Peter Harrington

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Crusade in Europe.

EISENHOWER, Dwight D. Octavo (238 x 155 mm). Contemporary blue crushed morocco presentation binding, title gilt direct to the spine, pinched, flat raised bands with dotted roll gilt, framed by single gilt rules, SHAEF flaming crusader sword of liberation in gold and silver to the front board, single fillet panel to both boards, top edge gilt, the others untrimmed, stylised gilt floral roll to the turn-ins, map endpapers printed in blue, title page printed in sepia and black. Housed in the original blue cloth, plush-lined leather-entry slip-case with blue petersham extraction ribbon. Spine and slip case-entry a little tanned, the exterior of the case with light shelf-wear, and the plush interior a touch browned, slight tan ghosting to the endpapers, but the contents otherwise near fine, overall very good indeed. 16 black and white plates from photographs (selected by Edward Steichen), 4 double-page maps printed in sepia and black, and 38 full-page maps to the text. Personal presentation "issue", one of just a few copies bound up for Eisenhower from the limited edition sheets, with the signed leaf of the D-Day message to the troops, but without the limitation leaf. This copy warmly inscribed on the half-title to the Dr. Hal Johnson, Ike's primary physician when he retired to Gettysburg in 1961, and who, with his wife Edie, became good friends of the Eisenhowers: "For Dr. C. H. Johnson with the warm regard of his friend, Dwight D. Eisenhower". These copies were not part of the 30 or so "official" presentations bound in red morocco and destined for such as political leaders and insiders, or command-level military colleagues, but are from of a still smaller group made for Eisenhower for presentation at a more intimate level to members of his personal suite. As was the case with Churchill and The Second World War, Crusade in Europe made Eisenhower a rich man, "becoming one of the most widely translated and sold books of all time. It is often compared to Grant's memoirs as a classic of military writing" (American National Biography); The New York Times considering that it gave "the reader true insight into the most difficult part of a commander's life." A fine association copy of the rarest special edition of this important account.
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Die Ursachen des Niederganges der russischen Revolution. Mit einem Vorwort von Rudolf Rocker.

GOLDMAN, Emma. Duodecimo. Original orange printed wrappers. Pencilled ownership signature to title page and a few marginal markers, ink inscription at end of text. A little creased, tear to foot of spine, contents evenly toned, small perforation to upper margin of last leaf. A good copy of a fragile publication. First edition thus of a compilation of four key articles on Russia, children's welfare, and the lives of two of Goldman's fellow revolutionaries, published immediately after her exile in Russia by the Berlin-based Der Syndikalist, one of the most important publishers of anarchic and syndicalist material at the time; a nice copy in the original wrappers. The four articles printed within are "The Crushing of the Russian Revolution", Goldman's first and most comprehensive analysis of her experiences in Russia from 1919 to 1921; "The Situation of Children in Russia", which provides valuable insight into the treatment of children; "Reminiscences of Kropotkin", written in memory of her fellow anarchist, who had died the previous year and for whose funeral she had written the eulogy; and "The Fate of Spiridonova", an account of the famous Russian revolutionary Maria Spiridonova, with whom Goldman had spent some time in hiding. The foreword is by Goldman's close friend Rudolf Rocker. Goldman and Alexander Berkman left the USSR in 1921 for Berlin, which was the centre of the anti-Bolshevik camp of Russian anarchists at the time. During this period Goldman wrote a series of articles about her time in Russia for the New York World, which were later published in book form as My Disillusionment in Russia (1923) and My Further Disillusionment in Russia (1924). These articles also circulated separately and in a number of translations; "Ursachen des Niederganges der russischen Revolution", for example, appeared in the World in early 1922 and in English later the same year by the Freedom Press in London, with a preface by William C. Owen. The present compilation of four articles was published by Der Syndikalist, the organ of the Free Works Union of Germany (FAUD). Managed by Fritz Kater, it published the works of, among others, Kropotkin, Bakunin, and Berkman. This edition was reprinted in Berlin by Karin Kramer in 1987.
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Flora Rustica: exhibiting accurate figures of such plants as are either useful or injurious in husbandry. Drawn and engraved by Frederick P. Nodder, botanic painter to Her Majesty, and coloured under his inspection. With scientific characters, popular descriptions, and useful observations.

MARTYN, Thomas. 4 volumes, octavo (205 x 120 mm). Contemporary tree calf, spines ruled gilt in compartments, red morocco labels, marbled endpapers. Front joint to volume I cracked but firm, spine ends and corners a little worn, corner of front free endpaper cut away, occasional light spotting; a very good set. 144 engraved plates, hand coloured. First edition of Martyn's Flora Rustica, with 144 hand coloured plates by Frederick P. Nodder, Botanic painter to Her Majesty Queen Charlotte. Nodder (fl. 1777-1800) "made illustrations for Erasmus Darwin's Botanic Garden, and a number of delicate little plates for T. Martyn's Flora Rustica - a volume dealing with 'plants useful or injurious to husbandry' - and other works. There are some skilful but rather stiff original drawings by him both at Kew and in the Natural History Museum" (Blunt, The Art of Botanical Illustration, p. 151). Chair of Botany at Cambridge from 1762, succeeding his father John to the chair, Thomas Martyn (1735-1825) was an early follower and proponent of the views of Linnaeus, teaching the Linnaean system of botany for the first time in an English university in 1763. In the preface Martyn explains the purpose of the publication: "It is our design to present the Public with such figures and descriptions of those plants with which the husbandman is principally concerned, as may leave no doubt upon his mind what object is intended, when one of them is recommended to him for its utility, or another is pointed out as proper for destruction. Most of the vegetables in common cultivation, must of course be well known; but many even of these are confounded in a multiplicity of local names and corrupted appellations: while the grasses, it must be confessed, are hardly distinguished by any. These being the least known, and yet of the greatest general utility, we purpose gradually to figure and describe the greater part of them, if not the whole; so that whilst the Agriculturist becomes acquainted with their form and qualities, the Botanist may possess a set of figures which he will search for in vain, either united, or scattered in various works." "The work was 'begun in the autumn of 1791, and published in numbers'; it was 'dropped, however, for want of support, in 1795'" (Gorham, Memoirs of John Martyn. and of Thomas Martyn, quoted in Henrey). Henrey 1023; Hunt 721.
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Histoires ou Contes du tems passé. Avec des Moralitez. Par le Fils de Monsieur Perreault [sic] de l’Academie François.

PERRAULT, Charles. Duodecimo (134 x 75 mm). Contemporary calf, rebacked, recornered, and some board edges restored, orange cloth inner hinges, comb-marbled endpapers. Harvard bookplate engraved by Nicholas Hurd to front pastedown (engraved c.1770), note "Rec. Augst 17. 1835" at head of engraved title, effaced early notation to binder's blank. Calf sides darkened and with some craquelure, contents with general light browning, soiling and occasional nicking, repair to short closed tear to B6, vignette to C8 inked over, burnhole affecting a couple of letters to C2, light staining at foot of leaves D8-F1. Overall in very good condition. Integral engraved title ("Contes de ma mere loye"), 8 engraved headpiece illustrations, all engraved in reverse after designs by Clouzier, woodcut head- and tailpieces and initials. Sixth edition, "extrèment rare" (Gumuchian), of Perrault's seminal collection of fairy tales, following the essentially unobtainable first edition of 1697. This edition, the first to name Desbordes as the printer, has the text reset but uses the same copperplates as his 1697 edition. All early editions are rare. "Charles Perrault (1628-1703) may not have been the first to write down fairy tales but he was the first writer of consequence to recognize that they belonged to the world of children" (Hurlimann, Three Centuries of Children's Books in Europe, pp. 29-30). "Comprising seven of the best-known Western European 'fairy tales' in the Occident ('Little Red Riding Hood', 'Bluebeard', 'Puss in Boots', 'Diamonds and Toads', 'Cinderella', 'Hop O' My Thumb', and 'Sleeping Beauty', together with an eight story 'Riquet à la Houppe', which never gained the same popularity in English-speaking countries), this volume is a momentous publication. Perrault's admirable presentation of oral stories had great appeal in France and throughout Europe, offering up material that could be easily adapted, translated, and converted into a multitude of entertainments in the form of pantomimes, ballets, and operas, to say nothing of the profusion of single-story picture books and moveables by leading illustrators that are still a staple of contemporary publishing for children" (Grolier). This edition was last seen at auction in 1982 (Sotheby's), there in later blue morocco, here in rebacked contemporary calf. Albers 3; Brunet Supplement vol. II p. 306, Gumuchian 4409 ("édition extrèment rare"); Grolier, 100 Famous Books in Children's Literature, 5a (for first edition); PML Cahoon 94; Schiller, Charles Perrault and his Contes des Fees, 15.
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Memoirs of the life of Anne Boleyn, Queen of Henry VIII.

BOLEYN, Anne) BENGER, Elizabeth. 2 volumes octavo (196 x 121 mm). Contemporary moderate blue half calf, double marbled paper boards, brown morocco labels to the spines, compartments framed by double gilt rules, monogram of Frances Anne Vane-Londonderry surmounted by a coronet to the first compartment, volume numbers gilt direct to the fourth, decorated lozenges in blind to the others, edges sprinkled sanguine, thin red silk page-markers. A little rubbed, a few nicks to the spines, some foxing, largely front and back, the frontispiece particularly and some offset from it also, but remains a very good set. Portrait frontispiece from Hollar's etching after Holbein's St. Barbara or Anne Boleyn as Faith, "drawn and etched by Jane Smith". First edition of this historiographically astute biography, in a particularly attractive binding from the Vane-Londonderry library. Miss Benger (1777–1827) has attracted the reputation of something of a bluestocking hanger-on, aggressively cultivating literary connections, and achieving "a modest reputation as a literary hostess" (ODNB). However, Elizabeth Inchbald became a close friend, and Madame de Staël apparently thought her the most interesting woman she had met during her visit to England. This first edition is uncommon, just BL and Senate House on Library Hub. Ownership inscription of Frances Anne Emily Vane-Tempest, as Vane-Stewart verso of the frontispiece, elaborate armorial Vane-Londonderry bookplates to the front pastedown of volume I and inverted at the rear of II. On marriage to Frances Anne, Charles Stewart, third marquess of Londonderry changed his name to Vane, and gained access to considerable wealth derived from his wife's estates in county Durham and northern Ireland. However, although "Londonderry was in theory a wealthy man, the fluctuations of the coal trade, his electioneering expenditure, and his personal extravagance meant that he was always in financial difficulties—so much so that in 1834 it was feared he would follow his half-brother [Catlereagh's] example of suicide" (ODNB). The etcher of the frontispiece seems to be virtually unknown outside of a series of plates entitled Picturesque Scenery Round London, self published in 1822 by "Jane Smith, Teacher of Etching, 22 Carmarthen Street, near Upper Gower Street, Bedford Square".
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Kleine Schriften.

KANT, Immanuel. Small octavo (161 x 98 mm). Later red paste paper boards, black spine label. Faint ink ownership signature, "Joh. Eduard Probst", to title page, ink correction to p. 1, some neat pencil underlining to text, ink note to front free endpaper partly erased. Spine ends bruised, light wear to extremities, contents lightly browned with occasional marks and soiling. A very good copy. First collected edition of any of Kant's writings, comprising seven articles first published in the periodicals Berlinische Monatsschrift and Teutscher Merkur from 1784 to 1791, here extracted and published without his permission. These include "Beantwortung der Frage: Was ist Aufklärung?" (first 1784, his famous definition of Enlightenment written in response to the question posed by Johann Friedrich Zöllner) and "Muthmaßlicher Anfang der Menschengeschichte" (first 1786, one of his main contributions to the philosophy of history). On 22 June 1793 the Allgemeine Literatur-Zeitung printed an article by Kant, "An die Herren Buchhändler (To the Bookdealers)", his second public notice on pirated editions of his writings and likely prompted by the circulation of this edition (Altman, p. xli). Several other pirated collections of Kant's work would follow in the 1790s, but it is not until 1838-9 that Adickes considers there to be a complete edition (Hartenstein's ten-volume edition). Adickes B.5 (the first of the "incomplete collections" of Kant's works); Warda 228. Matthew C. Altman, ed., The Palgrave Kant Handbook, 2018.