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Peter Harrington

Krazy Kat" - A Jazz Pantomine. Music by John Alden Carpenter. Based on the "Krazy Kat" Newspaper Cartoons of George Herriman. Specially illustrated by Geo. Herriman. And Arranged for Painoforte by the composer

Krazy Kat” – A Jazz Pantomine. Music by John Alden Carpenter. Based on the “Krazy Kat” Newspaper Cartoons of George Herriman. Specially illustrated by Geo. Herriman. And Arranged for Painoforte by the composer

HERRIMAN, George. Folio (305 x 235 mm). Wire-stitched in the original orange card pictorial wraps. Ex-library from the Dominican Conservatory of Music, San Rafael, California, library card pocket to front wrapper verso, neat library stamps to head of front cover and title, couple of ownership inscriptions to same. A little creasing and abrading to spine, rust mark from staple to a couple of leaves (slight loss at head of p. 23) otherwise very good. Images to both wraps, pictorial title and 14 near full-page images by Herriman. First edition, a fragile piece, relatively well-represented institutionally but exceedingly uncommon in commerce. A splendid celebration of the inimitable Krazy Kat, that "humbly poetic, gently clownlike, supremely innocent, and illimitably affectionate creature" (e.e. cummings); George Herriman's remarkable strip, much admired at the time by Joyce, Eliot, Stein and of course e.e. cummings, for whose Archy and Mehitabel Herriman provided illustrations, was recently voted #1 in the Comics Journal millennium survey "Top 100 Comics of the Century". Carpenter's "jazz pantomime" was probably notionally the highest-toned, and best received of the spin-offs generated by the strip. With costumes and scenery designed by Herriman, and choreography by Russian-born dancer Adolph Bolm, who also took the title rôle, the ballet played two sold out and critically acclaimed performances at The Town Hall, New York. One of the harshest critics of the show was probably Krazy's "most perceptive (and persistent) fan" (Tisserand, Krazy, p.296) cultural critic Gilbert Seldes, editor of influential modernist journal The Dial, who found the jazz accompaniment merely "sufficient", and thought that Bolm had "missed the exquisite grace of heart in that adorably ugly body". Despite the faint praise on this occasion, Seldes was the most prominent promoter of the comic strip as art, and of Krazy its most perfect exemplar; "It happens that in America irony and fantasy are practised in the major arts by only one or two men, producing high-class trash; and Mr. Herriman, working in a despised medium, without an atom of pretentiousness, is day after day producing something essentially fine. It is the result of a naïve sensibility rather like that of the douanier Rousseau; it does not lack intelligence, because it is a thought-out, constructed piece of work. In the second order of the world's art it is simply first rate - and a delight" ("The Krazy Kat That Walks By Himself" in The 7 Lively Arts, p.231). A wonderfully evocative souvenir with artwork produced by Herriman specifically for this publication.
War Memoirs.

War Memoirs.

LLOYD GEORGE, David. Octavo. Original blue cloth, spine lettered in gilt. With the remnants of the dust jacket, with the front panel and both flaps laid down on replacement card jacket. Clipping of Lloyd George to front pastedown. Cover edges lightly damp stained, remnants of jacket chipped and rubbed. Overall a good copy. Frontispiece and 10 monochrome plates. First edition of the first volume of Lloyd George's War Memoirs, inscribed by the author on the front free endpaper "to an active & efficient member of the fire brigade on the final conflagration of Sept ''33 D Lloyd George". Lloyd George's War Memoirs were published in six volumes in all, from 1933 to 1936. They "are a remarkable achievement, which bear comparison with Churchill's later. Based on a vast array of private materials, in them Lloyd George refought the old battles of wartime with zest, to confound critics and justify himself. There are vivid portraits of individuals such as Grey, Kitchener, and Wilson, and many brilliant insights. The purpose was in large measure polemical, to heap criticism on Haig, Robertson, Jellicoe, and other old adversaries, to argue the case relentlessly for a more peripheral military strategy, and to denounce the sterile bloodbath of the trenches. These volumes are central to the long, ongoing debate on the strategy and ethics of the First World War. They were also implicitly arguing the case for a totally different approach towards Germany and international affairs in the 1930s. Their purpose was the present as much as the past" (ODNB).
Where's the Rest of Me?

Where’s the Rest of Me?

REAGAN, Ronald, & Richard G. Hubler. Original black cloth, spine lettered in gilt. With the dust jacket. Light sunning at extremities and faint singer-soiling to edges. A very good copy in the very good jacket, price-clipped, toned, light chipping and nicking at extremities, short closed tear at head of rear panel. First edition, first printing, signed by Ronald Reagan on the front free endpaper during his tenure as President. The book was signed for Victor Ross (born 1919), senior executive at Reader's Digest and head of the firm's European division, with Reagan signing underneath the neat secretarial presentation inscription "To Victor Ross with best wishes". Ross acquired the signature through Melvin Laird (1922-2016), Republican Congressman for Wisconsin from 1953 to 2016, and United States Secretary of Defense from 1969 to 1973. After the Watergate crisis Lair resigned from politics to become senior counsellor for national and international affairs at Reader's Digest, and through the company became acquainted with Victor Ross. Ross, a collector of Presidential and Prime Ministerial signatures, requested Laird have the book signed, with Laird returning the book with a typed note dated 13 August 1984, loosely inserted in the book: "Dear Victor: President Reagan was very pleased to autograph his book for you. With best wishes, Mel Laird". The book was since acquired by Peter Harrington directly from the recipient. It is uncommon to find the title with a provenanced signature, much more so than for Reagan's post-Presidential autobiography. Where's the Rest of Me? was Ronald Reagan's first book, and marked in some ways the beginning of his political career. In the 1964 presidential campaign Reagan had publicly supported Barry Goldwater, gaining national attention as a new conservative spokesman. This volume - later reprinted when he ran for President - tells his life story up to that point, including his career in Hollywood and his presidency of the Screen Actor's Guild, setting the ground for his entrance into politics. The title of the book is the classic line from his 1942 film King's Row, "that marked the peak of his film career and established the credo of a life as it is lived by a most unusual man" (jacket front flap).
Free to Choose. A Personal Statement.

Free to Choose. A Personal Statement.

FRIEDMAN, Milton & Rose. Octavo. Original black quarter cloth, red sides, spine lettered in gilt. With the dust jacket. Spine ends lightly bumped. A very good copy in like jacket, very slightly toned and foxed, tiny nicks at extremities. Inscribed by Milton Friedman on the half-title: "For Victor Ross, who must fight this battle in a less friendly country, Milton Friedman", with Rose Friedman adding her own signature and the date 21 April 1980 underneath. The recipient was Victor Ross (born 1919), a senior executive at Reader's Digest and head of the firm's European division. A quote from Ralph Kinney Bennett's review in Reader's Digest was used on the rear flap of the jacket "Milton Friedman. puts us back in touch with how a free and abundant society can work - if we will let it. This is why he deserved his Nobel Prize in economics, and it is why you should read this book". It was through Victor Ross's Reader's Digest role, while on business in America, that he gained the meeting with the Freidmans and had the book inscribed. Ross was a proponent of free market economics and had done some work with the recently-elected Margaret Thatcher, helping her draft her speeches. Friedman's inscription wishes him well in his espousing of free market principles in Britain, but as he notes, the environment there is less welcoming to their ideas than in the US. The book was acquired by Peter Harrington directly from the recipient. Free to Choose is the companion book to Friedman's ten-part PBS series of the same title, which investigated various regions, historical events, and social issues from the perspective that Laissez-faire economics is the most effective and fair way to manage societies. The series and book were a response to John Kenneth Galbraith's earlier documentary The Age of Uncertainty, and both proved extremely popular, with the book remaining on the best-seller list for five weeks. This is a later printing of the first edition (code DE on copyright page), published the same year as the first.
A Nation Terrorized. By Gerhart Seger

A Nation Terrorized. By Gerhart Seger, Member of the German Reichstag in the 5th, 6th, 7th and 8th Parliaments. With a Foreword by Heinrich Mann.

ASTOR, Nancy.) SEGER, Gerhart. Octavo. Original black cloth, spine and front cover lettered in red. With the dust jacket. Later part of the Wiener Library collection, with their deaccessioned library slip to front free endpaper over an earlier bookplate of the Hamlyn Marcus collection. Book a little bumped and worn at extremities, light separation between some gatherings, page corners slightly creased. A good copy in good jacket, torn and tape-repaired, though still holding. First edition, first printing. Presentation copy from the author to Nancy Astor, inscribed on the half-title "Lady Astor as a very little sign of a very great thankfulness! Gerhart Seger". Seger (1896-1967) was among the German Social Democrat deputies in the Reichstag which opposed the Enabling Act, and was consequently sent to the Oranienburg concentration camp. He escaped and fled to Prague in 1934, and wrote this book, his account of his experiences and a damning indictment of the young Nazi regime. The first female British MP to take her seat, Nancy Astor has recently come criticism for her anti-Semitic and alleged Nazi-sympathizing views, making this inscription especially compelling. Astor had campaigned for the release of Gerhart's wife Elisabeth Seger from imprisonment in a concentration camp, which is presumably what the inscription refers to.
Japanese Fairy Tales. [Comprising:] The Boy Who Drew Cats; The Goblin Spider; The Old Woman Who Lost Her Dumpling; Chin Chin Kobakama; The Fountain of Youth. Rendered into English by Lafcadio Hearn.

Japanese Fairy Tales. [Comprising:] The Boy Who Drew Cats; The Goblin Spider; The Old Woman Who Lost Her Dumpling; Chin Chin Kobakama; The Fountain of Youth. Rendered into English by Lafcadio Hearn.

HEARN, Lafcadio. 5 volumes, octavo (189 x 135 mm). Original light blue silk-backed pictorial crêpe paper covers bound with stab light green silk ties in the Yamato toji style. Housed in the publisher's blue cloth wrap-around case with toggle clasps, titles in white to spine and printed on gilt-heightened label to front flap, lined with colour-illustrated paper, as issued. A fine set, in the near-fine wrap-around case, title and label a little faded. Woodblock-printed colour illustrations throughout. First edition thus of the illustrated 5-volume set of Japanese folklore stories. These five tales were first published on plain paper between 1898 and 1922 in a larger format than this one. They were also issued separately in small crêpe-paper editions (the crêpeing process was applied after printing) sometimes simultaneously as the first plain paper edition, and sometimes later. Lafcadio Hearn (1850-1904) went to Japan in 1890 with a commission as a newspaper correspondent, which was quickly terminated. It was there, however, that he found a home and his greatest inspiration, and he later became known to the world by his writings concerning Japan. He became a naturalized Japanese, assuming the name Koizumi Yakumo, in 1896 after accepting a teaching position in Tokyo and was "recognized as interpreter of Japanese culture for the West" (Bleiler). Takejiro Hasegawa (1853-1938) was an innovative Japanese publisher specializing in European-language books on Japanese subjects, notably fairy tales, poetry, and ephemera such as calendars, to help Japanese people learn foreign languages. "He chose traditional stories whose subjects would already be familiar to his readers and presented these tales in a Western format. The books would open in the Western manner, reading from left to right, and the illustrations would be positioned as adjuncts to the text, instead of having text superimposed on them in the traditional traditional Japanese fashion" (Sharf). By the time the first versions of the Japanese Fairy Tales were successfully published, Hasegawa was well on his way to creating an entirely new range of books of ambitious design and contents, this time bringing "aspects of Japanese culture and traditions [to] a Western audience that was increasingly hungry for such material, and they would primarily be produced on crepe-paper" (ibid.). Copies of this book intended for the Western audience bear a "Macrae-Smith, Philadelphia" imprint on the wrap-around label; this copy, not displaying the imprint, was thus intended for circulation in Japan. Rare complete, and in such good condition. Bleiler (Supernatural), p. 237; Sharf, Frederic A., "Takejiro Hasegawa", p. 10.