, and The House at Pooh Corner would be a farewell. But first there was an introduction to be made. Milne had bought his son a stuffed tiger, "Tigger", and told Shepard that he was longing to see the illustrations for this new character, who would become one of the author’s most popular creations. Published on 11 October 1928 in an edition of 75,000 regular trade copies, The House at Pooh Corner was received by critics with a delight tinged by sadness. "The Times Literary Supplement congratulated Milne on avoiding ‘the temptation to repeat his successful formula mechanically’, though it was ‘sad to see the stories end’" (Thwaite p. 336).
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Conchology, or the Natural History of Shells: containing a New Arrangement of the Genera and Species, illustrated by Coloured Engravings, executed from the Natural Specimens, and including the Latest Discoveries.

PERRY, George. Small folio (422 x 270 mm). Recent red straight-grained morocco period style, richly gilt spine, sides with concentric blind and gilt panels, central lozenge, blind roll tool to turn-ins, gold vein marbled endpapers. Bound without the half-title and 2 pp. of publisher’s advertisements found in some copies but with the list of plates. Spine cocked, title and a few leaves of letterpress with repaired closed-tears, some marginal soiling, scattered foxing, light offsetting of plates to letterpress. A handsomely bound copy. 61 hand-coloured aquatint plates by John Clarke after Perry; accompanying letterpress printed on rectos only. First edition of the first book on shells to be illustrated with aquatint plates, one of the finest conchological works of the 19th century, this copy with exquisite original hand-colouring; letterpress watermarked "W. Turner & Son", plates with no discernible watermarks; early issue of the index leaf, bearing Bulmer’s imprint (as noted by Petit; later issues have that of either M’Creery or Howlett and Brimmer) and with the block of text under "Remarks" to plate I consisting of 15 lines (second and third editions having 16 lines). "An important work on bivalves and univalves. A great many of the specimens are noted as coming from various parts of the Pacific, though there are none identified as having been collected from Hawaii. Twenty-three specimens are from New Holland and Van Diemen’s Land, 10 from New Zealand, 15 from the "South Seas", two from the Pacific Ocean, and one from "Otaheite" [Tahiti]. Specimens are also identified as coming from the collections of Mrs. Bligh, Mr. Latham, and the museums of Mr. Bullock and Sir Ashton Lever" (Forbes). Almost nothing is known about George Perry. Petit surmises that he "must have lived in, or close to, London" and that he may be the same George Perry listed as a member of the Palaeontographical Society in 1848, with an address just off Northampton Square, which was originally laid out in 1832. He is described elsewhere as either an architect or stonemason, born around 1771. His only other work, Arcana, or the Museum of Natural History, was published in monthly parts between January 1810 and September 1811 and dedicated to the Quaker physician and philanthropist John Coakley Lettsom. Forbes 425; Nissen 3134; Petit, Richard E., "George Perry’s mulluscan taxa and notes on the editions of his Conchology of 1811", Zootaxa 377 (2003).
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Religio Medici. The fifth edition, corrected and amended. With annotations never before published, upon all the obscure passages therein. Also, Observations by Sir Kenelm Digby, now newly added.

GUILD OF WOMEN BINDERS.) BROWNE, Sir Thomas. Small octavo (147 x 92 mm). Finely bound by the Guild of Women Binders, with their gilt stamp to the front turn-in, in full brown levant morocco, spine lettered in gilt, raised bands, covers panelled in blind, edges gilt. Engraved bookplate of book collector Robert Hall, dated 1902, to front pastedown; Hall collected Kelmscott Press books in particular, a number of which are illustrated in great detail on this bookplate. Ownership inscription to first blank, "S. Wilks Camberwell", perhaps the British physician and biographer Sir Samuel Wilks (1824-1911) of Camberwell. Offsetting from turn-ins and bookplate, tiny perforation to leaf A8 affecting a single letter on either page, a few small paper repairs to margins of D1 and D8, faint pen trials to margin of the first page of the Postscript. Overall a well-preserved copy, attractively bound. Additional engraved title leaf (newly engraved for this edition and dated 1660), engraved headpieces, initials. A beautifully and simply bound copy of Browne’s Religio Medici, in the fifth edition, by the Guild of Women Binders circa 1900. The Guild was established in 1898 by London bookseller Frank Karslake as "a way of publicising and promoting the sale of books bound by women" (Tidcombe, pp. 27–8), following a display in his shop from November 1897 to February 1898 entitled an "Exhibition of Artistic Bookbinding by Women". The exhibition featured the work of female binders such as Annie S. Macdonald, many of whom would become founding members of the Guild. In 1899 Karslake’s daughter, Constance, set up a workshop for the Guild in Hampstead where members could train and work; some of the more outstanding women binders represented by the Guild included Edith and Florence de Rheims, Helen Schofield, Frances Knight, Lilian Overton, and Miss Gaskell. In keeping with the co-operative spirit of the Guild few bindings were signed by the individuals involved, the majority left unsigned, as here. Despite its short history (it ceased to produce work in 1904), the Guild is a notable part of binding history as the binders produced "designs that were freer and less stereotyped than those of men in the trade, and they readily experimented with new techniques" (ibid., pp. 123–4). Religio Medici is the physician Thomas Browne’s (1605–82) hugely popular meditations on religion, composed in the 1830s as a "private exercise rather a memoriall unto me than an example or rule unto any other" (‘To the reader’). First published in an unauthorised edition in 1642, Religio Medici appeared in its authorised form the following year, and went through a further eight English editions in Browne’s lifetime, securing Browne’s continental reputation as a man of great piety and wit. It is now considered one of the great 17th-century works of English introspection, and an important early psychological self-portrait. The fifth edition was the first to incorporate Digby’s Annotations, which had formerly been printed separately (1643) and appears here with its own title page. Keynes, A Bibliography of Sir Thomas Browne, 8; Wing B5174. See Keynes 243 and WD1444 for Digby’s Annotations, though it was not issued separately. See Marianne Tidcombe, Women Bookbinders 1880–1920 (1996).
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Alice’s Adventures in Wonderland. Twelve illustrations with original woodcuts and an original etching.

DALÍ, Salvador, illus.) CARROLL, Lewis. Folio. Publisher’s solander box of brown straight-grain morocco by Cartonnages Adine (Paris), gilt lettered spine, black silk portfolios for letterpress and illustrations, lettered in gilt on front covers. Box scuffed with light wear at extremities and ties absent, lining peeling on interior; contents in excellent condition with plates fresh and clean, eighth plate of second suite with light tape residue at extremities, minor creasing to tissue-guard of frontispiece. 12 colour heliogravures and a four-colour etched frontispiece on Rives paper; together with a second suite of the 13 plates on Japon Nacre paper. Title page, divisional titles and initial letters printed in bisque. First and signed limited Salvador Dalí edition, number CXXVIII of 200 copies, signed by Dali at the foot of the frontispiece etching and on the title page. "The artist Salvador Dalí, famous for his surreal images of melting clocks and barren landscapes, at first glance might not seem to have much in common with a retiring Victorian English don who wrote children’s books. But actually, Dalí and Carroll had much in common: both men were ardent explorers of dreams and the imagination, attempting in their art to show the fertile pathways to the unconscious. This artistic temperament might explain why, in his sixties, Dalí created twelve surreal illustrations – one for each chapter – for Alice in Wonderland. Because he required a rich, lush palette for his painted drawings, Dalí turned to the oldest process for reproducing photographic images for printing: heliogravure. Similar to engraving, the method is time consuming and costly. Each heliogravure is printed by hand and considered an original" (Catherine Nichols, Alice’s Wonderland: a Visual Journey through Lewis Carroll’s Mad, Mad World, 2014, p. 28). There was a further issue of 2,500 copies, signed but without the extra plates.
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The Voyage of Abdullah. A Translation from the Malay With Notes and Appendices.

ABD ALLAH IBN 'ABD AL-K?ADIR, Munshi) COOPE, Arthur Egerton. Octavo. Original printed buff light card wraps. Wraps a little browned and with some creases, head of spine slightly split and repaired, joint of front wrap starting towards the tail, reinforced internally with archival tape, text-block toned, overall very good. Full-page map to the text. First and only edition. Uncommon. A language teacher and translator for colonial officials, Abdullah (1796-1854), widely considered as the father of modern Malay literature, was the great-grandson of a Hadhrami Arab merchant, who also had Tamil and Malay ancestry. The civil engineer John Turnbull Thomson, one of Abdullah’s students, and later prominent in the development of the infrastructures of Singapore and New Zealand, described him thus: "In physiognomy he was a Tamilian of southern Hindustan: slightly bent forward, spare, energetic, bronze in complexion, oval-faced, high-nosed, one eye squinting outwards a little. He dressed in the usual style of Malacca Tamils. Acheen seluar, check sarong, printed baju, square skull cap and sandals. He had the vigour and pride of the Arab, the perseverance and subtlety of the Hindoo – in language and national sympathy only was he a Malay" ( Hill, Hikayat Abdullah, OUP, 1970, p.5). The present work, which Abdullah was persuaded to publish by the American missionary Alfred North, recounts his voyage from Singapore to Kelantan with a letter from the Governor of the Straits Settlements, Sir George Bonham, to the recently installed Sultan of Kelantan. It also includes descriptions of his experiences en route at Pahang and Terengganu. Abdullah’s memoirs are widely considered to have "broken new ground in Malay literature. Unlike their predecessors, these writings were printed, not handwritten, and they were published commercially. Moreover, their authorship was prominently displayed. The pronoun I was used, and the contents were conveyed in simple, contemporary Malay" (Gin, Southeast Asia: A Historical Encyclopedia, p.116).