{"title":"The Love That Dare Not Speak Its Name","description":"\u003cp\u003eIn honour of Pride Month 2026, we are delighted to present a selection of works by LGBTQ+ writers and artists. The title is derived from Lord Alfred Douglas's poem 'Two Loves', which appears as item no. 4, a presentation copy of his lyric poetry. Among the items in this catalogue you will also find Wilde's collected works, Proust's works and a collection of short stories by the journalist he challenged to a duel; Rimbaud illustrated with photographs by Mapplethorpe and Verlaine with illustrations of women drawn from Montmartre's nightlife; the most explicitly queer translation of Sappho since Renée Vivien's and a volume of Vivien's posthumous poetry; presentation copies from the likes of John Addington Symonds, Christopher Isherwood, and Colette; and much else.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/library.sotherans.co.uk\/catalogues\/pride-2026.pdf\"\u003eClick here to browse the catalogue as a PDF.\u003c\/a\u003e\u003c\/p\u003e","products":[{"product_id":"douglas-lord-alfred-lyrics-inscribed-by-the-poet","title":"DOUGLAS, Alfred, Lord. Lyrics.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e'Far Be It from Me to Run Down Oscar Wilde' - Inscribed by Bosie\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eDOUGLAS, Alfred, \u003ci\u003eLord.\u003ci\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Lyrics. \u003ci\u003eLondon:\u003c\/i\u003e [\u003ci\u003eWestminster Press for\u003c\/i\u003e] \u003ci\u003eRich and Cowan\u003c\/i\u003e. 1935.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher's blue cloth, upper board stamped in blind, spine lettered in gilt, in the very good, unclipped blue-green dust-jacket (7\/6 net), top-edge stained blue, the others untrimmed, partially unopened; pp. ii, 110, [2]; frontispiece portrait of 'Lord Alfred Douglas in his 24th year'; a few nicks to spine ends of jacket and to upper edges with corresponding sunning to cloth; slight offset to title; else a near-fine copy; front free endpaper inscribed 'Inscribed for G. Catalani by Alfred Douglas. April 1937' in green ink.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition thus of the collected lyric poetry of Lord Alfred 'Bosie' Douglas (1870–1945), a presentation copy 'inscribed for G. Catalani' in April 1937, containing the polemical 'Two Loves' used as evidence against Oscar Wilde in court and previously suppressed by the author.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMost of Douglas's homoerotic poetry was written between 1893 and 1896 and appeared in undergraduate literary journals such as \u003ci\u003eThe Spirit Lamp\u003c\/i\u003e, which he edited, and \u003ci\u003eThe Chameleon\u003c\/i\u003e, or in small-circulation magazines like \u003ci\u003eThe Artist\u003c\/i\u003e. Some of these poems appeared in a French edition of Douglas's verse in 1896, but most were not republished until the present \u003ci\u003eLyrics\u003c\/i\u003e of 1935, along with a companion volume of \u003ci\u003eSonnets\u003c\/i\u003e, which appeared in the same year.\u003c\/p\u003e\n\u003cp\u003eIn contrast to the 'art-for-art's sake heresy […] promulgated by Oscar Wilde, who summed it up by saying that \"in all art style is of more importance than sincerity\", whereas I maintain that good poetry cannot be written without sincerity any more than it can be written without style […] Far be it for me to run down Oscar Wilde. I was the first to admire and pay homage to his genius and to put him in the very high place to which he belongs as a dramatist and a writer of prose […] Being essentially a great artist he lived to write one really great poem, \"The Ballad of Reading Gaol\" [\u003ci\u003ei.e. De Profundis\u003c\/i\u003e], which is an answer to and an implicit repudiation of his own heresy' (pp. 5–6). \u003cstrong\u003eThis collection features Douglas's 1892 'Two Loves' (pp. 56–58), featuring the line 'I am the love that dare not speak its name', weaponised against Wilde (along with his letters to Bosie) in his trials for 'gross indecency', as well as Douglas's own 'De Profundis', 'published in Poems (Mercure de France edition, 1896) and suppressed by [Douglas] in all subsequent collections' (p. 59).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2113572\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":53478640583033,"sku":"2113572","price":500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2113572b.jpg?v=1782373081"},{"product_id":"wilde-oscar-the-works","title":"WILDE, Oscar; Robert ROSS ( editor ). [The Works.]","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe First Collected Wilde\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eWILDE, Oscar; Robert ROSS (\u003ci\u003eeditor\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e [The Works.] \u003ci\u003eLondon: Methuen and Co.\u003c\/i\u003e 1908.\u003c\/p\u003e\n\u003cp\u003eFourteen vols, 8vo. Original white buckram, upper boards lettered in gilt with gilt roundels designed by Charles Ricketts, spines lettered directly in gilt, top-edges gilt, the others uncut; slight soiling to spines, lettering to spines tarnished, slight discolouration and a few marks to boards; occasional spotting to endpapers, but internally bright and clean; a good set.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst collected edition of Wilde’s works, edited by Robert Ross, his friend, sometime lover, and literary executor, limited to 1,000 sets printed on handmade paper.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'The text is taken in most instances from the last editions issued under the superintendence of the author. In some cases the volumes contain additional matter which had not previously been reprinted, while some of the volumes contain matter here published for the first time' (Mason, p. 459). One volume, \u003ci\u003eThe Picture of Dorian Gray\u003c\/i\u003e, though entirely uniform with the others, was published by Charles Carrington in Paris.\u003c\/p\u003e\n\u003cp\u003eWilde died bankrupt in Paris in 1900; the journalist and gallery owner Robert Baldwin Ross remained loyal to his friend after Wilde’s 1895 trial for gross indecency and subsequent prison sentence. ‘Before his release from Reading gaol, Wilde had appointed Ross his literary executor; but, with Wilde's estate bankrupt, it was not until 1905 that Ross was able to pay Wilde's creditors and annul the bankruptcy. In 1905 Ross published \u003ci\u003eDe Profundis\u003c\/i\u003e, an abridged version of Wilde's tormented prison letter to Lord Alfred Douglas. In 1908 Ross published, in fourteen volumes, \u003ci\u003eThe Collected Works of Oscar Wilde\u003c\/i\u003e’ (\u003ci\u003eODNB\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003eThis set is without the seldom-found fifteenth volume, \u003ci\u003eFor the Love of the King\u003c\/i\u003e, published in 1922 as a supplementary volume to the 1908 \u003ci\u003eWorks\u003c\/i\u003e. Mabel Cosgrove Wodehouse-Pearse, Princess Chan-Toon, had approached Methuen with letters purportedly by Wilde formerly in the possession of Robert Ross, as well as the manuscript of the ‘long-lost’ play by Wilde; Wilde’s bibliographer, Christopher Sclater Millard – better known by his pseudonym, Stuart Mason – sued Methuen for libel on the grounds that they had knowingly offered for sale as genuine a book which they knew to be a forgery. Wodehouse-Pearse was unable to attend the trial as she was then in prison for defrauding an elderly woman, following a stint in a Mexican prison for blackmail.\u003c\/p\u003e\n\u003cp\u003eMason, pp. 459–85.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2116276\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":41660677226519,"sku":"2116276","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2116276.jpg?v=1782396317"},{"product_id":"chimot-edouard-artist-verlaine-paul-parallelement-vingt-trois-eaux-fortes-originales-de-edouard-chimot","title":"VERLAINE, Paul; Édouard CHIMOT ( illustrator ). Parallèlement. Vingt-trois eaux-fortes originales de Édouard Chimot.","description":"\u003ch3 style=\"font-variant: small-caps;\"\u003eCensored Sapphic Poetry with Illustrations of Montmartre Models\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eVERLAINE, Paul; Édouard CHIMOT (\u003ci\u003eillustrator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Parallèlement. Vingt-trois eaux-fortes originales de Édouard Chimot. [\u003ci\u003eArgenteuil, R. Coulouma and Paris, Cerbellaud \u0026amp; Jonnart for the artist and Devambez.\u003c\/i\u003e 25 May 1931].\u003c\/p\u003e\n\u003cp\u003eLarge 4to (c. 330 x 250 mm). Loose in sheets, uncut, in the original printed wrappers and glassine jacket, housed in a contemporary morocco-backed chemise with marbled sides, gilt red morocco lettering-piece to spine, in a matching marbled slipcase; pp. [vi (blank)], [2 (half-title, limitation)], [2 (blank)], [4], 147, [2 (contents, colophon)], [1 (blank)]; text printed in red and black; lower portion of spine (c. 70 mm) reinforced (affecting one word of text); small marginal blue ink spots to a few ff.; 23 full-page etchings with aquatint (some colour-printed or tinted) in the text in three states, one interleaved and the other two contained in a separate folder; as well as copper plate with proofs of the plate in nine states (signed and with manuscript notes by the artist) with a further two pencil drawings and one engraving of the same; a very good copy. a few manuscript notes in Chimot’s hand to folder of dossier.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition thus, privately printed, number XVI of 23 copies on \u003ci\u003ejapon ancien\u003c\/i\u003e reserved for the artist and his friends, of this very rare collection of poetry by Verlaine with illustrations by Chimot; this copy has Chimot’s aquatint etchings in the first state, in the second state with \u003ci\u003eremarques\u003c\/i\u003e printed both in black and in sanguine, and an original copper plate.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eParallèlement\u003c\/i\u003e, Verlaine’s seventh collection of verse, was first published in 1889 and appeared in an expanded edition in 1894. The collection features ‘Laeti et errabundi’, his poem about Arthur Rimbaud, their travels, and the experience of ‘two men living together, far more than model spouses’, in a relationship based on deep mutual feeling; Verlaine had written the poem in 1887 after hearing a rumour that Rimbaud had died in Abyssinia. Also of note is Verlaine’s collection of erotic sonnets on lesbianism, \u003ci\u003eLes Amie\u003c\/i\u003e, first published separately and pseudonymously in late 1867 but condemned for destruction by authorities in Lille, and subsequently reissued in the first edition of \u003ci\u003eParallèlement\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis set not only comprises the additional versions of the illustrations, but also, in the \u003ci\u003edossier complet d'une planche\u003c\/i\u003e, all stages of the plate to \u003ci\u003ePrologue d'un livre\u003c\/i\u003e, including the copper plate, a first charcoal and bistre study, the pencil drawing for the etching (signed by the artist), an early proof of the etching combined with the text, comprising altogether, apart from the copperplate and the print in the book, fourteen different stages of this particular plate.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe French artist, book illustrator, etcher, and editor Édouard Chimot (1880–1959) rented a studio in Montmartre, haunted by ‘jeunes et jolies femmes’, his models, many of them sex workers or queer women he encountered at bars. His career briefly was interrupted by the First World War, and he subsequently rented Renoir’s old atelier; during the Roaring Twenties he developed numerous connections to artistic and literary circles, including the Surrealists, and had a brief stint as a film-maker in 1924. He described in \u003ci\u003eL'Ami du Lettré\u003c\/i\u003e that women werer his favourite – and his only – subjects. ‘I sought out models with elegant and slender bodies with a modern, somewhat androgynous look. I make several drawings in keeping with the mood of the text, then I choose from among them. The engraving becomes a free translation of my drawing’ (\u003ci\u003etrans.\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003eFrom 1923 to 1931, as artistic director of Les Éditions d’Art Devambez, he oversaw the production of many outstanding illustrated private press books but reserved some texts for his own art as etcher and printmaker, among them this collection of erotic poetry by the Symbolist \u003ci\u003epoète maudit\u003c\/i\u003e Verlaine. \u003ci\u003eParallèlement\u003c\/i\u003e is Chimot’s last French limited edition artistic book production; the Wall Street Crash of 1929 had eliminated the economic basis for such productions for a long time. He later settled in Spain and continued illustrating books.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds only two copies, at the Bibliothèque nationale de France and the Menil Collection in Texas; not on Library Hub.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2086194\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":40487544717335,"sku":"2086194","price":3500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2086194c.jpg?v=1782396315"},{"product_id":"isherwood-christopher-all-the-conspirators","title":"ISHERWOOD, Christopher. All the Conspirators.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eIsherwood Battles Chaotic Accordion Folder\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eISHERWOOD, Christopher.\u003c\/strong\u003e All the Conspirators. [\u003ci\u003eGuernsey: the Star and Gazette Company for\u003c\/i\u003e] \u003ci\u003eLondon: Jonathan Cape\u003c\/i\u003e. 1928.\u003c\/p\u003e\n\u003cp\u003e8vo. In an attractive modern binding of olive green morocco by the Brockman Bindery, Oxford, green endpapers, spine lettered directly in gilt, top-edge gilt, original endpapers bound in; pp. 255, [1 (blank)], first leaf blank; spine lightly sunned; some very occasional light foxing; a very good copy; presentation inscription to original front free endpaper ‘To the Governor | from his affectionate ex-secretary, | the author - | to remind him of happy days with the | mud-coloured file’, dated May 1928 (\u003ci\u003esee below\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of Isherwood’s first novel, presented to ‘The Governor’, André Mangeot (1883–1970), the French violinist who gave Isherwood his first job as secretary to his string quartet; Isherwood lived at Mangeot’s mews house in Chelsea whilst writing this work.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIsherwood began work on \u003ci\u003eAll the Conspirators\u003c\/i\u003e, portraying generational struggle and the slow deterioration of middle-class English life in the wake of the First World War, at the age of twenty-one. In his autobiographical novel, \u003ci\u003eDown There on a Visit\u003c\/i\u003e, he describes the reception of the novel as a ‘flop’, perhaps accounting for its relative scarcity in the Isherwood canon.\u003c\/p\u003e\n\u003cp\u003eThis copy is inscribed to ‘the Governor’, Isherwood’s affectionate nickname for Mangeot, ‘from his affectionate ex-secretary, the author - to remind him of happy days with the mud-coloured file’. Whilst in the violionist’s employ, Isherwood wrote \u003ci\u003eAll the Conspirators\u003c\/i\u003e at Mangeot’s home, Cresswell Place in Chelsea, later depicting it ‘with almost photographic accuracy in \u003ci\u003eThe Memorial\u003c\/i\u003e, where it became the London home of Mary Scriven, a character closely based on Olive Mangeot’, André’s wife. As Mangeot’s secretary, Isherwood handled correspondence, checked tickets on the door at the quartet’s concerts, and drove the players to and from events.\u003c\/p\u003e\n\u003cp\u003eThe ‘happy days with the mud-coloured file’ mentioned in the inscription are described in Isherwood’s \u003ci\u003eLions and Shadows\u003c\/i\u003e, in which Mangeot is given the pseudonym ‘Cheuret’: Isherwood describes mountains of  Cheuret’s unanswered correspondence spilling out like avalanches from cupboards or stuffed into suitcases under the bed. The ‘mud-coloured file’ was a concertina-style folder for filing these letters (and copies of answers thereto), which gave Isherwood ‘more trouble than any other inanimate object I have ever encountered, before or since. How often, on arrival, I would be greeted […] with the news: “The Mud-Coloured File’s lost again! Have you seen it? The Governor’s been hunting for hours!’ And then, at last, it would be discovered, lying innocently unnoticed on a chair, toning perfectly with dull grey shadows of a late autumn morning and, from the distance of a few yards, nearly invisible. Not only could the mud-coloured file uncannily disappear: its roomy pockets seemed to swallow letters like a conjurer’s vanishing-box. Cheuret’s conception of filing differed radically from my own: if he put a paper away under the letter P, then I was sure to hunt for it in M, N, O, Q, and R - and vice versa’ (p. 106).\u003c\/p\u003e\n\u003cp\u003ePresentation copies of this early work are rare; even amongst the few known copies made out to colleagues, friends and associates, this is a particularly early example, dated May 1928.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee Parker, Isherwood: A Life (2005).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2116819\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":54993686364537,"sku":"2116819","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2116819.jpg?v=1782486191"},{"product_id":"symonds-john-addington-verses","title":"SYMONDS, John Addington. Verses. [ Drop-head title :] Verses by John Addington Symonds, M.D., F.R.S.Ed., \u0026c., \u0026c.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eInscribed by Symonds\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eSYMONDS, John Addington.\u003c\/strong\u003e Verses. [\u003ci\u003eDrop-head title\u003ci\u003e:] Verses by John Addington Symonds, M.D., F.R.S.Ed., \u0026amp;c., \u0026amp;c. [\u003ci\u003eBristol: Arrowsmith\u003c\/i\u003e] \u003ci\u003e‘Printed for private circulation only’\u003c\/i\u003e. 1871.\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e8vo. Original blue pebble-grained cloth, filleted in blind, upper board lettered in gilt, yellow endpapers; pp. viii, 100, [4 (blank)]; joints lightly rubbed; uniform light browning, occasional light spotting (heavier to first and final leaves); a good copy; front free endpaper inscribed ‘From the Editor’ in ink.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of the poems of John Addington Symonds, MD (1807–1871), edited and posthumously published for private circulation by his son, the ‘Uranian’ poet John Addington Symonds (1840–1893), co-author (with Havelock Ellis) of \u003ci\u003eSexual Inversion\u003c\/i\u003e, and the first English-language writer to use the word ‘homosexual’ in print.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSymonds primus, as he was known, had been a successful medical practitioner. ‘Averse to hobbies or non-academic diversions to the extent of denying his son music lessons, Symonds was a leader of the Literary and Philosophical Society of Bristol. He bought the elegant Clifton Hill House in 1851. His reputation attracted prominent people to Bristol and Clifton. A man able to discuss Greek prosody with Gladstone and Tennyson, he frequently entertained Benjamin Jowett, Robert Louis Stevenson, Leslie Stephen, Holman Hunt, Professor James Forbes, Edmund Gosse, and Edward Lear among many friends’ (\u003ci\u003eODNB\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003eSymonds secundus was educated at Harrow, where he was ‘was disturbed by the boys' sexual rough-housing. The headmaster Charles Vaughan's affair with one of the boys appalled Symonds because of Vaughan's hypocrisy and because it threatened the idealization of homosexual love that Symonds was formulating with the help of Plato's \u003ci\u003eSymposium\u003c\/i\u003e and \u003ci\u003ePhaedrus\u003c\/i\u003e. Symonds dated the birth of his real self from spring 1858, when he fell in love with Willie Dyer, a chorister at Bristol Cathedral. He confessed his romantic affection to his father, who persuaded him gradually to end the affair. In 1859 Symonds revealed the story about Vaughan to a friend during an argument about 'Arcadian love', and was persuaded to tell his father, who forced Vaughan to resign his headmastership and hindered his subsequent career’ (\u003ci\u003eibid.\u003c\/i\u003e). He subsequently studied at Balliol College, Oxford and became a fellow at Magdalen College; after ‘unsuccessful attempts to repress his forbidden desire for another cathedral chorister, Alfred Brooke’, he suffered a nervous break as well as an eye infection, and was urged to marry a woman as a ‘cure’.\u003c\/p\u003e\n\u003cp\u003eThe preface to the present work was written at Dr Symonds's Clifton Hill House in Bristol; Symonds moved there with his wife (with whom he had an open marriage) and four children seven months after his father’s death in February. Symonds primus, prior to his death, had chosen the paper, the type, and even the binding, and the publication of the present work is a fulfillment of his last wishes and the execution of a ‘scheme which had been planned and partly carried out by him’ (p. 5). In spite of the complexity of their relationship, Symonds secundus remarked after the physician's death that 'I have not only lost a father, but a best friend' (Brown, \u003ci\u003eJohn Addington Symonds: a Biography\u003c\/i\u003e (1903), p. 280).\u003c\/p\u003e\n\u003cp\u003eIt is during his period at Clifton that he produced his earliest books, \u003ci\u003eAn Introduction to the Study of Dante\u003c\/i\u003e (1872) and \u003ci\u003eStudies of the Greek Poets\u003c\/i\u003e (1873), and later \u003ci\u003eSketches in Italy and Greece\u003c\/i\u003e (1874), \u003ci\u003eRenaissance in Italy: the Age of the Despots\u003c\/i\u003e (1875), and \u003ci\u003eStudies of the Greek Poets, Second Series\u003c\/i\u003e (1876). ‘He withdrew his nomination for the professorship of poetry at Oxford in 1876 when he was violently attacked for defending paiderastia‎ in the last chapter of \u003ci\u003eStudies of the Greek Poets’\u003c\/i\u003e (\u003ci\u003eODNB\u003c\/i\u003e). It was also at this time that he wrote his \u003ci\u003eA Problem in Greek Ethics\u003c\/i\u003e (1873), although it would not be printed until 1883, in an edition of ten copies. ‘The first history of homosexuality in English’, the work ‘carefully argues that if homosexual relationships were honourable in ancient Greece, they cannot be diagnosed as morbid in modern times’ (\u003ci\u003eibid\u003c\/i\u003e.).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2119731\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":53477350998393,"sku":"2119731","price":300.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/products\/2119731.jpg?v=1782379144"},{"product_id":"leduc-violette-la-batarde","title":"LEDUC, Violette; Simone de BEAUVOIR ( preface ). La Bâtarde.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘France's Greatest Unknown Writer’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLEDUC, Violette; Simone de BEAUVOIR (\u003ci\u003epreface\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e La Bâtarde. \u003ci\u003eParis: Gallimard\u003c\/i\u003e. 1964.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s wrappers printed in red and black; pp. 462, [2], first leaf blank; very minimal toning to spine and a few marks to upper wrapper; otherwise near-fine; authorial inscription to half-title ‘à Anne Germain, avec ma sympa très attentive après un bon après-midi … Violette Leduc’ (\u003ci\u003esee below\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of Leduc’s (1907–1972) memoir, one of the boldest explorations of sex, queer desire, and the female experience in twentieth-century French literature, this copy intimately inscribed to the singer Anne Germain, affectionately thanking her for a pleasant afternoon.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e‘A woman is descending into the most secret part of herself’, writes Simone de Beauvoir in her illuminating preface, ‘and telling us about all she finds there with an unflinching sincerity, as though there were no one listening’ (\u003ci\u003etrans.\u003c\/i\u003e). Leduc was de Beauvoir’s \u003ci\u003eprotégée\u003c\/i\u003e, and they had met in 1945; through De Beauvoir’s efforts, Gallimard published Leduc’s first novel, \u003ci\u003eL’Asphyxie.\u003c\/i\u003e In the same year, De Beauvoir sent a letter to Leduc rejecting her sexual advances, describing it as ‘strange to find out that you are so precious to someone […] there is a mirage effect there which will certainly dissipate quickly’ (\u003ci\u003etrans.\u003c\/i\u003e). De Beauvoir frequently cited Leduc in her analysis of lesbianism contained within \u003ci\u003eThe Second Sex\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eLeduc sought not provocation but precision: of the lesbian passages suppressed from her earlier novel \u003ci\u003eRavages\u003c\/i\u003e, she explained that she was ‘trying to render as accurately as possible, as minutely as possible, the sensations felt in physical love […] not aiming for scandal but only to describe the woman’s experience with precision’ (\u003ci\u003etrans.\u003c\/i\u003e). After the success of \u003ci\u003eLa Bâtarde\u003c\/i\u003e, Leduc planned to have a rival edition of the suppressed passages of \u003ci\u003eRavages\u003c\/i\u003e published, at Genet’s suggestion, by Jean-Jacques Pauvert, publisher of the \u003ci\u003eStory of O\u003c\/i\u003e; Gaston Gallimard forced Leduc to cancel her contract with Pauvert and hastily brought out the work as \u003ci\u003eThérèse and Isabelle\u003c\/i\u003e, albeit in a censored edition.\u003c\/p\u003e\n\u003cp\u003eAn immediate bestseller, \u003ci\u003eLa Bâtarde\u003c\/i\u003e sold 170,000 copies within only a few months of publication and narrowly missed the Prix Goncourt.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance\u003c\/i\u003e: the Anne Germain to whom this copy was presented ‘après un bon après-midi’ is likely the French singer (1935–2016) of the same name, known for dubbing the singing voice of Catherine Deneuve in \u003ci\u003eLes Demoiselles de Rochefort\u003c\/i\u003e and \u003ci\u003ePeau d'Âne\u003c\/i\u003e. After studying under soprano Ninon Vallin, she became a member of the original lineup of the vocal jazz group The Swingle Singers in the early 1960s, and later worked as a backing vocalist for the likes of Charles Aznavour, Françoise Hardy, and Sylvie Vartan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2121007\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":55673354420601,"sku":"2121007","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2121007_0fb359c1-1e2e-49d4-b8c9-7611fe4eb628.jpg?v=1782486316"},{"product_id":"lagerlof-selma-author-nils-holgerssons-underbara-resa-genom-sverige-forsta-bandet-and-andra-bandet-the-wonderf","title":"LAGERLÖF, Selma. Nils Holgerssons underbara Resa genom Sverige … första [–andra Banddet].","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eTravelling Through Sweden by Goose – By the First Woman Awarded the Nobel Prize for Literature\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLAGERLÖF, Selma.\u003c\/strong\u003e Nils Holgerssons underbara Resa genom Sverige … första [–andra Banddet]. \u003ci\u003eStockholm: Albert Bonniers Forlag.\u003c\/i\u003e 1906-1907.\u003c\/p\u003e\n\u003cp\u003eTwo volumes, 8vo. Publisher’s pictorial green wrappers, both vols priced to spine (\u003ci\u003eHaft 3:50; Inb. 5\u003c\/i\u003e and \u003ci\u003eHaft 3:50; Inb. 7\u003c\/i\u003e) with publisher’s device, partly uncut; I: pp. [iv], 237; II: pp. [iv], 486, [2]; with numerous halftone photographic plates; wrappers slightly rubbed, a few small chips to extremities, spines chipped at head and foot (30 mm loss to foot of vol. I), vertical creasing to spines; internally very good; a handsome set, rare in the original wrappers and remarkably so in this condition, known in only a handful of copies.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, extremely rare in the publisher’s printed wrappers, of \u003ci\u003eNils Holgerssons underbara Resa genom Sverige\u003c\/i\u003e (\u003ci\u003eThe Wonderful Adventures of Nils\u003c\/i\u003e), the beloved children’s book by the queer, disabled writer, educator, and suffragist Selma Lagerlöf (1858–1940), the first female Nobel laureate for literature.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLagerlöf, an advocate of Swedish spelling reform, first conceived \u003ci\u003eNils Holgerssons underbara Resa\u003c\/i\u003e in response to a 1902 request for a new geography primer for schools by the Swedish National Teachers’ Association. It was one of the earliest works to adopt the new spelling system introduced with the 1906 royal order standardising orthography used in primary schools and the lower three levels of secondary schools. The eponymous Nils, shrunk to the size of a thumb by a vengeful elf, relates travels through Sweden on the back of a goose, with historical and geographical facts about the country’s various provinces embedded throughout.\u003c\/p\u003e\n\u003cp\u003eHer work, formatted for use in schools, was simultaneously issued in wrappers (as here) and in pictorial cloth; \u003cstrong\u003ethe fragility of the version in wrappers makes it extremely rare in commerce; the few copies we have traced have had one or both wrappers bound into a later binding. All subsequent printings appeared solely in cloth.\u003c\/strong\u003e The success of \u003ci\u003eNils Holgerssons underbara Resa\u003c\/i\u003e was instrumental in the decision to award Lagerlöf the Nobel Prize 10 December 1909, making her the first woman – and the first Swede – to win a Nobel Prize for Literature. In 1991 she became the first woman to be depicted on a Swedish banknote, the twenty-\u003ci\u003eKronor\u003c\/i\u003e note (replaced by Astrid Lindgren in 2016), an example of which is loosely inserted.\u003c\/p\u003e\n\u003cp\u003eLagerlöf was affected by lifelong hip dysplasia and at the age of three fell ill, causing paralysis of her legs; although she regained the ability to walk, she encountered difficulties with mobility and walked with a limp for the rest of her life, deliberately slowing her pace to make her limp less obvious. ‘It is this disability that has forced me to sit still, to look within myself, and that is the reason I became a writer. If I had been healthy like everybody else, I should probably have become the wife of some factory manager (“bruksförvaltare”)’ (\u003ci\u003etrans.\u003c\/i\u003e De Vrieze, p. 36). She stipulated that her love letters to women should not be published until fifty years after her death; she exchanged over three thousand letters with her longtime partner, the Swedish-Jewish writer Sophie Elkan, published in 1993 as \u003ci\u003eDu lär mig att bli fri\u003c\/i\u003e (\u003ci\u003eYou Teach Me to Be Free\u003c\/i\u003e); they travelled together to Italy, France, Belgium, the Netherlands, Egypt, and Palestine. Elkan was the dedicatee of Lagerlöf’s \u003ci\u003eJerusalem\u003c\/i\u003e, in which she is described as the author’s ‘companion in life and letters’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNot in Cotsen (cf. 6143–44) or Josephson (calling for the 1919 edition only, cf. p. 21). See De Vrieze, Fact and Fiction in the Autobiographical Works of Selma Lagerlöf (1958); ‘Selma Lagerlöf’, in Nobel Lectures (1969)\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2110259\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":54812229992825,"sku":"2110259","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2110259_abd7cdbb-8a54-431c-9351-254c4f4051d2.jpg?v=1776515590"},{"product_id":"monnier-adrienne-souvenirs-de-londres","title":"MONNIER, Adrienne. Souvenirs de Londres. Petite suite anglaise.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘It Was Because of Debussy That I Went to London’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eMONNIER, Adrienne.\u003c\/strong\u003e Souvenirs de Londres. Petite suite anglaise. \u003ci\u003eParis: Mercure de France\u003c\/i\u003e. [8 July] 1957.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher's wrappers printed in red and black, pp. 105, [4], [3 (blank)], first leaf blank; uncut and largely unopened; spine lightly toned; a few leaves opened roughly resulting in short closed tear to first blank, uniform light browning; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of influential bookseller, writer, and publisher Adrienne Monnier’s (1892–1955) reflections on her past trips to London, including a lengthy account of her meeting with T.S. Eliot.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the first women in France to found her own bookstore, La Maison des Ami des Livres, she was also the lover of Sylvia Beach, owner of Shakespeare and Company and responsible for the publication of Joyce’s \u003ci\u003eUlysses\u003c\/i\u003e in 1922. \u003ci\u003eSouvenirs de Londres\u003c\/i\u003e details Monnier's experiences in England and includes an eight-page account of Monnier's meeting with T.S. Eliot, whose poetry she published in her French language review, \u003ci\u003eLe Navire d'Argent\u003c\/i\u003e (\u003ci\u003eThe Silver Ship\u003c\/i\u003e). A translation (prepared by both Monnier and Beach) of ‘The Love Song of J. Alfred Prufrock’ appeared in the review's first issue in May 1925. She also describes visits to the National Gallery and the Wallace Collection; her first trip to London, aged seventeen, spurred by her early fascination with the Pre-Raphaelites; stopping in front of the Savoy in memory of Oscar Wilde; the streets of London festooned for the coronation of Elizabeth II in 1953; and much else.\u003c\/p\u003e\n\u003cp\u003eThere follows Monnier’s  preface to Bryher’s 1948 edition of \u003ci\u003eBeowulf\u003c\/i\u003e (the work was dedicated to Beach and Monnier), as well as a letter from the Surrealist writer and ethnographer Michel Leiris praising \u003ci\u003eSouvenirs de Londres\u003c\/i\u003e and providing additional insights into the mythology and iconography of the figure of Aurora in relation to his 1946 surreal novel of the same name.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2121231\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":55673354518905,"sku":"2121231","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2121231_d8b314b4-1475-4f7d-92ad-04fed507ab11.jpg?v=1782485831"},{"product_id":"hd-the-hedgehog","title":"H.D. The Hedgehog.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eH.D.'S Only Work for Children\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eH.D.\u003c\/strong\u003e The Hedgehog. \u003ci\u003eLondon\u003c\/i\u003e: [\u003ci\u003eCurwen Press for\u003c\/i\u003e] \u003ci\u003eThe Brendin Publishing Company\u003c\/i\u003e. 1936 [(Colophon:) 1925].\u003c\/p\u003e\n\u003cp\u003e4to. Original green printed boards, title to upper board within filleted border, in matching green dust-jacket; pp. [vi], 77, [3], woodcut headpieces and title vignettes by George Plank; some dampstaining to spine of boards (resulting in spotting to interior of jacket) and some darkening and spotting to spine and fore-edges of both jacket and boards; some spotting to top-edge of text block and to endpapers and first few ff., mild creasing to upper corner; otherwise internally very good.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, one of 300 copies, of American Imagist poet H.D.’s only book for children, published by the Curwen Press for the Brendin Publishing Company, founded by H.D.’s partner, the Modernist novelist Bryher.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe work was first conceived in 1924 as a pacifist treatise by H.D. (Hilda Doolittle, 1886–1961), one of the most prolific women poets of the Modernist era. Richard Aldington, to whom H.D. was married from 1913 to 1938 (although they had separated in the early 1920s) served in the First World War, when H.D. took over his role as assistant editor of the \u003ci\u003eEgoist\u003c\/i\u003e.  In 1916, she went onto publish her first poetry collection, \u003ci\u003eSea Garden\u003c\/i\u003e. Her brother was killed in action in 1918. In the same year, she began what would become a forty-year relationship with the iconic novelist Bryher (born Annie Winifred Ellerman, 1894–1983), who used her financial status to promote the careers of the likes of William Carlos Williams as well as Sylvia Beach's bookshop Shakespeare and Company.\u003c\/p\u003e\n\u003cp\u003eIn the early 1930s, Bryher and novelist and filmmaker Kenneth Macpherson (then Bryher’s husband and co-founder, with Bryher and H.D., of the POOL Group) built Villa Kenwin in La Tour-de-Peliz, Switzerland, where H.D. wrote \u003ci\u003eThe Hedgehog\u003c\/i\u003e. During the Second World War, Bryher used the funds from her inheritance and the safe position of Villa Kenwin to provide crucial passage to the philosopher Walter Benjamin and more than one hundred Jewish refugees escaping the Nazi regime.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Hedgehog\u003c\/i\u003e details the story of Madge, a fatherless child living with her mother in Switzerland - protected from the reality of the Second World War as it draws near but not safe from the turbulence and volatility of growing up. From her anxieties surrounding the knowledge of mysterious \u003ci\u003eherissons\u003c\/i\u003e (hedgehogs), her woes soon expand into more adult concerns as she discovers what it means to exist on the precipice of the adult life. In her preface to the 1988 edition of \u003ci\u003eThe Hedgehog\u003c\/i\u003e, H.D.’s daughter, Perdita Macpherson Schaffner, recalls hearing about the book at the age of fourteen: H.D. ‘revealed - casually, over the teacups - that she had a manuscript, a story, well not exactly a story, too long, not exactly a novel, too short. A little book for children set in Switzerland, no not really for children, but about a child, about me, well sort of’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eBoughn A17a.i.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2121163\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":54999494295929,"sku":"2121163","price":500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2121163_eb667a1d-f7ac-4c27-bdd4-f821156bcb4d.jpg?v=1782486024"},{"product_id":"woolf-virginia-commerce","title":"[WOOLF, Virginia, Charles MAURON ( translator ), et al .] Commerce. Cahiers trimestriels … hiver 1926.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eA Pre-Publication Fragment of \u003ci\u003eTo the Lighthouse\u003ci\u003e\u003c\/i\u003e\u003c\/i\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e[WOOLF, Virginia, Charles MAURON (\u003ci\u003etranslator\u003ci\u003e), \u003ci\u003eet al\u003ci\u003e.]\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Commerce. Cahiers trimestriels … hiver 1926. \u003ci\u003eParis: Librairie Henri Leclerc.\u003c\/i\u003e 1926.\u003c\/p\u003e\n\u003cp\u003e4to. Original brown printed wrappers, uncut; pp. 200, [2 (colophon, blank)]; creasing and minor chipping to spine; old repaired tear to head of front wrapper with small trace of adhesive, a few nicks to edges; very light creasing to a handful of leaves; a very good copy; bookplate of William Beekman to inner front cover.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, no. 1020 of 2,500 copies on Alfa paper from a total edition of 2,900, of the tenth issue of the Parisian literary review \u003ci\u003eCommerce\u003c\/i\u003e, containing the first published excerpt of Woolf’s \u003ci\u003eTo the Lighthouse\u003c\/i\u003e, predating its publication in book form by five months.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe extract is a French translation ('Le temps passe’) of ‘Time Passes’, the experimental middle portion of \u003ci\u003eTo the Lighthouse\u003c\/i\u003e, completed in draft form in English by the end of May 1926 (pp. 89–133 here). Woolf’s diary makes clear that it was a piece of writing that gave her more than usual trouble. Recording the passage of ten years between the two outer sections of the novel (set pre- and post-war), the central presence is the Ramsays' holiday house on the Isle of Skye (where the events of the outer sections takes place), now empty, with the objects inside the house as ‘minor characters’, all subjected to the passage and erosion effected by time.\u003c\/p\u003e\n\u003cp\u003eThe literary critic and aesthetician Charles Mauron, a close friend of Roger Fry, began translating works by Virginia Woolf and E.M. Forster in 1925, at Fry’s suggestion; Mauron had been suggested to Woolf as a translator of ‘Time Passes’ by Forster in October 1926, who, as Woolf writes in a letter to Mauron, ‘so much admires your translation of the \u003ci\u003ePassage to India\u003c\/i\u003e’. Fry, who had collaborated with Mauron on the translation of \u003ci\u003eA Passage to India\u003c\/i\u003e, was ‘forced to reconstruct’ his translations of Mallarmé’s poems with Mauron’s help after they were ‘lost in a stolen suitcase in June 1933 […] [Mauron] co-edited them with Julian Bell, for publication after Fry’s death’ (King’s College, Cambridge, Roger Eliot Fry). Mauron would later translate Woolf’s \u003ci\u003eOrlando\u003c\/i\u003e and \u003ci\u003eFlush\u003c\/i\u003e into French, as well as works by Katherine Mansfield, D.H. Lawrence, T.E. Lawrence, and Laurence Sterne.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCommerce\u003c\/i\u003e had been established in 1924 by Marguerite Caetani, Princess of Bassiano, in collaboration with Paul Valéry , Léon-Paul Fargue, and Valery Larbaud (and, initially, Adrienne Monnier), publishing twenty-nine issues between 1924 and 1932. The first issue had featured the first fragments of Joyce’s \u003ci\u003eUlysses\u003c\/i\u003e, translated into French and ‘overseen by Adrienne Monnier, who had to resign her position as administrator of the journal in August 1924, due to overwork. Monnier’s exhaustion was not due to Joyce’s demands on her time, but rather to Léon-Paul Fargue’s strange working habits. He claimed he could contribute poems to the review only by dictating them at night, after Adrienne had spent a long and fatiguing day in the bookshop’ (Benstock, \u003ci\u003eWomen of the Left Bank\u003c\/i\u003e (1986), p. 226).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e‘It is noteworthy that Woolf’s middle section of \u003ci\u003eTo the Lighthouse\u003c\/i\u003e was issued in a French translation before the original, published in 1927 in Great Britain - partly because \u003ci\u003eCommerce\u003c\/i\u003e only accepted unpublished literary texts, and partly because of Woolf’s connections:\u003c\/strong\u003e not only had T.S. Eliot, the editor of the \u003ci\u003eCriterion\u003c\/i\u003e to which Woolf regularly contributed, shared interests with \u003ci\u003eCommerce\u003c\/i\u003e, but \u003ci\u003eValery Larbaud,\u003c\/i\u003e who had discovered James Joyce, played a major role in the diffusion of anglophone literature, including the work of Virginia Woolf’ (Rigeade, p. 190).\u003c\/p\u003e\n\u003cp\u003eHere, ‘Time Passes’ appears as a free-standing text, more overtly experimental than the modified version that would appear as part of the complete novel in 1927. The French translation is without any allusion to the rest of \u003ci\u003eTo the Lighthouse:\u003c\/i\u003e mentions of the Ramsays have been omitted, as has the first portion of the text, describing William Bankes’s return from the terrace and the lamps in the Ramsay house being extinguished one by one.\u003c\/p\u003e\n\u003cp\u003eIn his useful introduction to a reprint of Mauron’s translation, together with a recently discovered intermediate English typescript, James M. Haule proposes that ‘Woolf saw periodical publication as a way to present a version of the entire section in a form that conveyed her original intention: a separate but important statement of belief and unbelief. It had not become the “corridor” between the two large sections of the novel that she sketched in her notebooks. It had become something more. By publishing this section with the help of Roger Fry and by publishing it in translation, she not only saw it into print, but also accomplished something else. She put it in the hands of a critic she admired and, owing to her severe misgivings about this section, reduced her risk of unfavourable impact from what she feared was a “hopeless mess” by publishing it in a language other than English’.\u003c\/p\u003e\n\u003cp\u003eOne hundred copies of this issue of \u003ci\u003eCommerce\u003c\/i\u003e were printed on Hollande Van Gelder paper and three hundred on Pur fil Lafuma. Other contributions include Valéry’s ‘Oraison funèbre d’un fable’, Fargue’s ‘Second recit du naufrageur’, and a translation of Nietzsche’s \u003ci\u003eGreek Music Drama\u003c\/i\u003e by Jean Paulhan, director of the Nouvelle Revue Française.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance\u003c\/i\u003e: From the library of William Beekman, noted collector of Woolf’s works. The William Beekman Collection of Virginia Woolf and Her Circle is now held at the New York Public Library, featuring numerous books originally owned or gifted by Virginia Woolf and Leonard Woolf.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eKirkpatrick D44. See Haule, ‘Virginia Woolf and Charles Mauron’, in Twentieth Century Literature, 29.3 (Autumn 1983); Hutcheon, Formalism and the Freudian Aesthetic: the Example of Charles Mauron (2010), appendix B; Rigeade, ‘To the Lighthouse: Recycling, Remixing, Iconising’, in Recycling Virginia Woolf in Contemporary Art and Literature (2021).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2121905\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":55677817028985,"sku":"2121905","price":475.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2121905.jpg?v=1751554819"},{"product_id":"crisp-quentin-colour-in-display","title":"CRISP, Quentin. Colour in Display.","description":"\u003cp\u003e\u003cstrong\u003eCRISP, Quentin.\u003c\/strong\u003e Colour in Display. \u003ci\u003eLondon: Blandford Press.\u003c\/i\u003e 1938.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s green cloth, upper board and spine lettered in black, in the publisher’s price-clipped black and red-orange jacket printed in white and black; pp. 131, [1 (blank)], 4 colour plates and numerous black-and-white diagrams in the text, folding colour chart at end; a few nicks to jacket; some spotting to edges of textblock; a very good copy; occasional pencil marking or underlining, bookplate of Cecil. C. W. Landale to front pastedown, loosely inserted advertisement for J. Barcham Green’s ‘Pasteless Hand Made Boards’.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of the first book authored solely by queer icon Quentin Crisp, a ‘lucidly explained’ treatise on the use of pictorial art in backgrounds and colour gradation in displaying goods.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCrisp (born Denis Charles Pratt, 1908–1999) had co-authored in 1936, with Albert Frederick Stuart, \u003ci\u003eLettering for Brush and Pen,\u003c\/i\u003e a calligraphic manual for advertisers. In the present work, Crisp, then working as a freelance designer for advertising and publicity companies, argues that the mistake of the window designer is to confuse ‘commercial art’ and ‘fine art’ with the art of display. Crisp gives readers much practical and witty advice such as ‘the desire to display something of everything seems to have resulted in the display of nothing’.\u003c\/p\u003e\n\u003cp\u003eLater the subject of Sting’s \u003ci\u003eEnglishman in New York\u003c\/i\u003e and author of the pioneering 1968 memoir \u003ci\u003eThe Naked Civil Servant\u003c\/i\u003e, Crisp self-described as a ‘flamboyantly effeminate homosexual’, and in the posthumously published autobiography \u003ci\u003eThe Last Word\u003c\/i\u003e declared that ‘at the age of ninety, it has finally been explained to me that I am not really homosexual, I'm transgender. I now accept that’, expressing regret that gender-affirming surgery had not been more readily available in her youth.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2122795\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":55876560093561,"sku":"2122795","price":200.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2122795d.jpg?v=1758790737"},{"product_id":"rimbaud-arthur-a-season-in-hell","title":"RIMBAUD, Arthur; Robert MAPPLETHORPE ( photographer ); Paul SCHMIDT ( translator ). A Season in Hell.","description":"\u003cp\u003e\u003cstrong\u003eRIMBAUD, Arthur; Robert MAPPLETHORPE (\u003ci\u003ephotographer\u003ci\u003e); Paul SCHMIDT (\u003ci\u003etranslator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e A Season in Hell. \u003ci\u003e[New York:] Limited Editions Club.\u003c\/i\u003e 1986.\u003c\/p\u003e\n\u003cp\u003e4to. Original red morocco, lettered in black to front cover and spine, in plushlined black cloth slipcase; pp. [6], xii, 87, [7], printed in parallel French and English on facing pages, with 8 photogravure plates by Mapplethorpe, loosely inserted tissue guards; minimal scratching to slipcase; a near-fine copy; signed by Mapplethorpe and Schmidt in pencil to colophon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, limited to 1,000 copies, with photogravure illustrations by Robert Mapplethorpe, signed by the photographer and the translator, this copy unnumbered.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArthur Rimbaud’s incendiary, hallucinogenic and groundbreaking prose poem is here presented in the original French alongside Paul Schmidt’s English translation. In his introduction, Schmidt describes \u003ci\u003eA Season in Hell\u003c\/i\u003e as ‘a work of adolescent passion – not the passion of exuberance, but passion as suffering’, and retraces the desperate circumstances which produced this frenzy of artistic expression. It was originally self-published by Rimbaud in 1873 as \u003ci\u003eUne Saison en Enfer\u003c\/i\u003e. Published only three years before the photographer’s death, this edition is illustrated by Robert Mapplethorpe’s spectacular photogravures. Bringing together a selection of the photographer’s self-portraiture, still lifes, and experimental double exposures.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2122926\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":55604960919929,"sku":"2122926","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2122926c_96d00709-d372-4791-bc9a-db9395a8eed4.jpg?v=1781610382"},{"product_id":"mansfield-katherine-the-aloe-1","title":"MANSFIELD, Katherine. The Aloe.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eUncanny Aloe\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eMANSFIELD, Katherine.\u003c\/strong\u003e The Aloe. \u003ci\u003eLondon: Constable and Co\u003c\/i\u003e. 1930.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s brown buckram, spine and upper board lettered in gilt, in the original tan dust-jacket printed in dark brown, unclipped (priced 15\/- net to front flap), top-edge gilt, the others uncut; pp. vii, [1 (blank)], 162, [2 (colophon, blank); red woodcut initials; a short closed tear to foot of spine (repaired with adhesive to interior of spine), small loss to jacket at head of spine (with resultant light sunning to small portion of buckram) and short closed tear to rear cover; else a near-fine copy, uncut and unopened.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, one of 750 copies, of Mansfield’s ‘first great New Zealand story’ (Bennett), drawing on her childhood memories of her country house at Karori.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Aloe\u003c\/i\u003e, published seven years after Mansfield’s (\u003ci\u003enée\u003c\/i\u003e Beauchamp, 1888–1923) death, is the full version of the short story ‘The Prelude’, published in 1918 by the newly established Hogarth Press at the suggestion of Virginia Woolf. ‘There were tensions and jealousies between the two women, but Virginia Woolf entertained her and visited her, and in her diaries showed the value she placed on their meetings: 'to no one else can I talk in the same disembodied way about writing; without altering my thought more than I alter it in writing here' (\u003ci\u003eDiary of Virginia Woolf\u003c\/i\u003e, 45). Again, Woolf wrote that she got 'the queerest sense of an echo coming back to me from her mind the second after I've spoken' (ibid., 61)’ (\u003ci\u003eODNB\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Aloe\u003c\/i\u003e is based largely on the family’s 1893 move, when Mansfield was five years old, from Wellington to the country suburb of Karori; at the centre of the work stands the unsettling and uncanny ‘image of the aloe, one of the strange new plants that Kezia comes across as she wanders in the family’s new garden […] The aloe appears elsewhere in Mansfield’s work, but a comment from Walter Pater’s chapter on “The Poetry of Michelangelo” in \u003ci\u003eThe Renaissance\u003c\/i\u003e seems to suggest that the plant had a literary as well as a personal resonance for Mansfield: “A certain strangeness, something of the blossoming of the aloe”, remarks Pater, “is indeed an element in all true works of art: that they shall excite or surprise us is indispensable”’ (\u003ci\u003eibid.,\u003c\/i\u003e p. 57). The Beauchamps returned to Wellington in 1898, where Mansfield studied at Miss Swainson’s school; in 1903 she began studying at Queen’s College in London, the first girls’ school to be granted a Royal Charter and the first educational establishment in Britain to grant academic qualifications to women.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eKirkpatrick A11a. See Bennett, \u003c\/i\u003eKatherine Mansfield\u003ci\u003e (2004); Coad, ‘Lesbian Undertones in Katherine Mansfield’s Short Stories’, in Literature and Homosexuality (2021).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2123121\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":55777263681913,"sku":"2123121","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2123121c.jpg?v=1782396300"},{"product_id":"colette-ie-sidonie-gabrielle-colette-lentrave","title":"'COLETTE', pseud. 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Original cream wrappers printed in grey and red, uncut, preserved in a modern cloth slipcase; pp. [iv], 307, [1 (blank)]; book and inkwell device to upper wrapper and title; a few light stains to upper wrapper, short tear to head of upper joint neatly repaired, hinges reinforced; uniform light toning, light marginal dampstaining, mostly at the beginning, small hole (repaired) and traces of adhesive to inner margin of front free endpaper and half-title; overall a remarkably good copy; presentation inscription to half-title in ink: '\u003cstrong\u003eA Georges Abric en témoignage d’une grande sympathie, Colette de Jouvenel\u003c\/strong\u003e' (\u003ci\u003esee below\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition in book form, particularly rare in the original wrappers, inscribed by Colette to one of the witnesses at her second wedding.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOriginally serialised in \u003ci\u003eLa Vie Parisienne\u003c\/i\u003e, \u003ci\u003eL’Entrave\u003c\/i\u003e (The Shackle) is the sequel to \u003ci\u003eLa Vagabonde\u003c\/i\u003e (1910). Reflecting Colette’s own life, however, the tone of the two novels differs markedly: if \u003ci\u003eLa Vagabonde\u003c\/i\u003e celebrates independence and self-discovery, \u003ci\u003eL’Entrave\u003c\/i\u003e turns inward, exploring the ambivalence and quiet disillusion that come with love’s constraints.\u003c\/p\u003e\n\u003cp\u003eIn the intervening years, Colette (at the time of publication married to Henri Gauthier-Villars, better known by his pen name, Willy) had married the journalist and diplomat Henry de Jouvenel (1876–1935) and given birth to their daughter, Colette de Jouvenel (1913–1981). \u003cstrong\u003eShe recalled with characteristic humour, in \u003ci\u003eL’Étoile Vesper\u003c\/i\u003e, the double strain of childbearing and serial publication\u003c\/strong\u003e: 'The child and the novel were racing me, and \u003ci\u003eLa Vie Parisienne\u003c\/i\u003e, which was publishing my unfinished novel in instalments, was gaining ground. The child announced that it would arrive first, and I screwed the cap back onto my pen'. Colette and de Jouvenel divorced in 1924 after she became romantically involved with his son, their affair inspiring her the characters of Phil and Mme Dalleray in \u003ci\u003eLe Blé en herbe\u003c\/i\u003e (1923).\u003c\/p\u003e\n\u003cp\u003eIn later years, Colette was unsparing in her assessment of \u003ci\u003eL’Entrave\u003c\/i\u003e, criticising its 'narrow ending', 'diminished heroes', and 'blessing tone'.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance:\u003c\/i\u003e From the library of Georges Abric, editor-in-chief of \u003ci\u003eLe Matin\u003c\/i\u003e and a close friend of Henry de Jouvenel. Together with Léon Hamel and Jean Sapéne, Abric was one of the witnesses (\u003ci\u003etémoins\u003c\/i\u003e) at the wedding of Colette and Jouvenal on 19 December 1912.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee La Société des amis de Colette, online.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2123539\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":56010402759033,"sku":"2123539","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2123539b.jpg?v=1760713267"},{"product_id":"proust-marcel-a-la-recherche-du-temps-perdu","title":"PROUST, Marcel. Œuvres complètes.","description":"\u003cp\u003e\u003cstrong\u003ePROUST, Marcel.\u003c\/strong\u003e Œuvres complètes. \u003ci\u003eParis: NRF\u003c\/i\u003e. 1929–36.\u003c\/p\u003e\n\u003cp\u003eEighteen vols, 8vo. Contemporary half morocco with red and gilt marbled sides, spines tooled in black with two red morocco lettering-pieces, top-edges gilt, marbled endpapers, green silk place-markers, \u003cstrong\u003eoriginal wrappers bound in\u003c\/strong\u003e; minimal rubbing to extremities, spotting to edges of textblocks; variable light foxing (especially to first and final leaves), a few marks to upper edge of p. 137 of \u003ci\u003eÀ l’ombre … III\u003c\/i\u003e, small loss to upper inner corner of title of \u003ci\u003eLe Côté … I\u003c\/i\u003e; overall a very good set.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst collected edition of the works of Marcel Proust, the first to establish the canonical division of \u003ci\u003eÀ la recherche du temps perdu\u003c\/i\u003e, numbered and printed on Chiffon de Bruges.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by Gaston Gallimard’s Nouvelle Revue Française (NRF) in collaboration with Proust’s brother Robert, this edition, known as the \u003ci\u003eédition à la gerbe\u003c\/i\u003e, was the first attempt to gather the author’s works into a uniform collected set and to revise the text following the posthumous publication of \u003ci\u003eLe Temps retrouvé\u003c\/i\u003e, the final volume of \u003ci\u003eÀ la recherche du temps perdu\u003c\/i\u003e, in 1927. It also fixed the volume structure of the \u003ci\u003eRecherche\u003c\/i\u003e that has since become standard.\u003c\/p\u003e\n\u003cp\u003eMost significantly, the sections originally published as \u003ci\u003eSodome et Gomorrhe I\u003c\/i\u003e and \u003ci\u003eII\u003c\/i\u003e were reorganised into a single volume divided into two parts, while the former third section became simply \u003ci\u003eLa Prisonnière\u003c\/i\u003e. According to the publisher, this arrangement reflected a division that Proust himself had intended for the first edition of the work. The resulting structure became the model adopted by all subsequent editions and reprints of the \u003ci\u003eRecherche\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eThe first fifteen volumes are devoted to \u003ci\u003eÀ la recherche du temps perdu\u003c\/i\u003e, followed by \u003ci\u003ePastiches et mélanges\u003c\/i\u003e, \u003ci\u003eLes Plaisirs et les Jours\u003c\/i\u003e (with a preface by Anatole France), and \u003ci\u003eChroniques\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eMauriac Dyer, Le cycle de Sodome et Gomorrhe: remarques sur la tomaison d’À la recherche du temps perdu (1992).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124258\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":56784282419577,"sku":"2124258","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124258.jpg?v=1782396292"},{"product_id":"bishop-elizabeth-the-complete-poems","title":"BISHOP, Elizabeth. The Complete Poems","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘The Mysteries of Falling Asleep and the Oddness of Waking Up in the Morning’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBISHOP, Elizabeth.\u003c\/strong\u003e The Complete Poems \u003ci\u003eLondon: Chatto and Windus\u003c\/i\u003e. 1969.\u003c\/p\u003e\n\u003cp\u003e8vo. Original blue cloth lettered in gilt to the spine, in the dust-jacket designed by Roxanne Cum-ming, priced £2.25 \/ 45s net to front flap; printed on laid paper; pp. [vii], 216; light rubbing to spine tips and corners, faint spotting to fore-edge of page-block, wrapper lightly rubbed to extremities, else a near fine copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA smart first UK edition of one of the indispensable poetry books of the twentieth century.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eContaining three of the four perfectly formed collections published by Elizabeth Bishop during her lifetime, \u003ci\u003eNorth and South\u003c\/i\u003e (1946), \u003ci\u003eA Cold Spring\u003c\/i\u003e (1955), and \u003ci\u003eQuestions of Travel\u003c\/i\u003e (1965) (\u003ci\u003eGeography III\u003c\/i\u003e followed in 1976, three years before she died), this, the first Collected Bishop, was greeted with re-markable critical acclaim, winning the National Book Award for Poetry in 1970.\u003c\/p\u003e\n\u003cp\u003eReviewing the book in the \u003ci\u003eNew York Times\u003c\/i\u003e (1 June 1969), John Ashbery observed that although the volume ‘runs to a little more than 200 pages, […] the proportion of pure poetry in it outweighs many a chunky collected volume from our established poets’.\u003cbr\u003eHe singles out Bishop’s attention to ‘the life of dreams, always regarded with suspicion as too “French” in American poetry; the little mysteries of falling asleep and the oddness of waking up in the morning’, her ‘diversions and reflections on French clocks and mechanical toys that recall Marianne Moore’.\u003c\/p\u003e\n\u003cp\u003eThe US edition was published April 29, 1969 in an edition of 5500 copies, swiftly going through a number of reprints. This first UK edition (offset from the third impression of the US edition, with a near-identical jacket) appeared on October 29, 1970, in a more modest edition of 1000 copies.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eMacMahon A9. (b1).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124427\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57097490497913,"sku":"2124427","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124427.jpg?v=1782396283"},{"product_id":"wilde-oscar-lord-alfred-douglas-translator-salome-a-tragedy-in-one-act","title":"WILDE, Oscar; [Lord Alfred DOUGLAS ( translator ); Aubrey BEARDSLEY ( illustrator )]. Salome. A tragedy in one act.","description":"\u003cp\u003e\u003cstrong\u003eWILDE, Oscar; [Lord Alfred DOUGLAS (\u003ci\u003etranslator\u003ci\u003e); Aubrey BEARDSLEY (\u003ci\u003eillustrator\u003ci\u003e)].\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Salome. A tragedy in one act. \u003ci\u003eLondon: Elkin Mathews \u0026amp; John Lane.\u003c\/i\u003e 1894.\u003c\/p\u003e\n\u003cp\u003eSmall 4to. Original blue-green woven cloth, gilt designs after Beardsley blocked to boards, spine lettered in gilt, fore- and tail-edges uncut; pp. [x], 67, [1], 14 (advertisements), [2], 10 plates including frontispiece, illustrated title-page, contents page, and tailpiece by Aubrey Beardsley, printed on glazed paper from line blocks engraved by Carl Hentschel; a few chips to joints and corners, small loss to head of spine affecting 2 letters of gilt text, spine sunned; internally very clean; a very good copy; bookplate of William Forbes Morgan (1841–1916) to front pastedown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst English edition of Wilde’s one-act tragedy, the first with Beardsley’s illustrations (four of which contain caricatures of Oscar Wilde), one of only 500 copies, translated by and dedicated to Wilde’s lover, Lord Alfred Douglas.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSalomé\u003c\/i\u003e was written in French in late 1891 while Wilde was staying in Paris, and accepted for production by Sarah Bernhardt at the London Opera House in 1892. However, the Lord Chamberlain prohibited performances because of a ban on Biblical figures being presented on stage, an outcome that understandably incensed Wilde. It was finally published in French in 1893, and then in this translation in 1894.\u003c\/p\u003e\n\u003cp\u003eTranslating the nuances of Wilde’s original text, written in an idiosyncratic French, has been acknowledged as a Herculean task by all those who have attempted it, including Beardsley. Even though Wilde himself assisted Douglas, the author and the translator nearly came to blows: ‘Wilde immediately complained of Douglas’s sloppy, schoolboy French, and an infuriated Douglas blamed any faults upon the original. He and Wilde nearly split over the disagreements, and Robbie Ross – doubtless to his later regret – made peace between them that Fall’ (Daniel).\u003c\/p\u003e\n\u003cp\u003eThough Wilde tried to fix some of the errors, Douglas raged when he did, and wrote to the publishers that September, ‘as I cannot consent to have my work altered and edited, and thus to become a mere machine for doing the rough work of translation, I have decided to relinquish the affair altogether.’ (Daniel). Nevertheless, their relationship recovered, and the translation has since become the text most familiar to Anglophone audiences. Steven Berkoff used the Douglas translation for his critically acclaimed Salome at the National Theatre in 1988, with all its archaisms and errors unabridged.\u003c\/p\u003e\n\u003cp\u003eSadly, Wilde never saw the play produced. Its only performance during his lifetime was a one-off presentation at the Théatre de la Comédie-Parisienne on 11 February 1896, by which time he was already in prison. It was not performed publicly in Britain until 1931.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eMason 350; Ross, ‘Later Work’ 86; Samuels Lasner 59. See Daniel, ‘Lost In Translation: Oscar, Bosie and Salome’, Princeton University Library Chronicle (2007)\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124696\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57122271494521,"sku":"2124696","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124696b.jpg?v=1776858538"},{"product_id":"hennix-catherine-christer-henry-flynt-editor-modalities-and-languages-for-algorithms","title":"HENNIX, Catherine Christer; Henry FLYNT ( editor ). Modalities and Languages for Algorithms.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe Intersection of Music and Mathematics\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eHENNIX, Catherine Christer; Henry FLYNT (\u003ci\u003eeditor\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Modalities and Languages for Algorithms. \u003ci\u003eBearsville, New York:\u003c\/i\u003e [\u003ci\u003eself-published\u003c\/i\u003e]. 1983.\u003c\/p\u003e\n\u003cp\u003eBlack binder with clear plastic front panel (\u003ci\u003ec\u003c\/i\u003e. 290 x 230mm); ff. ‘42’ (\u003ci\u003ei.e.\u003c\/i\u003e 47) unbound photocopied typescript, printed to rectos only; a few small marks to covers, else very good; Hennix’s address inscribed in her hand to foot of first leaf.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVery rare typescript ‘second edition’ of \u003ci\u003eToposes and Adjoints\u003c\/i\u003e, in fact a parsing by Henry Flynt of the work of the same name by the pioneering Swedish transgender avant-garde composer, mathematician, poet, visual artist, and musician Catherine Hennix, conceived as part of a visual installation of the same name exhibited at the Moderna Museet in Stockholm in 1976.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eModalities and Languages for Algorithms\u003c\/i\u003e seemingly circulated only in typescript until its inclusion in Hennix’s \u003ci\u003ePoësy Matters and Other Matters\u003c\/i\u003e (2019). Catherine Hennix (born Christer Hennix, 1948–2023) studied biochemistry and linguistics at Stockholm University; in 1968 she met Dick Higgins and Allison Knowles of the Fluxus movement and began collaborating with Henry Flynt. Hennix taught at MIT’s AI lab in the 1970s and studied under Alexander Esenin-Volpin, whose influence is present in this work. Hennix and Flynt co- founded the guitar and drum duo Dharma Warriors, recording in her rented house in Bearsville (Woodstock, NY) at the same time as they revised her book.\u003c\/p\u003e\n\u003cp\u003eThe resulting record consists of two wild improvisations, a sharp contrast to the logical precision of the present work; both \u003ci\u003eToposes and Adjoints\u003c\/i\u003e and this revision thereof feature a particularly representative quote from Alain Robbe-Grillet: ‘Nothing is more fantastic, ultimately, than precision’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNo copies traced on OCLC or Library Hub\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2123098\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57313432240505,"sku":"2123098","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2123098.jpg?v=1779379688"},{"product_id":"hennix-catherine-christer-notes-on-toposes-adjoints","title":"HENNIX, Catherine Christer. Notes on Toposes \u0026 Adjoints.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eMathematics as Art\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eHENNIX, Catherine Christer.\u003c\/strong\u003e Notes on Toposes \u0026amp; Adjoints. \u003ci\u003e[Stockholm:] Moderna Museet.\u003c\/i\u003e 1976.\u003c\/p\u003e\n\u003cp\u003eBlue paper folder (301 x 219 mm); pp. 67 ff. unbound photocopies, hole-punched to left margin; spine of folder slightly creased with small chip at head; numerous diagrams in the text; near fine.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, extremely rare, of the first published work by the transgender Swedish polymath Catherine Hennix (1945–2023), issued in conjunction with her only solo exhibition of visual art, Toposes and Adjoints, at Stockholm’s Moderna Museet in 1976, our copy presented by the author to the painter Jasper Johns.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e‘“Notes on Toposes and Adjoints” was originally written for an exhibition of paintings, sculptures, and installation works, with the idea of a canvas as a logical space, and “4-color algebras” computing in that logical space’ (Boon). The present work, central to Catherine Hennix’s (born Christer Hennix) artistic output, explores mathematical concepts of space and relationships around which Catherine Hennix (born Christer Hennix), a maths professor as well as an artist and musician, created her visual and musical works.\u003c\/p\u003e\n\u003cp\u003eThe exhibition contained black-and-white and colour expressions of her equations, while musically she explored the mathematical relationships within just intonation, a non-Western tuning system in which the interval between each note is a whole number ratio. She had learnt this as a disciple of the raga master Pandi Pran Nath and took it into musical collaborations with La Monte Young and Henry Flynt in a quest to combine logic, altered consciousness, and non-Western philosophy.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds three copies only (Getty, MoMA, and Stanford); no copies traced in the UK.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee Boon, The Politics of Vibration: Music as a Cosmopolitical Practice (2022).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2123097\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57313434861945,"sku":"2123097","price":3500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2123097.jpg?v=1779379703"},{"product_id":"whitman-walt-leaves-of-grass","title":"WHITMAN, Walt. Leaves Of Grass.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eAmerica’s ‘New Bible’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eWHITMAN, Walt.\u003c\/strong\u003e Leaves Of Grass. \u003ci\u003eBoston: Thayer and Eldridge.\u003c\/i\u003e 1860.\u003c\/p\u003e\n\u003cp\u003e8vo. Original rust-coloured vertical wavy-grain cloth with blind-stamped boards, bevelled edges, spine with gilt lettering and design of a butterfly;  pp. [vi], 456, [2], frontispiece engraving of Whitman (signed ‘Schoff’), engraved tailpieces to pp. iv and 456 of a butterfly perched on a finger; slightly cocked, minor soiling to pastedowns, otherwise a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExtremely rare first issue of the third edition, the first edition published by someone other than the poet himself,  including the first publication of the major poems ‘A Word Out of the Sea’, retitled ‘Out of the Cradle Endlessly Rocking’ in later editions, and ‘I Hear America Singing’.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis edition of Whitman’s work is significantly expanded from the two self-published pamphlets of 1855 and 1856, which contained twelve and thirty-three poems respectively. The success of the second edition persuaded Thayer and Eldridge to take the work on but, in a stroke of the kind of luck that dogged Whitman’s professional career, the company went bust shortly after publication and could barely pay him $250. ‘The author went to Boston to superintend the printing and binding. The publishers failed during the period of financial depression at the beginning of the Civil War and the plates were sold at auction to R. Worthington, who surreptitiously used them for the original imprint. There are, for this reason, four or more editions bearing the original Thayer and Eldridge imprint. The first issue is distinguished by the engraved portrait which is on an irregular tinted background and by the gilt embossed butterfly on the backbone of the binding […] Copies of the first issue with the tinted portrait are extremely scarce’ (Shay).\u003c\/p\u003e\n\u003cp\u003eThe present edition is the first to justify Whitman’s description of the work as America’s ‘New Bible’. It had been expanded to include 146 poems, the largest single jump in the work’s life. Among the poems included here for the first time are the ‘Calamus’ cluster, the most overtly homoerotic section, and ‘Enfans d’Adam’, which shocked contemporary readers with its sexualised reading of the Adam and Eve myth.\u003c\/p\u003e\n\u003cp\u003eDespite the controversy and outrage that greeted Whitman’s work upon its first publication – one reviewer called it a ‘mass of stupid filth’ (The Criterion, 10 November 1855) – it has come to be considered a central work of American poetry, radical in form, epic in its treatment of democracy, nature and love, and courageous in its sexual frankness. This is Myerson’s Binding C, with a globe surrounded by clouds to the front board and a sun behind mountains to the rear; our frontispiece portrait of Whitman is in the first state, with the irregularly coloured background.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eBAL 21397; Myerson A.2.3a (with the frontispiece in the first state); Shay, p. 19; Wells \u0026amp; Goldsmith, pp. 7–8; cf PMM 340.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2122828\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57313943585145,"sku":"2122828","price":7000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2122828.jpg?v=1779383337"},{"product_id":"owen-wilfred-edmund-blunden-editor-the-poems-of-wilfred-owen-a-new-edition-including-many-pieces-now-first-published-and-notices-of-his-life-and-work-by-edmund-blunden-london-chatto-windus-1931-with-cohen-joseph-owen-agonistes","title":"OWEN, Wilfred; Edmund BLUNDEN ( editor ). The Poems of Wilfred Owen: A New Edition, Including Many Pieces Now First Published, and Notices of His Life and Work, by Edmund Blunden. London: Chatto \u0026 Windus. 1931. [ with :] COHEN, Joseph, Owen Agonistes. […","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eUncovering the ‘Conspiracy of Silence’ Surrounding Owen’s Homosexuality\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eOWEN, Wilfred; Edmund BLUNDEN (\u003ci\u003eeditor\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Poems of Wilfred Owen: A New Edition, Including Many Pieces Now First Published, and Notices of His Life and Work, by Edmund Blunden. \u003ci\u003eLondon: Chatto \u0026amp; Windus.\u003ci\u003e 1931.  [\u003ci\u003ewith\u003ci\u003e:] COHEN, Joseph, Owen Agonistes. [\u003ci\u003ePrivately printed offprint from:\u003ci\u003e] English Literature in Transition vol. VIII, no. 5, December 1965. \u003ci\u003eS.l.: s.n.\u003c\/i\u003e [Not before 1965.]\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCohen\u003c\/i\u003e: 8vo. Pale blue printed card wrappers, stapled as issued; pp. 24. With accompanying envelope addressed to Cohen in typescript ‘from Professor Blunden’, typescript letter from Blunden to Cohen (175 x 135 mm, single leaf, pp. [2]) dated 12 January 1967 and signed ‘E. Blunden’, and facsimile typescript letter from Cohen to Blunden dated 12 December 1966 (280 x 215 mm, \u003ci\u003esee below\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOwen\u003c\/i\u003e: 8vo. Original brown buckram over bevelled boards, spine lettered in gilt, top-edge gilt, tail- and fore-edges untrimmed, partly unopened; pp. [ii], vii, [1 (blank)], 135, [1 (blank)]; photographic portrait frontispiece with tissue guard; light spotting to endpapers and prelims, spine ends slightly rubbed; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNo. 11 of 160 ‘special edition’ copies (of which 150 were for sale) of the first edition of Edmund Blunden’s landmark edition of Wilfred Owen’s poems, this copy signed by Blunden at the foot of his biography of the poet; offered with Blunden’s copy of the scarce offprint of Joseph Cohen’s controversial pamphlet, \u003ci\u003eOwen Agonistes\u003c\/i\u003e, with Cohen’s letter to Blunden on Owen’s homosexuality and Blunden’s dismissive reply.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBlunden’s extended edition of Owen’s poems appeared eleven years after the slimmer volume edited by Seigfried Sassoon and Edith Sitwell in 1920. A war veteran and distinguished poet himself, Blunden was urged to edit the volume by Sassoon, who was never pleased with the earlier edition. ‘[A] more experienced and exacting editor’ (Stallworthy), Blunden added 37 poems to the 23 in the 1920 edition, as well as a memoir of Owen and notes to the poems. Like Sassoon and Sitwell, he reprints Owen’s short sketch for a preface, adding the poet’s own table of contents (‘with its perplexities’).\u003c\/p\u003e\n\u003cp\u003eThe edition ‘helped to consolidate Owen’s reputation and elevate him to the iconic status he was to hold for poets and readers of poetry in the 1930s and after’ (Stallworthy); it was the volume that endeared Owen to Auden, and later Larkin. \u003cstrong\u003eBlunden has signed this copy at the foot of his memoir and to Owen’s preface.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJoseph Cohen, the owner of this copy, scholar of First World War poetry, and biographer of Isaac Rosenberg, was a professor at Tulane University. In 1965, Cohen published the influential article ‘Owen Agonistes’ \u003ci\u003eEnglish Literature in Transition\u003c\/i\u003e, 1965, later issued in the pamphlet offered here. The essay, which sought to uncover what Cohen describes as a ‘conspiracy’ of silence regarding Owen’s homosexuality, was greeted with some hostility among existing Owen scholars. A reaction against Sassoon’s claim in the introduction to the 1920 edition of Owen’s poems that ‘[a]ll that was strongest in Wilfred Owen survives in his poems; any superficial impressions of his personality, any records of his conversation, behaviour, or appearance, would be irrelevant and unseemly’, the essay broke new ground and has been influential for later scholars. The signed copy of \u003ci\u003eOwen Agonistes\u003c\/i\u003e is accompanied by a facsimile copy Cohen’s letter to Edmund Blunden, sent with a copy of the pamphlet (presumably this copy), along with Blunden’s original typed, hand-signed reply to Cohen, on Blunden’s printed writing paper and complete with the stamped envelope. The short, but fascinating letter is at once heartfelt and angry, while remaining civil.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e‘Your kindness in sending me the inscribed pamphlet on W. Owen I much appreciate,  though as you wrote in your letter I might not enjoy your thesis. You seem (p. 4 and elsewhere) to describe me as a deliberate writer of untruth about Owen. The word “conspiracy” is not a pleasant one in such connections, if any. Your conclusion on p. 24 connects me with a “windy and empty legend” etc. I can only say that I wrote, long ago, by request, quite simply about Owen, from all see sources I had, and had no wish to do anything but record him and edit his poems. \u003cstrong\u003eFrom his father, mother, sister and brother I had no evidence (why should they think as you say about his private life)?\u003c\/strong\u003e Having been in the army myself I can follow what you say, but I believe Wilfred merely gave his life, and was given a decoration for gallantry, in 1918. [\u0026amp;c].’\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eOwen Agonistes: OCLC finds eight copies in the US (UT Austin, UC Davis, Kansas State, Historic New Orleans Collection, Ohio, Tulsa, and Texas A\u0026amp;M), and only one in the UK (Edinburgh Napier).\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eWhite, p. 13; Kirkpatrick B47b. See Stallworthy, Owen: A Biography (1974).~i~\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124815\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57347036578169,"sku":"2124815","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124815.jpg?v=1780042461"},{"product_id":"rimbaud-arthur-une-saison-en-enfer","title":"RIMBAUD, Arthur. Une saison en enfer.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eRimbaud’s Season in Hell – Concealed for Thirty Years\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eRIMBAUD, Arthur.\u003c\/strong\u003e Une saison en enfer. \u003ci\u003eBrussels: Alliance Typographique\u003c\/i\u003e (\u003ci\u003eM.-J. Poot et Compagnie\u003c\/i\u003e). 1873.\u003c\/p\u003e\n\u003cp\u003e8vo. In the original publisher’s wrappers, printed in red and black, housed in a suede-lined black morocco-backed chemise with orange marbled sides, within a matching slipcase; pp. 53, [1 (blank)]; the slightest trace to foxing to fore-edge; else an excellent copy, uncut and unopened.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, in exceptional condition, of Rimbaud’s highly influential, confessional prose poem \u003ci\u003eUne saison en enfer\u003c\/i\u003e (\u003ci\u003eA Season in Hell\u003c\/i\u003e), the only work published at Rimbaud’s expense, printed shortly after the dissolution of his turbulent relationship with Verlaine.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn \u003ci\u003eUne saison en enfer\u003c\/i\u003e, the eighteen-year-old Rimbaud (1854–1891) ‘gathers and reassembles the chaos of his life, leaving behind him the burning, powerful lines of a delayed poetic art’ (\u003ci\u003eEn français dans le texte, trans.\u003c\/i\u003e). Rimbaud had met Verlaine in Brussels in July of 1873, where Verlaine shot him in the arm with a revolver. Verlaine, charged with attempted murder, was sentenced to two years in prison, and Rimbaud returned to Charleville to complete the present work, begun in April and finished in August. At the time of publication, only six copies were known, distributed by Rimbaud to Verlaine, Delahaye, and his childhood friend Ernest Milllot, amongst others, the remainder thought to have been destroyed by Rimbaud along with his manuscripts; the completion of \u003ci\u003eIlluminations\u003c\/i\u003e the following year would mark the beginning of \u003ci\u003ele silence de Rimbaud\u003c\/i\u003e, his promise never to return to poetry. The opening poem positions Rimbaud as ‘the infernal bridegroom’ (\u003ci\u003el’époux infernal\u003c\/i\u003e) and Verlaine ‘the foolish virgin’ (\u003ci\u003ela vierge folle\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003eRimbaud had made an initial payment to the printer for \u003ci\u003eUne saison en enfer\u003c\/i\u003e but failed to settle his subsequent accounts, and the majority of the print run was retained in the printer’s warehouse in Brussels for nearly three decades. 425 copies (the remainder discarded due to water damage) were discovered in the printer’s warehouse by Belgian lawyer and bibliophile Léon Losseau in 1901, although he would not publicise the discovery until 1915. Despite attempts by Rimbaud’s brother-in-law (and posthumous publisher), Pierre-Eugène Dufour, to convince Losseau to destroy the newly discovered copies in keeping with Rimbaud’s wishes, Losseau secretly distributed copies to a group of close friends, whom he had sworn to secrecy, sent others to Stefan Zweig, Emile Verhaeren, Maurice Maeterlinck, and Viele-Griffin, and on 24 November 1912 presented several copies to his fellow members of the Société des bibliophiles belges.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds ten copies in the US (Dartmouth, Harvard, Indiana, Morgan, Newberry, Northwestern, NYPL, UCLA, UT Austin, Yale), and only one in the UK (BL).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCarteret II, p. 271 (calling for a total print run of c. 300 copies); En français dans le texte 299 (pp. 278–9, ‘this edition is all the more valuable as it is the only work whose publication was intended by its author’, trans.). Not in Vicaire (cf. vol. VI, cols 1134–5). See Michaelides, ‘Stefan Zweig’s Copy of Rimbaud, “Une saison en enfer” (1873)’, in The British Library Journal 14.2 (1988), pp. 109–203.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124601\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57347037888889,"sku":"2124601","price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124601b.jpg?v=1780042514"},{"product_id":"owen-wilfred-edmund-blunden-editor-the-poems-of-wilfred-owen-a-new-edition-including-many-pieces-now-first-published-and-notices-of-his-life-and-work","title":"OWEN, Wilfred; Edmund Blunden ( editor ). The Poems of Wilfred Owen. A New Edition Including Many Pieces Now First Published, And Notices of his Life and Work.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eEdith Olivier’s Owen, Inscribed by Sassoon\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eOWEN, Wilfred; Edmund Blunden (\u003ci\u003eeditor\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Poems of Wilfred Owen. A New Edition Including Many Pieces Now First Published, And Notices of his Life and Work. \u003ci\u003eLondon: Chatto and Windus\u003c\/i\u003e. 1931.\u003c\/p\u003e\n\u003cp\u003e8vo. Original purple cloth, spine lettered in gilt, in the dust-jacket (printed in burgundy and black) priced 6s. net to the front flap; pp. vii, [1 (blank)], 135, [1 (blank)]; photographic portrait frontispiece with tissue guard, fore- and tail-edges untrimmed; spine and upper edge sunned, slight soiling and rubbing to spine, a few marks to covers, some wear to spine ends and corners; else a very good copy in like wrapper; Siegfried Sassoon’s monogrammed presentation inscription to Edith Oliver to half-title, dated 21 March 1931; housed in a custom drop-back solander box of red quarter morocco with cloth sides, spine lettered directly in gilt.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscribed by Owen’s first editor and instigator of this edition, Siegfried Sassoon, to his friend, confidante, and matchmaker Edith Olivier (1872–1948).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBlunden’s extended edition of Owen’s poems appeared eleven years after the slimmer volume edited by Siegfried Sassoon and Edith Sitwell in 1920. A war veteran and distinguished poet himself, Blunden was urged to edit the volume by Sassoon, who was never pleased with the earlier edition. ‘[A] more experienced and exacting editor’ (Stallworthy), Blunden added thirty-seven poems to the twenty-three in the 1920 edition, as well as a memoir of Owen and notes to the poems. Like Sassoon and Sitwell, he reprints Owen’s short sketch for a preface, adding the poet’s own table of contents (‘with its perplexities’). The edition ‘helped to consolidate Owen’s reputation and elevate him to the iconic status he was to hold for poets and readers of poetry in the 1930s and after’ (Stallworthy); it was the volume that endeared Owen to Auden, and later Larkin.\u003c\/p\u003e\n\u003cp\u003eThe recipient of this copy, Edith Olivier, was founder of the Women’s Land Army (for which she was appointed MBE in 1920), and later mayor of Wilton from 1938 to 1941. Her duties as mayor included becoming president of the local St John Ambulance Brigade. She clearly had a talent for friendship, her friends including much of ‘the artistic circle of the day’ (\u003ci\u003eODNB\u003c\/i\u003e), including Rex Whistler, Cecil Beaton, and William Walton. Olivier described Sassoon as ‘the best of friends’, his character ‘by turns violently intolerant, sympathetically appreciative, and savagely satirical. I suppose that everyone talks best in an intimate circle of friends, but this applies to Siegfried more than to anyone I know. When he does wake up and begin to talk, his conversation is very racy and amusing. He makes fun of himself as well as of other people and his descriptive powers are quite astonishing.’ (\u003ci\u003eWithout Knowing Mr Walkley\u003c\/i\u003e) \u003cstrong\u003eA trusted confidante, and a mediator between Sassoon and the larger-than-life figure of his lover, Stephen Tennant, she would also help facilitate the relationship between Sassoon and his wife Hester in 1933.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOlivier wrote novels, a biography of Alexander Cruden (1934), a book on Wiltshire, and her autobiography, \u003ci\u003eWithout Knowing Mr Walkley\u003c\/i\u003e (1938), which remains in print. She died in 1948. ‘There was honour’, Cecil Beaton wrote of the mood at her funeral, ‘for what she had done; but there was love for what she was and is’ (\u003ci\u003eSalisbury Journal\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eWhite, p. 13; Kirkpatrick B47\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124414\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57347037987193,"sku":"2124414","price":4250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124414.jpg?v=1780042522"},{"product_id":"mapplethorpe-robert-arthur-c-danto-essay-mapplethorpe","title":"MAPPLETHORPE, Robert; Arthur C. DANTO ( essay ). Mapplethorpe.","description":"\u003cp\u003e\u003cstrong\u003eMAPPLETHORPE, Robert; Arthur C. DANTO (\u003ci\u003eessay\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Mapplethorpe. \u003ci\u003eLondon: Jonathan Cape.\u003c\/i\u003e 1995.\u003c\/p\u003e\n\u003cp\u003e4to. Original grey cloth, in photographic dust-jacket, housed in photo-illustrated cloth slipcase; pp. 382, [2]; black-and-white photo-illustrations throughout; minimal wear to edge of jacket and slipcase; a near-fine copy, in like dust-jacket and slipcase.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst UK edition, second impression, with over three hundred full-page photographs, of this collection of Mapplethorpe's work prepared in collaboration with the Mapplethorpe Foundation, established by the artist in 1988, a year before his death, to provide funding for AIDS research and photographic projects.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFirst published in 1992, this edition presents the full range of Mapplethorpe’s expansive \u003ci\u003eoeuvre\u003c\/i\u003e, from early polaroids to some of the last self-portraits taken shortly before his death in 1989. Arthur C. Danto (1924–2013), art critic, philosopher, and professor at Columbia University, had also contributed a prefatory essay to \u003ci\u003ePlaying with the Edge: the Photographic Achievement of Robert Mapplethorpe\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125390\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":63775796920697,"sku":"2125390","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125390_2644a92b-688d-4ea5-863b-2cca5521401c.jpg?v=1781610261"},{"product_id":"mapplethorpe-robert-susan-sontag-introduction-certain-people-a-book-of-portraits","title":"MAPPLETHORPE, Robert; Susan SONTAG ( introduction ). Certain People: A Book of Portraits.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eSontag on Mapplethorpe\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eMAPPLETHORPE, Robert; Susan SONTAG (\u003ci\u003eintroduction\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Certain People: A Book of Portraits. \u003ci\u003ePasadena: Twelvetrees Press.\u003c\/i\u003e 1985.\u003c\/p\u003e\n\u003cp\u003e4to. Original blue cloth, lettered in black to front cover and spine, in photographic dust-jacket; pp. [102]; black-and-white photoillustrations throughout; extremities of cloth a little sunned, minimal creasing to edges of jacket; near-fine in like jacket; signed by Mapplethorpe in blue ink to half-title; publisher’s advertisement loosely inserted.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThird edition of this sweeping collection of Mapplethorpe's portrait photography, published at the height of his international acclaim and only four years before his death in 1989, limited to 5,000 copies and signed by the photographer.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCertain People\u003c\/i\u003e presents his expansive exploration of black-and-white portrait photography, displaying Mapplethorpe’s ability to transcend social and cultural boundaries for which he became known. It reproduces portraits of some of the most well-known celebrities of the day alongside those of the artist’s lovers, bikers, and leather fetishists, as well as gender-exploring self-portraits. It also includes the iconic early portraits of Patti Smith, one of which was used for the cover of her 1975 album \u003ci\u003eHorses\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCertain People\u003c\/i\u003e opens with an introductory essay by the writer and critic Susan Sontag, in which she reflects on the experience of being photographed by Mapplethorpe; a portrait of Sontag is also included in this edition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125389\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":63775801213305,"sku":"2125389","price":950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125389_9e707a39-b5a7-4b25-ada3-eb333af56d15.jpg?v=1781610280"},{"product_id":"sappho-rolande-canudo-translator-fragments-des-poemes-eoliens-sappho-quatorze-burins-par-esperance","title":"SAPPHO; Rolande CANUDO ( translator ). [Fragments des poëmes éoliens.] Sappho. Quatorze burins par Espérance.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e’The Most Openly Lesbian Edition’ of Sappho since Renée Vivien’s\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eSAPPHO; Rolande CANUDO (\u003ci\u003etranslator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e [Fragments des poëmes éoliens.] Sappho. Quatorze burins par Espérance. Éditions \u003ci\u003eParis\u003c\/i\u003e: [\u003ci\u003eImprimerie nationale for\u003c\/i\u003e] \u003ci\u003eÉditions du Raisin\u003c\/i\u003e. [22 December 1944].\u003c\/p\u003e\n\u003cp\u003e4to. Publisher’s printed wrappers on handmade paper, loose as issued, in the original matching chemise (lined with paper patterned with violets) and glassine jacket, printed spine label in Greek and French; ff. [35], of which 14 blue-green line engravings by Espérance; text printed in blue; without publisher’s card slipcase; slight creasing and chipping to tissue guards and very faint central crease to upper wrapper; a near-fine copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of this groundbreaking queer translation of fourteen of Sappho’s fragments with striking engravings by Espérance, printed four months after the liberation of Paris in August 1944.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis edition was translated by the portrait artist Rolande Canudo, here aged twenty-two, the daughter of Jeanne Canudo and the early film theorist Ricciotto Canudo (also the former partner of the futurist Valentine de Saint-Point and a friend of Picasso and Marinetti); her 1957 letter to Picasso, presenting him with a portfolio of her work, is held at the Musée Picasso in Paris. This is ‘the most openly lesbian edition [of Sappho] since [Renée] Vivien’s. The less erotic poems are made to appear so by the overtly homoerotic etchings that accompany each of them. Even the fragment known as “Alceus to Sappho” and used by German chastity theorists as a proof of Sappho’s heterosexuality, since it indicates that a man was interested in her, appears homoerotic because of the accompanying iconography […] this elaborate collector’s edition of an openly lesbian Sappho corpus, as a French national gesture and as an act of defiance against German ideals, as the ultimate fulfillment of the political agenda shared by the Reinachs, the Barney sisters, and Vivien’ (De Jean, pp. 157–58). Vivien, lover of Natalie Barney from 1899 to 1901, had produced the first ‘explicitly lesbian translation of Sappho’s poetry’ (Mendès-Leite, \u003ci\u003eGay Studies from the French Cultures\u003c\/i\u003e 25 (1993), p. 102).\u003c\/p\u003e\n\u003cp\u003eThe fourteen striking engravings by Suzanne Theureau (1910–2004), best remembered as an illustrator of children’s books, are frequently misattributed to Sylvain Sauvage, \u003ci\u003ei.e.\u003c\/i\u003e Jules Louis Félix Roy.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds a single copy outside continental Europe, at Columbia. Not on Library Hub.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eBonnet, p. 367. See De Jean, ‘The Time of Commitment: Reading “Sapho 1900”’, in Modern Language Quarterly 65.1 (2004), pp. 149–59.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125435\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":63819118117241,"sku":"2125435","price":400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125435b.jpg?v=1782379127"},{"product_id":"vivien-renee-le-vent-des-vaisseaux","title":"VIVIEN, Renée. Le Vent des vaisseaux.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e'Sapho 1900' at Sea\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eVIVIEN, Renée.\u003c\/strong\u003e Le Vent des vaisseaux. \u003ci\u003eParis: E. Sansot \u0026amp; Cie\u003c\/i\u003e. 1910.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s illustrated wrappers; pp. 103, [1]; upper hinge cracked (textblock partly coming away from spine), short split to upper joint, small chip to head of spine; otherwise a very good copy, uncut and unopened.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of this collection of twenty-four Symbolist poems by the London-born lesbian poet Renée Vivien, published the year after her death at the age of thirty-two.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVivien (born Pauline Mary Tarn, 1877–1909) studied Greek for the express purpose of reading fragments of Sappho’s poetry in the original, and in 1903 published \u003ci\u003eSapho\u003c\/i\u003e, the first explicitly queer translation of Sappho, earning herself the nickname ‘Sapho 1900’. She and her on-and-off lover, the American heiress Natalie Barney (who, similarly inspired by Sappho, began writing love poetry to women as early as 1900) spent time in Lesbos in 1904, where they discussed the prospect of a Sapphic school of poetry for women; by 1908, Vivien’s health had declined: she drank heavily and ate almost nothing. She died in 1909, a year after her attempted suicide attempt by means of overdosing on laudanum.\u003c\/p\u003e\n\u003cp\u003eThis is the second of her three posthumous collections of verse, along with \u003ci\u003eHaillons\u003c\/i\u003e and \u003ci\u003eDans un coin de violettes\u003c\/i\u003e, also published in 1910. Here, she writes about the beauty of nature, the search for identity, solitude, and love between women, incorporating elements of ethereal landscapes and of Greek myth. In ‘Aveu dans le silence’, for example, she describes the ‘jalousie extreme’ which prevents her from expressing her love for a woman for whom Vivien ‘lives only for the light in her hair’, the soft ‘rays of her smile’, and her ‘miraculous’ green-grey eyes (pp. 70–71, \u003ci\u003etrans.\u003c\/i\u003e). There was also a \u003ci\u003ede luxe\u003c\/i\u003e large-paper edition of fifty numbered copies on Japon Impérial, in a variant binding.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eWe find ten copies in the US (Cornell, Harvard, Indiana, NYPL, Princeton, UC Davis, UCLA, Umass Boston, Wisconsin, Yale) and none in the UK; this edition not on Library Hub.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125439\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":63830894117241,"sku":"2125439","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125439.jpg?v=1782396274"},{"product_id":"kirstein-lincoln-for-my-brother","title":"KIRSTEIN, Lincoln. For my Brother.","description":"\u003cp\u003e\u003cstrong\u003eKIRSTEIN, Lincoln.\u003c\/strong\u003e For my Brother. \u003ci\u003eLondon: The Hogarth Press.\u003c\/i\u003e 1943.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s yellow cloth, spine lettered in red, in the unclipped, illustrated dust-jacket by William Chappell printed in black and coral, priced 8s. 6d. net to front flap; pp. 189, [1 (blank)], without rear free endpaper; small loss to jacket at head of spine and chip at foot, corners of jacket chipped, slight soiling to rear cover of jacket; marginal creasing and small nick to head of pp. 107-22; else a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of this novel based on the childhood memories of Mexico-born dancer José ‘Pete’ Martinez-Berlanga as recounted to Lincoln Kirstein (1907–1996), director of New York’s School of American Ballet in New York, co-founder (with George Balanchine) of the New York City Ballet, and Martinez-Berlanga’s lover from 1936 until Kirstein’s marriage in 1941.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMartinez-Berlanga, later known as Pete Martinez (1913–1997), was raised in Los Angeles and studied at Kirstein’s School of American Ballet after finishing school. Upon graduation, he joined the touring Ballet Caravan company, also organised by Kirstein; he was the subject of numerous drawings by Fidelma Cadmus, drawings and paintings by Paul Cadmus, and nude photographs by George Platt-Lynes. When Kirstein married Fidelma Cadmus in 1941, the three lived together in Greenwich until 1942, when Martinez attempted to enlist in the army, but was unsuccessful. He subsequently moved to Haverford, Pennsylvania, to work at a Quaker hostel for Jewish refugees, where Christopher Isherwood was working at the same time, although they had been introduced by Kirstein several years earlier. Following a brief sexual encounter in September 1942, they remained close friends, and reconvened several times throughout their lives in both New York and California. Martinez suffered a career-ending injury in 1947 and worked thereafter as a dance instructor.\u003c\/p\u003e\n\u003cp\u003eThe title is a reference to ‘Martinez’s renegade older brother, who died after an accident on a construction site near Mexico City. Isherwood adored the book and helped persuade Lehmann to publish it in England at the Hogarth Press […] Isherwood even worked on the manuscript, cutting it drastically and transforming it to a memoir into a novel. He also tried to find a U.S. publisher, praising the book to Tennessee Williams and James Laughlin among others’ (Bucknell).\u003c\/p\u003e\n\u003cp\u003eAlthough two thousand copies were printed, very few made it to bookshops: the reviews (mostly unfavourable) were based on galley proofs, and the printed copies were stored in a London warehouse prior to distribution and were largely destroyed during a Nazi air raid (Duberman, p. 385).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eWoolmer 503. See Bucknell, Christopher Isherwood Inside Out (2024); Duberman, The Worlds of Lincoln Kirstein (2007).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125033\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":63837404266873,"sku":"2125033","price":800.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125033.jpg?v=1782461062"},{"product_id":"tennant-stephen-my-brother-aquarius","title":"TENNANT, Stephen. My Brother Aquarius.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘Did You Ever See a Starry Man | With So Beautiful a Face?’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eTENNANT, Stephen.\u003c\/strong\u003e My Brother Aquarius. \u003ci\u003eBournemouth: Nash Publications\u003c\/i\u003e. 1961\u003c\/p\u003e\n\u003cp\u003e[\u003ci\u003ewith\u003c\/i\u003e:]\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHOARE, Philip.\u003c\/strong\u003e Serious Pleasures. The Life of Stephen Tennant. \u003ci\u003eLondon: Hamish Hamilton\u003c\/i\u003e. 1990.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eTennant\u003c\/i\u003e: 8vo. Original blue cloth lettered in gilt to spine and upper board, lacking the dust-jacket; pp. [x], 62; full colour frontispiece by the author (the same image graces the missing wrapper); cloth rubbed to extremities with a few small marks, marginal marks to a few pages; else a very good copy; front free endpaper inscribed ‘For Rupert Lord, with kindest thoughts and best wishes from the author Stephen Tennant’ in blue ink (\u003ci\u003esee below\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHoare:\u003c\/strong\u003e  8vo. Original black cloth lettered in gilt to the spine, in the dust-jacket designed by the Senate, priced £20.00 net to the front flap; pp. xvi; 463, [1]; minimal pushing to lower spine tip, else a fine copy in near-fine jacket.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStephen Tennant’s sole volume of poetry; an intimate self-portrait of the brightest of the Bright Young Things; with a fine first printing of Philip Hoare’s landmark Tennant biography.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFew figures better capture the glamour, eccentricity, and aesthetic sensibility of interwar England than Stephen Tennant (1906–1987). The brightest and most glamorous of the Bright Young Things, he moved among an extraordinary constellation of writers, artists, and socialites, counting among his friends and admirers Rex Whistler, Cecil Beaton, Virginia Woolf, E.M. Forster, and Truman Capote. He is thought to be the model for the character of Cedric Hampton in Nancy Mitford’s \u003ci\u003eLove in a Cold Climate\u003c\/i\u003e and may also have contributed something to Sebastian Flyte in Waugh’s \u003ci\u003eBrideshead Revisited\u003c\/i\u003e. His turbulent relationship with Siegfried Sassoon was formative for both men, while Wilsford Manor, his Wiltshire home, became a gathering place for many of the century’s most celebrated literary and artistic personalities. V. S. Naipaul rented a cottage on the estate for a time (Tennant’s tenant, if you will), an experience later finding its way into his semi-autobiographical The Enigma of Arrival (1987).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eMy Brother Aquarius\u003c\/i\u003e, Tennant’s only volume of poetry, was privately printed in 1961. Taking its title from Keats’s \u003ci\u003eEndymion\u003c\/i\u003e – ‘Crystalline brother of the belt of Heaven: Aquarius’ – and dedicated to Barbara Hutton, the American heiress and socialite, the collection brings together fifty-two poems, many addressed to friends and members of his circle. The prefatory letter to Princess Bibesco serves as both poetic manifesto and acknowledgement of literary debts, a curious list including Ruth Pitter, Lawrence Whistler, Bruce Cutler, Thomas Parkinson, and Dylan Thomas. The book’s chief interest lies less in its literary achievement than in its disarmingly intimate self-revelation: recalling travels and lost romances, the poems amount to a lyrical self-portrait of one of the century’s most elusive and fascinating personalities.\u003c\/p\u003e\n\u003cp\u003eThis copy is lavishly and affectionately inscribed in blue ink on the front free endpaper by Tennant: ‘For Rupert Lord, with kindest thoughts and best wishes from the author Stephen Tennant’, complete with quotations from Persian poetry and proverbs. In the upper corner he has written, ‘Conceal thy gold, thy destination, and thy creed’, glossing it as ‘(a very ancient saying) oriental, I think – I love it’ (a proverb, or part of one, referring to forms of dissimulation in the interests of self-protection). At the foot of the page Tennant adds, ‘only love that which can carry you away, a horse—a ship—’ (Persian), perhaps recalling a line from Rumi.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124143\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":63840572866937,"sku":"2124143","price":425.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124143c.jpg?v=1782483838"},{"product_id":"lorrain-jean-pseud-i-e-paul-duval-contes-pour-lire-a-la-chandelle","title":"‘LORRAIN, Jean’, pseud . [ i.e. Paul DUVAL]. Contes pour lire à la Chandelle.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003ePresented by Proust's Duellist\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e‘LORRAIN, Jean’, \u003ci\u003epseud\u003ci\u003e. [\u003ci\u003ei.e.\u003ci\u003e Paul DUVAL].\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Contes pour lire à la Chandelle. Paris: [C. Renaudie for] Mercure de France. [30 April] 1897.\u003c\/p\u003e\n\u003cp\u003e12mo. Publisher's drab printed wrappers, Mercure de France device to upper wrapper and spine, uncut and partly unopened; pp. [175], [4], [1 (blank)]; slight creasing to spine, small chip to upper joint, spine ends lightly bumped; uniform light toning, slight dampstaining to upper corner; a very good copy; presentation inscription to front free endpaper 'à René Maizeroy, son ami Jean Lorrain' (\u003ci\u003esee below\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUncommon first edition of these short stories 'to be read by candlelight' by the openly gay Symbolist poet and novelist Jean Lorrain, notorious for duelling Proust (after Lorrain had subtly outed him in print) only two months before the publication of the present work.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLorrain (born Paul Duval, 1855–1906) came to Paris in 1881, where he became colloquially known as ‘Sodom’s ambassador to Paris’. A friend of Sarah Bernhardt, Colette, and Samuel Pozzi, he was known for his long-standing addiction to ether (it is said that his grave reeked of it decades after his death), his pugnacity, and his ‘great fondness for hoodlums, fairground wrestlers, butcher-boys and assorted pimps’, as he wrote to a friend in an 1890 letter (\u003ci\u003etrans.\u003c\/i\u003e Sibalis, GLBTQ Archive, \u003ci\u003eonline\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003eLorrain narrowly avoided a duel with his childhood friend Maupassant, offended at recognising himself in one of Lorrain’s fictional characters, in 1886, and two years later closely escaped coming to blows with Verlaine after Lorrain had mistakenly reported that he had been committed to an asylum. Perhaps his most notorious conflict is his duel with Proust, who challenged Lorrain after reading a review of his first book, \u003ci\u003eLes Plaisirs et le jours\u003c\/i\u003e, in which Lorrain hinted at the sexual nature of Proust’s relationship with Lucien Daudet (son of the novelist Alphonse Daudet). Lorrain, with the bibliophile Octave Uzanne as his second, intentionally missed his shot, as did Proust.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance\u003c\/i\u003e: \u003cstrong\u003eThis copy of \u003ci\u003eContes pour lire à la Chandelle\u003c\/i\u003e was presented by Lorrain to another former duelling partner, the journalist René Maizeroy (the pseudonym of Baron René-Jean Toussaint), who challenged Lorrain on 18 April 1887 following a press controversy\u003c\/strong\u003e. ‘On the first and second attempts, Maizeroy was struck twice in the arm with a sword, and witnesses broke up the fight’ (\u003ci\u003eLe Matin\u003c\/i\u003e, 19 April 1887, \u003ci\u003etrans.\u003c\/i\u003e); the two remained fast friends following the altercation.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC and Library Hub find six copies outside continental Europe, of which four in the US (Illinois, Oberlin, UNC Chapel Hill, Stony Brook), one in the UK (Glasgow), and one in Australia (ANU).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNot in Vicaire (see vol. V, col. 399).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2121536\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":63840579027321,"sku":"2121536","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2121536.jpg?v=1782483847"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/collections\/Pride_2026_Aquarius.jpg?v=1782485798","url":"https:\/\/sotherans.co.uk\/collections\/pride.oembed","provider":"Sotherans","version":"1.0","type":"link"}