Claude Houghton. I am Jonathan Scrivener (1930)

Claude Houghton. I AM JONATHAN SCRIVENER. Thornton Butterworth, London, 1930.

Current Selling Prices
$150-$250 /£100-£160

I first heard of this book when we were buying a wagon-load of (mostly) review books from the British actor and writer Simon Callow. He seems to be using a different dealer now, probably a friend or relation, possibly a dealer more generous than us, although that seems unlikely…The name of the novelist and poet Claude Houghton came up in literary banter and SC mentioned that Houghton's novel I am Jonathan Scrivener had been an influence on Orson Welles in the plotting and style of Citizen Kane - the 'prismatic approach.' Having written a fat bio of Welles his word has some weight and the web bears out this idea with several articles on the matter (some require money to read.) Certainly when I read the book I could see his point, although AJA Symons Quest for Corvo could also be seen in this light. The plot unfolds thus:

One James Wrexham, an impoverished but well-educated Englishman past his first youth answers an advertisement in the London Times and becomes secretary to the mysterious, invisible Jonathan Scrivener.
He never sees his employer, who goes abroad after hiring him (solely on the strength of his letter of application.) Wrexham’s only duties are to live in Scrivener’s London flat, catalogue his library, receive his friends, write occasional reports to his absent employer. One by one Scrivener’s friends turn up in search of him, get acquainted with Wrexham, tell him what they think of Scrivener. Each description is different…who exactly is Jonathan Scrivener?

OK no-one utters the word 'Rosebud' but it is credible as an input for the 'greatest film ever'. The book was a best- seller in its day, especially in USA and the Penguin paperback sold 100,000 copies. ABE has 6 Penguins from £5 to £25 the latter price for a fine copy in a near fine d/w. Penguin jackets often turbo charge prices….The hardback British first can go for £160 fine in jacket and the Simon and Schuster first USA for a little less, although some patient dealers want $200+ for copies sans jacket.

Henry Miller wrote in The Books in My Life that 'it would have made a wonderful movie' and there is even speculation that Godot came out of it, possibly Sam B read it, there was even a French edition Je suis Jonathan Scrivener. The IMDB database shows that it was filmed for TV in 1952 in the Studio One in Hollywood series. The French edition of 1954 has an intro by Henry Miller.

There are some quotable lines in the book:

"Most of us commit suicide, but the fact is only recognized if we blow our brains out.”

“I’ve met a number of people who had endured agonies in their determination not to suffer.”

“To solve a problem, you must have all the data or none.”

At the recent auction of some of Peter Howard's stock in Los Angeles I managed to acquire the typed/ corrected manuscript of the book. I look forward to cataloguing it when it arrives back in the UK. It came with the MS of his novel The Riddle of Helena and the cataloguer records that Claude Houghton (1889-1961) 'enjoyed success as a writer of metaphysical thrillers.' Another cataloguer notes that he was admired by P G Wodehouse and Hugh Walpole. Doubleday, his American publisher described him as 'this fascinating romantic mystic...who insists that there are more spiritual worlds than this one in which we live and that it is man's chief business to discover his relations to these worlds."

Fittingly, four of his novels are listed by E. F. Bleiler in his Checklist of Science Fiction and Supernatural Fiction under such categories as 'mental aberration' 'after death experiences 'visitors from other worlds,times' and 'Supermen.' All the Bleiler titles are obtainable, often signed, at fairly reasonable prices. In his day he was compared to D.H. Lawrence and Emily Bronte, because like both of them he had made a decisive break with the 'novel of manners.' He now belongs in the honourable category of forgotten or even neglected writers but in the 'long tail' of consumer demand his books are likely to be always saleable.

Yoko Ono / Grapefruit

Yoko Ono. GRAPEFRUIT. ( Tokyo, Wunternaum Press 1964)
Current Selling Price
$9000 /£6000

Well-heeled collectors of early Beatles memorabilia ( signed programmes, posters, concert tickets, song lyrics written on napkins etc etc ) may not thank you for offering them a first of Yoko Ono’s Grapefruit, signed or otherwise, at a hefty price. Many fans still blame Ono for contributing to the splitting of the Fab Four and for taking John in a direction that would ultimately lead to his violent death.

Such narrow-mindedness seems absurd when we think of what Lennon achieved while with Ono. As for the woman herself, one art historian has called her ‘ one of the most daring , innovative and eccentric artist-performers of her time’.

Oko was a leading figure with the Fluxus art movement, which originated in New York City in the early sixties and eventually spread to Japan. Fluxus, according to one critic, ‘ encompasses a reductive gesturality, part Dada, part Bauhaus and part Zen, and presumes that all media and all artistic disciplines are fair game for combination and fusion ‘. John Cage was an early member of the movement and ‘do-it-yourself ’ music was often performed. As well as a performer, Ono sees herself as a musician and the instructions she and others issued for enacting the art work they called an ‘ event’ was called an ‘event score’. In Grapefruit she collects some of ‘ pieces’ ( such as ‘Clock Piece’ and ‘Laundry Piece ‘) that she enacted in galleries and concert halls, mainly in the USA. Here are some of the pieces/scores included in Grapefruit:


Imagine the clouds dripping.
Dig a hole in your garden to
Put them in.

Let people copy or photograph your paintings.
Destroy the originals.

Think that snow is falling. Think that snow is falling
Everywhere all the time. When you talk with a person think
Snow is falling between you and the person.
Stop conversing when you think the person is covered by snow.


One can see the influence of Japanese graphic art, the art of haiku and Zen in such ‘instructions ‘.

As you might expect, Grapefruit is as minimal in appearance as a piece of Raku pottery. In fact, from the outside it looks like nothing more than an artist’s sketchbook, square in shape and covered with a dull light brown or cream wrapper. Some way down on the left of the front cover Ono ( a fan of calligraphy ) has inscribed in black ink the single word Grapefruit. Inside, the instructions are printed in black ink using a number of subtly different typefaces.
There are conflicting accounts regarding the first meeting of John and Yoko, but it is generally accepted that the year was 1966, that soon afterwards Yoko sent John a signed copy of Grapefruit, and that the Beatle was intrigued by both book and artist. The rest is history.

The pre-publication price of Grapefruit was a mere $3; post publication it doubled. It is not known exactly how many of the edition of 500 were sold. I can’t imagine that Ono kept a list of buyers. It has been said that no copy has appeared at auction for thirty-five years and that this is because most remain with Japanese art collectors, who are hanging on to their copies. However, a well known London dealer has a nice copy for sale at £12,000, and there must be other Grapefruits circulating in the UK, perhaps bought in the era of Flower Power and forgotten about. One of these was acquired by a friend of mine, who now wishes to sell it (see me for details) at a price far below the £12,000 cited. A much expanded trade edition was published by Schuster and Peter Owen in 1970 and a year later Sphere brought out their own edition. These later copies range in price from $20 – $40, though one dealer wants a very un-Zen like £2,250 for one signed by both Yoko and John. [R.M. Healey}



Many thanks Robin. Hope that one finds a buyer-- it certainly should. I remember Yoko as an avant-garde artist before John loomed so large...She used to get people to cut bits off her clothes with scissors at the Round House. Fluxus surely. I always heard that they met at the Indica Gallery in Southampton Row, probably the most interesting thing to happen in that street since Maclaren-Ross moved out of the Bonnington. Meanwhile £2250 for a copy of the UK ed signed by Yoko and John may not be unbuyable - especially less 20 % and with 3 post dated cheques stretching into 2013. A better investment than Groupon shares.

Btw the plain white copy above is the true 1964 first, the title being always handwritten on the cover by Yoko. The b/w one is the USA first, John and Yoko are holding the UK first. Gorrit?

Andre Raffalovich

In a box of pamphlets and booklets at the California Book Fair recently I found a catalogue by the legendary Anthony D'Offay. It appears to date from 1961 and was sent from an address in Jamaica Street, Edinburgh. D'Offay, 21 at the time, was one of the great post war booksellers and probably the richest although most of his money was made in modern art. Books probably provided the seed capital for a business fortune large enough to enable him to generously donate £125 million worth of art to the nation in 2008. His first great coup was to locate and buy much of the book and manuscript collections of the John Gray and his lifelong companion Andre Raffalovich.

Both poets were Roman Catholic converts, both gay and very much creatures of the 1890s--the great English decadence. Also their work is seriously collected and quite valuable - a completist collection of their published books in decent condition would leave little change from $60,000, with Raffalovich using up most of one's funds. In D'Offay's catalogue he has 3 works by Raffalovich. Roses of Shadow a short play which AOD suggests lampoons Wilde with lines such as 'Even my red carnation is getting faded... I wish red flowers never died. I love red I always wear red: the red flower of a passionate life.' It was privately published in 1895 in a very small edition. D'Offay needed 5 guineas for a fine copy, a copy has been sitting on ABE for some while at a fairly challenging £4000 - not as nice as the 1961 copy but a presentation copy from Raffalovich to film star Ernest Thesiger. It is by no means Raffalovich's most valuable book.

Raffalovich, who was quite wealthy, had 2 bookplates one by Eric Gill (top) and one by Austin Osman Spare (one of his best) they always enhance the value of any books they are found in... [to be continued]

Three of the rarest twentieth century books on magic...

Guy Jarrett. Jarrett Magic and Stagecraft ( Written, printed and bound by the author 1936) Current selling price $4,000 +

Guy Jarrett was the magician’s magician. An astonishingly accomplished technical magician and inventor, he was extremely scathing about the deficiencies of his fellow illusionists and apparently difficult to work with. In 1936 he decided to disclose the secrets of his inventions in a book that he would print and bind himself. Using foundry type and a simple printing machine he went about his task, which involved actually writing the book as he set the type for each page, which he printed one at a time. This was not unlike the John Bull method of printing, though with metal rather than with rubber type. As each page was printed Jarrett would remove the type and reassemble it for the next page. The book contained 106 pages and, according to the author, 582,489 characters. It took Jarrett a year to complete this awesome project ( he claimed to have printed 400 copies ) after which he allowed himself a little self-congratulation on the last page:

‘This is a hell of a good book. I just read it. I invented the tricks, built the tricks, made the drawings, set the type, printed the book, and will bind the book. All over and out ‘

Jarrett was as good as his word. He did indeed bind his book in blue cloth—very badly, according to one critic—and on the cover of it in silver lettering he stamped the single word ‘ JARRETT ‘. He priced the book at an amazingly cheap $5, but it didn’t sell. He then advertised that he would increase the price by one dollar a month until it reached $10, at which point he would throw away all the unsold copies. Luckily, he didn’t carry out this threat, but no-one really knows how many copies of Jarrett Magic and Stagecraft have survived. Because of the lack of interest from magicians it is likely that the author bound only around 70 or 80 copies from the sheets. There is evidence that he gave away copies to magicians he liked. As a result, and perhaps because of its poor binding, the book is now exceedingly rare and much sought after by the wealthier professional magicians. Historian Jim Steinmeyer, who in 1981 reprinted it with his own comments as The Complete Jarrett, calls it one of the most important books on illusion ever published.


Wilf Huggins (ed), The Midget Magician ( Published by the author at 171, Argyle Avenue, Hounslow, Middlesex, January 1951 – March 1960 ) Current selling price $8,000+

This was a magazine of truly Lilliputian proportions, each volume being around half the size of a pocket diary, and like Auden’s famous Poems of 1928, hand printed on an Ardana press. Essentially a miscellany of articles on the history of magic, it was published by subscription by magician Wilf Huggins in an edition of 50 for each of its 38 issues. Probably only 30 complete sets have survived, some of which are in academic libraries. The Library of the Magic Circle, for instance, holds one set in limp leather. In 2000 a fan tried to track down the current owners of complete sets and discovered that at least 17 sets were unaccounted for. Individual issues may still in circulation, though the tiny dimensions of each copy would militate against many surviving. Like Jarrett, The Midget Magician is a legendary rarity among collectors, and is probably on more ‘ wants lists ‘ than any other magic books.

S. W. Erdnase, Artifice, Ruse and Subterfuge at the Card Table ( Published by the author, 1902). Current selling price £1,000 +. Later reprints $300 +

The first book to describe in great detail all the gambling moves in cards, and as such is greatly sought after by card magicians throughout the world. Mystery, however surrounds the identity of the author. Obviously, S. W. Erdnase is an anagram and a number of writers have proposed theories. The most substantial book ( 420 pages ) on the subject is The Man who was Erdnase by Bart Waley with Martin Gardner and Jeff Busby, who argue that the mystery figure was an American con man, gambler and murderer called Milton Franklin Andrews . All later issues bear the date 1902, but only the first edition was bound in green cloth. [R. M. Healey]

Many thanks. Too busy to post anything myself and even found it hard to find suitable, clear images-- the top photo is of a late reprint of Erdnasse's fabulous work here got up like a bible and said to be almost as useful as the great book. The other photo ( Jarrett) seems to be from a catalogue of a forthcoming sale where no doubt the book will make the right price...Rock on Robin, will get back to scribbling when these book fairs are behind me...

‘Only one copy known….’ Well… perhaps two.

Arthur Machen, Eleusinia (Joseph Jones, Hereford 1881). One copy known. $15,000


Privately printed by Joseph Jones of Hereford when Machen was just 18, and not long out of Hereford Grammar School, this was a poem of teenage ecstasy by the Welsh wizard of fantasy. According to his biographer John Gawsworth, Machen received only six copies of his poem from the printer, who kept the remainder for himself over a payment dispute. Some say only one copy is known to exist; other say two. Peter Vincent’s story, ‘Completion’, recounts the experiences of one bibliomaniac’s quest to secure a copy of Eleusinia.


Robert Frost, Twilight( Laurence, Mass. 1894)

Two copies made; one was said to have been destroyed by the author. $75,000 (Ahearne 2000). When it fetched $3,000 in 1949 this was the highest price paid for a contemporary American author. This surviving copy ended up in an American library.
Apparently, the man who became one of America’s greatest poets was so unsure of his talent that he only paid for two copies of this debut volume of six poems, one of which was meant for his fiancée. A re-reading of these callow effusions may be the reason why he later destroyed one copy. Pray that more were printed.



John Bunyan, A Book for Boys and Girls, or Country Rhimes for Children (London, N. Ponder, 1686). Two known copies. £20,000+.

The BL claims to have one of the two known. Published posthumously, this illustrated anthology of Christian homilies, or meditations, on ‘74 things’ was deemed ‘lost‘ to bibliographers until the copy that had been bought in the year of its printing by Narcissus Luttrell for 6d turned up at a London bookshop c 1882. This in turn was bought for 40 guineas by an American collector who soon afterwards let it go to the British Museum Library. The Library of California at Santa Barbara has the other known copy. Why there are so few copies is a bit of a mystery, but the answer may lie in the fact that little children tend to tear up books, especially if they contain pictures.

Robert Burns, The Merry Muses of Caledonia (1799).Two known copies. £20,000 +

One copy of this collection of extremely bawdy songs based on examples found among Burns’ papers at his death in 1795 is owned by the University of South Carolina. It is not known how many of these were composed by the Bard himself, and for this reason some Burns enthusiasts are reluctant to admit the collection into the canon. Another reason why only two copies are known may have something to do with British Puritanism--- many of the songs feature human genitalia.

John R. Ridge, The Life and Adventures of Joaquim Murieta (1854). $15,000 Only 2 copies known.

One is at Yale, the other is in a private collection. Ridge, or ‘ Yellow Bird ‘ has been claimed as the ‘ first Native American novelist ‘ and his book ‘ the first Californian novel ‘. Murrieta (note alternative spelling) was a bloodthirsty Mexican bandit who terrorised California in its formative years. He was killed at the age of 21 and Ridge somewhat romanticises his life.

Lucy Maud Montgomery, Poems (c1903) pp29. Two known copies. $20,000+

Montgomery (1874 – 1942) was, of course, the author of the classic Anne of Green Gables (1908 ), a first of which can fetch around $10,000 in decent condition. The poems, published when Montgomery was 27, are 32 in number and most are printed on one side of the paper only, which suggests that some sort of crude printing devise was used . The librarian at the Canadian library that owns a copy, speculates that the author probably gave a ‘very limited ‘number of copies to friends around Christmas 1903. How many is ‘very limited ‘? Hope that Miss Montgomery had plenty of friends if you want to secure a copy. You won’t find the title listed in Ahearne (2000), so one can only hazard an educated guess at its value.

To be continued….

[R. M. Healey ]


Many thanks Robin. Awesome and inspiring. Will start searching right away. The sort of books that show up at a church jumble sale once in a blue moon...

Second hand bookshop window display

I am fortunate to live near a good second hand bookshop Reed Books 2 on the High Street in Aldeburgh on the Suffolk Coast of the sceptered isle. Idyllic but a bit too close to the mighty Sizewell Nuclear Power station. Time and again this shop gets annoyingly good books some of which end up on the web, but many go out in the shop and I occasionally buy some with a view to making money. Reed Books 1 was across the way and closed a couple of years ago - it was run by book enthusiast and party hound Julius Reed kinsman of "wild thing" actor Oliver Reed. Julius at one point had a rave in his bookshop which attracted a younger crowd but drew some disapproval from the council. He has moved into antiques and his cohort Robin Summers has taken over the mantle and now runs and owns Reed Books 2.

A retired TV actor not unknown to the IMDB database Robin has a very good eye and has done at least 3 themed window displays. My photo above shows his latest-- carefully chosen faces staring out of the window. He also had a great window entirely full of Britain in Pictures - apparently when shown like this en masse they sell well. He also had a window display of Teach Yourself books, covered in an earlier posting. The subject of displays in bookshop windows is not without interest-- very few shops pay a lot of attention to staging. Robin consciously sets aside books for his window and it pays off.



In a display in his shop window of books with bizarre or unfortunate titles I picked up a Scouts in Bondage (in dust wrapper) for £20. It is rare thus and the profit might pay for one night in a half decent London hotel, and possibly a meal - but I am not selling at present.. If any readers have photos of thematic bookshop displays please send them in. We are doing a sports window for the London Olympics this July... slightly predictable but almost obligatory.

Vivian Nicholson. Spend, Spend, Spend...

Vivian Nicholson & Stephen Smith. SPEND, SPEND, SPEND. Jonathan Cape, London 1977.

Current Selling Prices
£50-£100

A book that looks like nothing...In 1961 Vivian ('Viv') Nicholson won £152,000 on the football pools when she correctly predicted 8 draws. She announced to the press that she was going to "spend, spend, spend". The phrase has entered the language, a recent £8 million pound lottery winner also said she intended to 'spend,spend, spend.' Within 3 years the wild Viv had spent the lot (the equivalent of £3 million nowadays). She had been a tabloid sensation, she recorded a single ('Spend, Spend, Spend') appeared in a strip club dancing to 'Hey Big Spender' and was the subject of a musical and TV play by the late Jack Rosenthal. Rosenthal's play was based on this book of taped interviews with Viv by ghostwriter Stephen Smith.


Rosenthal was a colleague of the PR man who, on behalf of Littlewoods Pools, persuaded Nicholson to allow publicity for her pools win. He wrote in his autobiography: "From that day on, I followed her wild, seemingly stupid adventures in the papers - and believed every snide, snooty, biased word the relentless publicity said. All adding up to one word - that she was a cow." Reading the book caused Rosenthal to reassess his attitude and he "became a fan" eager to put across an explanation of her behaviour.



The 1978 musical was successful, although I tend to agree with the acerbic critic Martin Cropper who stated that in his opinion all musicals were bad. It's a botched art form, although a million busloads of punters would disagree. Certainly the lyrics are unpromising:

'8 draws, you've got them all, 8 draws,
Love was a bitch, but now you're rich,
She's bloody Santa Claus.'

As a kind of outrageous pre-Punk she was a natural hero for that anarchic era. Her photograph later appeared on the cover of The Smiths' 1984 single "Heaven Knows I'm Miserable Now" and "Barbarism Begins At Home". In 2012 she may be slightly neglected but the book still commands fancy prices with Angela Carter's copy at £150, and a copy with two pages missing (but supplied in xerox) at a chancer's £75. The paperback version which I just picked up for 20p (reduced from 35p) has to be worth £20+ and has a better cover than the hardback. The book is as the blurb says "...a totally unselfconscious self - portrait, a ripping good tale, fast cars, booze, 'sexual happenings', deaths...you name it Viv can talk about it as if it were the most natural thing in the world." The style is 'Educating Rita' before her Michael Caine makeover. The book ends- 'I still have hopes of making me million...pinning me hopes on the rock opera version, I am.'

Same name, different game….2

I ‘ve now discovered that not only does my namesake, the elderly woolly jumper-admiring New Zealand poet, have at least one fan in the world (according to the bookride comments box), but also there are many copies on ABE of two books by yet another Robin Healey.

This upstart, it would seem, is a world expert on Italian literature, whose Italian Literature before 1900 in English Translation and Twentieth century Italian Literature in translation: an annotated bibliography, 1927 - 1997 appear to have created quite a stir in the academy, judging by the reviews. I was particularly delighted to read that ‘ If anything, Healey is much too modest about his own accomplishments ‘.

Along with the disadvantages of having a nominal doppelganger in the literary stakes, come some obvious advantages. Online Googlers will make gratifying assumptions in your favour regarding books bearing your name, including details relating to your age, education and background. Which is nice. Meanwhile, here are some further names to conjure with.


Geoffrey Archer, Dark Angel, Skydancer, Scorpion Trail, etc etc etc.

Matthew Arnold, Stakeholder negotiations: Exercises in sustainable development, 1995.

Jane Austin, Jump Start
The Overwrought Urn (Graphic Originals)

James Baldwin, Whole Earth Ecology, an environmental tool-kit.

John A. Brain, An Evening with Thomas Talfourd , 1889.

John F. Brain, The Man who created God.

Robert Bridges, Invitation to Fly Flight Manouevres Manual for Private Pilots, 1983.

Frank Bruno, Riggermortis, 1966

Roy Campbell, Measuring the Sales and Profit Results of Advertising

Edward Carpenter, The Service of a Parson: why is he there and what he does.

Steven Crane, The personal Income Tax Savings Handbook

Steven A. Crane, Ashamed of Joseph: Mormon Foundations Crumble.
Is Mormonism now Christian ?



Raymond Chandler, All that Glitters, the crime and the cover-up. (Chandler was the lawyer uncle of the boy at the heart of the Michael Jackson scandal ).

Leonard Cohen, Choosing to work: an action-oriented job-finding book, 1979.

Harry H. Crosby, A Wing and a Prayer: the ‘ Bloody 100th ‘ Bomb Group of the eighth US Air Force in action over Europe in World War II.

John Dunne, Reasons of the Heart

William C. Falkner, The Siege of Monteray

Iain Fleming, Accounting for Business management, 1997.

Robert Frost, Victorian and Edwardian Staffordshire from old Photographs, 1977.

Robert Frost, All for Strings ( comprehensive string method ), 1986

John G. Fuller, Prescriptions for Better Home Video Movies

Alan Ginsburg, American and British Regional Export Determinants, 1969

William E. Hague, Remodel, don’t move: how to change your home to fit your lifestyle. New Complete Basic Book of Home Decoration, 1982.

Ian Hamilton, Resources and Industry (OUP)

Dennis Healy, The Illustrated Rules of Baseball, 1995.

Geoffrey Hill, Illuminating Shadows: the mythic power of film, 1992

Susan Hill, Alvin and the Chipmunks: the Squeakquel: meet the ‘Munks.
Spider-Man: Spider man versus Electro.

David Hulme, Will Christ Return ?, 1990.

Lee Hunt, The Vampire of New York

M. R. James, Successful Bowhunting

John Keates, Understanding maps, 1996

John Locke, Isometric perspective designs and how to create them

Mary McCarthy, Making Books by hand

Margaret Mitchell, Mealtime Magic Cookbook.

Henry Miller, California Missions: the earliest series of views made in 1856

Keith Richards, Tender mercies: inside the world of a child-abuse investigator, 1991

Walter Scott, Lung Cancer: a guide to diagnosis and treatment, 2002.




Ian Sinclair, Photographic Guide to Birds of Southern Africa.

Adam Smith, Supermoney, 1972.

John Wain, Wildtrack, a poem.

Harold K Wilson, Grain Crops, 1955

W. B. Yates, Diaspora .



[R.M.Healey]

Many thanks Robin. Got a feeling that John Wain (angry young man) actually wrote 'Wildtrack', but not John Wayne the cowboy actor. As for 'Adam Smith' I guess that was a sort of 'nom de blague' (real name Hiram Potts or something.) The odd thing is when a well known writer also wrote a very minor book as well. Robert Aickman the highly rated, valuable and collected writer of ghost stories and fantasy was also the was founder and Vice-President of the Inland Waterways Association. He wrote 'Know Your Waterways. Holidays on Inland Waterways' which is worth £10 as opposed to £500 or more for some of his fiction. One wonders whether any of the above writers are one and the same with their famous namesakes -- could Frank Bruno have knocked out a forensic thriller ('Riggermortis') between bouts in the ring or Geoffrey Hill, the great poet, also be an expert on cinema and myth... ?

Alastair (Count Hans-Henning von Voigt 1887-1969)

An illustrator whose real name was Count Hans-Henning von Voigt, but who published under the pseudonym Alastair. Born in 1887, he was a very late convert to symbolism , adopting in the twenties a decorative style heavily indebted to Beardsley years after the artist had died. He (not surprisingly ) illustrated Wilde and Pater , but also Frank Wedekind, the expressionist playwright whose sexually explicit plays scandalised the Weimer Republic. Movie buffs now admire him because he illustrated Wedekind’s Lulu, who was immortalised in Pabst’s film of the same name starring the exquisite Louise Brooks; Goths worship him (see their websites) because they see him as an ideological fellow traveller.

Anecdotes about his outrageous behaviour abound. When Gabriele Annunzio met him in 1914 he was dressed in priestly blue brocade robes performing ‘gothic dances‘ around a gilded unicorn. Thirteen years later the poet and publisher Caresse Crosby describes her first meeting with him:

"... a blackamoor ushered us into a room where their was a black piano with a single candle burning on it. Soon Alastair himself appeared in the doorway in a white satin suit; he bowed, did a flying split and slid across the polished floor to stop at my feet, where he looked and said, “Ah, Mrs Crosby !“.

Soon afterwards he began what would become a fruitful relationship with Crosby and her husband Harry, who were about to launch the Black Sun Press. The twenties was the heyday of Alastair. His debut was a 1920 edition of Wilde’s The Sphinx, for which he contributed ten remarkable black and turquoise illustrations. For this you might expect to cough up around $800. This was followed by a commission from high class Munich publisher Georg Muller, who asked him to illustrate the two sumptuous posthumous limited edition volumes of Wedekind’s two Lulu plays, Erdgeist and Pandora’s Box, which duly appeared in 1921. Although some films based on the Lulu character had already been made by this date, it is likely that the producers of the Pabst movie of 1927 had Alistair’s iconic depiction of Lulu in mind when they cast the gamine Louise Brooks in the title role. Because of this link, the two ‘Lulu‘ volumes are in great demand from cineastes, especially members of the Louise Brooks Society. My own copies (which are, incidentally, up for grabs) have their boards hand-blocked in a black, green and red honey-bee cell pattern and 24 extraordinary full page plates in black and red showing the artist operating in full Beardsley mode.



Although these two volumes are among the most coveted of Alastair’s productions there were further triumphs to come. The nine illustrations which accompanied a French edition of Wilde’s Salome in 1922, are also in black and red. The fact that this was not a limited edition is reflected in the prices featured on ABE, which range from an amazingly reasonable $55 to a frankly silly $650. And if you lust for an original Alastair drawing for this book there is one available too on ABE at an eye-watering $17,500 !


In 1927 an edition of Walter Pater’s Sebastian van Storck included eight extraordinary plates by Alastair. The only copy currently on ABE has a superb cover which stylistically belongs at least 20 years earlier to the fag end of the aesthetic movement. In the same year, that first extraordinary meeting with Caresse Crosby developed into a fruitful partnership which resulted in at least four commissions. The first was to supply drawings for a limited edition of Poe’s Fall of the House of Usher, which appeared in 1928 under the Editions Narcisse imprint. For this, Alastair seems to have abandoned his familiar style for a more conventional, though hardly naturalistic, one. There is a copy on ABE for $600. When, not long afterwards, the Black Sun Press began to produce its beautiful hand-crafted limited editions, Alastair was asked to illustrated Harry Crosby’s own volume of poems, Red Skeletons, which remains one of the most sought after of the Press’s titles. An edition limited to 100 of Wilde’s The Birthday of the Infanta , complete with glassine wrapper (pay up to $2,872), also appeared in 1928. Laclos’s Les Liaisons Dangereuses followed in 1929. With the tragic suicide of Harry Crosby in this year Alastair’s association with the Black Sun Press seems to have faded. Certainly, it would appear that the opportunities to contribute drawings in the styles he favoured were becoming fewer after this date.

The cheapest Alastair book on ABE is the 1931 Rarity Press edition of Manon Lescaut, of which there are several for sale at a bargain $4. The appearance of this title also signalled the end of his career as a book illustrator at the ripe old age of 48. He returned to drawing in 1964, but published little, if anything. Right up to his death in 1969 he remained true to himself. In his eighties he could be seen with powdered white face, bold black eyebrows, his black silk shoes poking out from the voluminous trousers. [R. M. Healey]



Many thanks Robin. I have not seen a 'Red Skeletons' for a while, we sold a decent copy in 2001 for £800. Mad, bad Harry Crosby's finest... As for Alastair's drawings they occasionally show up in auction, last month a 1920 drawing 'Le Vampire' made 800 Euros at Sotheby's Paris and there are many other results at less than a 1000 Euros. A superb iconic drawing might make 5000 Euros. $17500 is stronging it but not unimaginable - Alastair probably has appeal to those laden with cash. For far less money you can occasionally buy drawings by our own 'gin and tonic' version of Alastair- the fabulous Beresford Egan, but that's another story (watch this space.)

Give Puce a Chance

Forgive the pun, but it was suggested by the war theme of this (presumably) early 1914 pamphlet. Wyndham Lewis's Vorticist magazine BLAST (aka 'the puce monster') appeared in July of that year, the same month as war broke out and the pamphlet judging by the title appeared earlier that year. Was there a load of puce dye offloaded in London at that time, was it the colour of the moment? Is this really puce? The nearest dictionary (the big Bloomsbury) describes it as 'a brilliant purplish red colour.' Did Wyndham Lewis spot someone hawking the pamphlet in the street, it seems quite possible - even the typography is similar (at least the angular printing...)



The pamphlet (of which I have the cover only) is unknowable, no such title shows at WorldCat or Copac and the title page may have born a different title and possibly the name of an author. A colour that used to be seen in the 1990s 'hot pink' was similar to puce but rather cheap looking; the 1940s Elsa Schiaparelli colour 'shocking pink' is nearer to the mark but puce has a glamour all of its own. A fine copy of BLAST would be a thing to behold and I can think of two thousand reasons why I would like one. They usually turn up in distressing shape, as for the war pamphlet it is probably too rare to have real value - unless you found Lewis's or Pound's copy -- even Gaudier-Brzeska's, with a small sketch.

Below is a recently added and obviously modern puce publication - of which I know nothing, except it appears to be part of the enviable collection of kunstler Richard Prince.

John Le Carré

John Le Carré. THE LOOKING-GLASS WAR. Heinemann, London 1965.

Current Selling Prices
$60+ /£40+

I was chuffed to see a copy of this book making £840 at Dominic Winter yesterday. It was described thus:

Author's presentation copy, inscribed to title: "John Le Carre aka David Cornwell - with best wishes! Cornwall 2nd March '03. P.S. I'm not sure that poor George Smiley c[oul]d handle the present mess - I'm rather glad he hung up his boots! J.L.C." The inscription refers to the 2003 invasion of Iraq.

Le Carre, of course, was no fan of Blair - feeling he was America's poodle ('minstrel') in the Iraq war and called for him to resign as quickly and 'elegantly' as possible. The inscription is surprisingly restrained in view of this. It belies the old 'Flatsigned' axiom that a plain signature is worth more than an inscription as copies of the book merely signed by Le Carré can be had for £100. The egregious inventor of the word wrote an entire guide book where every plain signature was priced 25% higher than an inscription. Thus if Nelson Mandela inscribed a book to someone he had known in jail it would be trumped by a plain signature...

Not a scarce book but hard to find in faultless condition as the spine tends to fade, sometimes badly. The preceding book The Spy Who Came in from the Cold is also not scarce but worth ten times more. The jacket on the Spy did not change in any way for the first dozen or so printings so marriages are not uncommon, a fine jacket often covering a slightly tired looking book. Le Carre is a generous signer and late works signed can be had for £20 or less, however I think he will prove a good investment in the long term. The latest star heavy movie was well received. In it Gary Oldman (formerly Sid Vicious and Joe Orton) played the stolid George Smiley. According to Huffington at the UK premiere of Tinker Tailor Soldier Spy Oldman asked Le Carré if he liked what he'd seen. "I'm chuffed to fuck," came the reply.

Collecting Books on Magic 1

This can be an expensive area for collectors. Amateur magicians and historians of the subject are up against big name magicians like David Copperfield, Raymond Teller and Ricky Jay, who can afford the rarest and most desirable titles. However, those with limited means may build up a decent collection, provided they steer clear of certain glamorous titles, aren’t bothered too much about editions and condition, and avoid signed and extra illustrated items.

Two works should be on top of the rich collector’s wish list. One is Porta’s Magi Naturalis, which dates from 1558. As its title implies, it deals primarily with the wonderful properties of Nature, rather than deception and illusion. There are, for instance, sections on geology, optics, cooking, magnetism and gunpowder, but (alas) no illustrations. This is a truly early work, and was much reprinted in the original Latin; the English edition didn’t appear until 1658. It is extremely early and very rare, but the fact that the first English edition didn’t appear for a hundred years rather spoils its appeal for me. If you are lucky enough to find a copy of the first in Latin it will cost you a cool thousand pounds today, though the edition in English is more sought after. Equally glamorous is Reginald Scot’s The Discoverie of Witchcraft (1584), a legendary work of myth-debunking from an enlightened JP who argued that the magic ascribed to witches could be reproduced by anyone with the skills and resources. Scot made many enemies in his defence of those who were persecuted as witches, and James I ordered the burning of all copies of the book in 1603. Few survived the flames and those that did could probably be numbered at below twenty.

Raymond Teller was pursuing a first of The Discoverie not too long ago and was overjoyed to find one, despite its steep price. There are hundreds of Dover reprints around and currently on ABE twelve copies of the 1930 John Rodker limited edition, with an introduction by Montague Summers. One chancer has the gall to boast that this particular edition is ‘ almost as rare as the 1st ‘. Hollow laughter from the direction of Raymond Teller ! Hocus Pocus Junior (1634) was heavily indebted to Scot, but is worth looking out for, nevertheless, for its illustrations and lively descriptions of legerdemain and magic trickery. A first will set you back thousands, but a 1950 limited edition reprint is currently on ABE at an amazing $775.

The books on magic you are more likely to find today date from the late eighteenth century, were often scissors and paste jobs. One of the better known examples is the four volume Rational Recreations (1774 ) by William Hooper, who is said to have been heavily indebted to Guyot’s Nouvelle Recreations, Physique et Mathematique. Hooper brings together a lot of practical or ‘ parlour ‘magic, such as optical illusions, magnetism, chemical experiments and fireworks . A ‘ sturdy ‘copy of the 1794 edition is priced at a not unreasonable £495 on ABE, where there is also a first at double that figure. John Badcock, was another- scissors- and- paste man whose Philosophical Recreations or Winter Amusements (circa 1820) contains material from a variety of sources. All editions appear to feature many attractive plates, which may explain the fancy prices—from $719 - $1200. A similar kind of book, Endless Amusement (1822), which went through many editions in the early 19th century, will cost at least £150.

Works on the history of magic date from the Victorian period are perhaps more sought after by collectors, since they were not often reprinted. Thomas Frost wrote three books, all of which are worth looking out for. The Old Showman and the Old London Fairs (1874) can be had for around $250. His Last Lives of the Conjurors (1876 )is much rarer, while Circus Life (1876), is rightly been described as a ‘ classic ‘ of its type. If you can tolerate a ‘ working ‘ copy of this book there is one in New Zealand at a reasonable $100. For a better copy you may have to pay four times this amount elsewhere.

Along with the early books on magic were the magazines, most of which are hard to find. The Conjuror’s Magazine was published in the 1790s and was the earliest magazine entirely devoted to magic. It’s very difficult to locate a single volume, let alone a complete run. Look out for the supplements on physiognomy, which were bound in with the magazine, but were often removed.

Houdini is a name collectors can’t ignore, though he was more a showman than a gifted illusionist. His books are ghosted because he couldn’t write for toffee. His titles, which include The Unmasking of Robert Houdin (1908), are collected avidly in his native United States, where they tend to be more expensive, especially if signed. In fact, it seems that anything associated with Houdini has a fancy price tag Stateside. Currently on ABE are a paper bag signed by the master at a painful $3,000+ while a longish letter of 1901 from him comes in at $14,500. All collectors must beware of forgeries. [ R.M. Healey]

Many thanks Robin. 'Endless amusement' as the old book has it. It is very common and very slightly vexing for dealers to hear that collections of magic books have been offered to the Magic Circle, almost as common as military books that have been offered to the Imperial War Museum. The magic books always seem to get accepted but the military books are far less often wanted...

Magazines (first issues)

The recent 50th Anniversary issue of Private Eye prints a letter from someone called David Lyon recalling a lucky find one evening in October 1961. Apparently, while walking through Soho he noticed a box fixed to a lamp-post:

‘It contained some roughly printed pamphlets on yellow paper, with a notice inviting me to take one in exchange for sixpence. I was not to know that my tanner had purchased a potentially valuable document : nowadays, apparently, copies of Private Eye Vol 1 No 1 are worth at least £1,000…’

Unluckily for the young Peter Cook, Richard Ingrams et al, quite a few thievish Soho-ites had removed the copies without placing the requisite payment in the honesty box. Fifty years on, the ‘roughly printed pamphlets‘ have turned into a British Institution, and its surviving founders and present editor, pillars of the media establishment. And yes, incredibly rare first issues of the Eye can fetch around a grand (depending on condition), though demand from ( I suspect ) present employees of the magazine mean that examples are extremely hard to find. Even the more common early copies from 1961/62 are very scarce.

So, I began to wonder what was the story behind other style ‘pamphlets ‘that had became British Institutions.—Viz, for instance. Back in 1979, when the incomparable chanteuse, Lene Lovich was enchanting us all, satirical artist Chris Donald produced the first issue of a magazine which was to raise puerile humour to new heights of comic inventiveness. Put together in a bedroom in his parent’s house in Jesmond, Viz comic had an initial print run of 150 and sold for 20p in a local pub. After this first run had sold out in hours, a new edition had to be run off. If you want to buy the particular copy from the initial run that Donald gave to a friend you’d have to shell out a mere $2,060 via ABE.



Punch, the Daddy of all great satirical magazines, but now sadly no more, also began unpromisingly. On17 July 1841 a small group of writers and artists who were friends, like the Private Eye crowd, saw a gap in the market for a satirical magazine and so the London Charivari was born. The print run was pretty large and so the first half-yearly volume of the magazine is not rare, though it can’t usually be found as a singleton. Don’t pay more than £10.

The general rule of thumb it would seem is that the more primitive and/or basic -looking the first issues were of a magazine that later achieved cult status, the more appealing (and therefore more expensive) they are. So, it follows that the reverse rule applies. Take, for example, the more respectable Scrutiny and Horizon,. The former highly influential mouthpiece of the Leavis circle, began as a very professionally produced critical review in 1932 and so copies of the highly combative debut issue tend not to be too expensive. I got mine for about £1, which though very cheap, but the single copy on ABE of the same issue is a reasonable $112. 22. In contrast, the first issue of Spender and Connolly’s Horizon, which first appeared in 1940, looks much like the last and shouldn’t set you back much more than £20. The same goes for first issues of other significant magazines that began well and continued looking much the same for years and years. There are obvious exceptions to this rule. A first issue of Radio Times (1923) is currently on ABE at £300. A first issue of the less prestigious TV Times (1955 ) shouldn’t cost you more than £30, whereas The Listener might come in at around a fiver. There is no obvious logic in all this, apart from the law of supply and demand.

Collectors might also be surprised at how reasonably priced other first issues of famous newspapers are. To start at the very lowest end of the market for quality, one can find copies of the first Daily Mail (1896) at about £60 and The Daily Express (1900), Daily Mirror (1903 ) and Sun (1964 ) cannot be much more. However, a first issue of The Times, which began in 1785 as The Daily Universal Register, will probably set you back £200- £300, depending on the condition, which is likely to be good, since the newsprint used in the late eighteenth century contained a much higher percentage of rags to acidic wood pulp than that produced from the mid Victorian period onwards. First issues of both The Daily Telegraph (1855) and The Grauniad (1821) may cost a bit less. Incidentally, first issues of all the above are exceptionally hard to locate online. [R. M. Healey]

Many thanks Robin. Yes early EYE issues (first 10) are rare as rockinghorse and highly desirable. Below are some 5 year old auction records - without the premiums (20%):

Private Eye. [N.p.: Andrew Osmond], 25 Oct, 1961 - Vol I, No 1 - 4to, - stapled as issued - Ptd on orange paper. - Bonham's, June 6, 2006, lot 1000, £1,250 ($2,300)
Private Eye. [N.p.: Andrew Osmond], 25 Oct, 1961 - Vol I, No 1 - 4to, - stapled as issued - Ptd on orange paper. - Minor stain to final page - Bonham's, Feb 24, 2004, lot 100, £880 ($1,636.80)
Private Eye. [N.p.: Andrew Osmond], 7 Nov, 1961 - Vol I, No 2 - 4to, - stapled as issued - Ptd on orange paper - Bonham's, Feb 24, 2004, lot 101, £550 ($1,023)
Private Eye. [N.p.: Andrew Osmond], 7 Nov, 1961 - Vol I, No 3 - 4to, - unsewn as issued - Ptd on orange paper - Bonham's, Feb 24, 2004, lot 102, £550 ($1,023)

Note these ones were orange. Possibly other colours exist. Andrew Osmond, by the way, was the original `Lord Gnome'. He backed the young satirists with all the money he had - £450 - and thought of the title. He deserved a peerage. Robin's little misspelling 'Grauniad' for 'Guardian' of course comes from the Eye and reflects the large amount of typos that used to occur in that worthy broadsheet...

The collectable Alice Cooper

I sometimes look at the very long list A Book that Looks Like Nothing on Ebay forums. Worth checking to jog the memory before a library sale, boot fair or a raid on a flea market. The thread began in 2003 and covers all sorts of books that have (mostly) appeared on Ebay and that have made surprising sums. Surprising sums can mean a book that looks like an Amazon one cent special but makes $12 or a book bought for $12 at a dawn swap meet and sells for $3000. Some of the books are now 'netblown' i.e too many copies have appeared online and the price has descended alarmingly. The opposite can happen if a book is genuinely rare and lots of people (with money) want it.

Some of the books, to my mind actually look like something The Lion the Witch and The Wardrobe, the 1939 Shell Guide to Devon, Dodd and Graham's Security Analysis (NY 1934 - a fairly easy $10,000 for a nice first) Carnival Strippers by Susan Meiselas, Clapp's The Big Bender (1938) and V by Thomas Pynchon. But who knows about Zimmermann's Source Code & Internals, Meerloo's Rape of the Mind (1956) Disco Bloodbath, Shafer's Mathematical Theory of Evidence (1976) etc.,? All circa S100 and look like nada.

What defines a 'Nothing' book? It cannot be too mainstream as there will be too many copies, or too minor and cultish as there will be too few copies and even less punters. Thus a big fat book on Elvis might be worth $0.001 but a book by Elvis's hard-worked Graceland cook might get you $50.

On the subject of Rock the list contains two Alice Cooper sleepers - the first, one of the more valuable rock rarities, is Alice's Me, Alice (Putnam, N.Y. 1976) a roaring tale of the early days of his career, along with the alcoholism (beer and whisky) that nearly ended him + his mentor Frank Zappa, hippies, sex, drugs and his fling with a GTO plaster-caster etc., It seems to go for $500 or more in a nice jacket although one guy says he wouldn't sell his signed copy for $20,000. A dealer called Splatterhead seems to have sold his copy for $666.66 and Alice's collaborator / ghost Steven Gaines is selling his remaining allotted copies on Amazon at a chancer's $2000 each (but he will sign it if requested.) Meanwhile another Alice Cooper book by band member Bob Greene Billion Dollar Baby: A provocative young journalist chronicles his adventures on tour as a performing member of The Alice Cooper Rock-and-Roll Band (1974) can get you well over $100 in a jacket and a $50 note in paperback.

Even one of his song books Alice Cooper Complete (Bizarre, L.A. 1973) is nodding on a $100. Alice's wild days are well behind him now and he has moved on to recovery, good works and a golf handicap of two. His 2007 work Alice Cooper, Golf Monster: A Rock 'n' Roller's Life and 12 Steps to Becoming a Golf Addict can be had for $3, however its hardback publication was greeted with queues all round the shop at his London signing at Borders and there are no signed copies online - which bodes well for his collectability. A piece of ephemera to watch out for are fake billion dollar bills from his 1973 tour. They can be had for $15 when they occasionally surface on Ebay...

Filched First Folios

Eric Rasmussen. The Shakespeare Thefts: In Search of the First Folios. (Palgrave / Macmillan, London 2011) £16.99. Bibliomania, as anyone who is familiar with the literature on book thieves will know can drive normally respectable people to crime. It can also make scholars and journalists into literary detectives. Allison Hoover Bartlett, the journalist who tracked down John Gilkey in The Man who Loved Books too Much encountered a motley crew of bibliomaniacs along the way, including at least one murderer, while American Shakespeare scholar, Eric Rasmussen, whose The Shakespeare Thefts has just been sent to me, combed the globe to compile a definitive scholarly list of First Folios and decided found that the stories attached to so many of the 232 extant copies, were too amazing to be ignored.

Just as Bartlett constantly asked herself why people become mentally unbalanced in their pursuit of certain books—even to extent of killing to obtain them—Rasmussen begins his account with a similar question. What is it about Shakespeare’s First Folio that so fascinates both thieves and collectors. It can’t be because the world’s greatest writer had much to do with what is, after all, a posthumous volume; Shakespeare never saw it appear. He never read it; others compiled it from printed sources, notably the quartos, which having been published in the writer’s own lifetime, are undoubtably closer to the man. Are some collectors more obsessed with owning a quarto ? Rasmussen doesn’t say.

We have to accept, I suppose, that to those who know little or nothing of the genesis of the First Folio , it alone has become Shakespeare’s ‘ book ‘. To the man in the street it remains the fountain from which have flowed, subsequent editions, including all the texts children and undergraduates have pored over around the world for centuries.

But murder someone for a Folio ? This seems very likely in the case of the Fiske Harris copy, which ended up in the hands of an unscrupulous bookseller following the unexplained death in 1883 of a well-known American collector and his wife in a boating accident. But acquiring a copy in such a ruthless way is thankfully rare. Throughout the centuries, most copies have been stolen from libraries, only to end up centuries later in other libraries. One king was relieved of his copy. While escaping by boat to the Isle of Wight in 1647 Charles I took his own First Folio with him only to have it confiscated by the island’s governor when he embarked. The book passed through the hands of several collectors before it landed up in royal hands again, when George III acquired it for the Library at Windsor in 1800.



Libraries seem particularly unable to keep their First Folios safe from thieves. One of the funniest stories concerns a copy in William College Library in Massachusetts. In 1940 a gang member wearing the ‘uniform ‘ of an academic , that is ‘ an ill-fitting suit and a pair of old-fashioned eye-glasses ‘ managed to convince staff that he was bona fide. Left alone with several folios, it was even easier for this bogus professor to fish around in his brief case for a practically worthless copy of Goethe’s Reynard the Fox (1872) which had been smuggled in to replace the Folio. The thief then left hurriedly with his prize on some pretext or other. After much negotiation the book was recovered, thanks to good detective work. However, it might easily have been lost for ever.

Seventy years on, book detection has come a long way, and thieves today need to be much more au fait with the workings of the book trade, book history, bibliography and textual criticism to succeed. We know how even supposedly ‘ clever ‘criminals like William ‘Tome raider’ Jacques and Dr Simon Heighes, come a-cropper, but Raymond Scott, a Walter Mitty-like character from a council house in County Durham, who was sentenced to 6 years in 2010 for stealing a First Folio from Durham University Library, was hopelessly out of his depth from the start. His big mistake was to believe that if he removed the first and last pages of his copy, it wouldn’t be recognised. Alas, for the unemployed carer, who was living the high life in the Caribbean on the expectation of selling his book for a cool million, the curse of the First Folio triumphed.

But not all Rasmussen’s excellent stories revolve around thieves. There are some pretty eccentric collectors out there. One American gave his copy up because it had begun to smell horribly !!. Another, who lived off Big Macs and cheeseburgers, bought a copy of the Folio comparatively cheaply because the corners of many pages had been chewed off by rodents. This defect, however, proved no problem for our amateur book conservator. He bought loose leaves from a disbound copy of a Folio and instead of replacing the damaged leaves of his copy with the loose ones, actually cut off the corners of the latter and pasted them deftly onto the ones in his own Folio. For all its dottiness, there is a sort of warped logic in this solution, especially if the loose leaves themselves had imperfections. [R. M. Healey]

For this review much thanks Robin. Bit of a first for us - being sent a book to review. If the trend continues we will have a pile of books to sell and will have to call in a dealer! Hang on a mo, don't we buy review copies? Might make a low offer however...Pic of the Mitty-like Scott above.

Dennis Wheatley's Library 2

More on the incredible Dennis Wheatley collection - acquired and catalogued by Blackwell's of Oxford in 1979. Things have changed in dealing and collecting in the 33 years since - as said before Blackwell's give no description of the condition of dust jackets -yet these, in current money, add several hundred thousand pounds to the value of the collection. Autre temps, autres moeurs. Some books were priced at a hundredth of their current value, whereas the purchasing power of the pound has only risen by a factor of four since 1979. However there are some books in the catalogue which are worth no more than was paid or have only doubled in value which in real terms means they have halved - if you get my drift.

Blackwells put heavy prices on 'roastbeef' (as Driffield used to call it) i.e. leather bound sets, old travel books, illustrated books ( Rackham, Russell Flint) and especially on the hyped up limited edition multi - volume works of the 1920s (Navarre Society, Medici Society, Peter Davies, John Rodker) which now clutter up the web and are firmly in the descendant. He appears to have bought most of these through the good offices of Percy Muir. To be fair the sets were often exquisitely bound ('turquoise morocco'...'tulip-ornamented panels in gilt'...'crushed victrix blue morocco') but would you want to pay £900 (now £3600) for a 25 volume set of the works of Stanley Weyman? Meanwhile for £110 you could have bought a 9 volume set of the works of William Hope Hodgson published between 1907 and 1921. A curious set of what appear to be first editions in 'original quarter white cloth' but surely worth £5000 or so.

Many books have Wheatley's handwritten note (usually on the front flyleaf) of the use to which the book was put by him, e.g. in a 1924 Medici Society limited edition Homer (illus Russell Flint) he has written "Used by me when writing my book 'Mayhem in Greece'. Dennis Wheatley." For his Roger Brook historical thrillers he appears to have consulted at least 50 of books in his collection. These notes and his bookplate generally enhance the value, but it is hard to say by how much.

A punter with occult powers of foresight could have spent £1000 on books in this catalogue and would now be able to realise £60,000 or more. However a less fortunate and slightly plodding buyer could have spent £1000 and find that he might only just get his money back, representing a loss of a cool £3000 on his investment. In my next posting I will go through some of the highlights (several Crowleys inc a jacketed, signed 'Drug Fiend' with ALS at £150, an early jacketed Hammett, a fine signed Well of Loneliness for £15 etc.,) and a few disasters. Hear is a taster - a signed presentation from Anthony Powell of Hearing Secret Harmonies. This bears an intriguing inscription 'I fear I rather trespass on your own territory here...Tony.' Was Scorpio Murtlock inspired by Gregory Sallust?



P.S. Many thanks to the Dennis Wheatley Project for the pics.

The other John Lennon

A very odd find in a box of antiquarian books bought at auction-- the completely unknown John Lennon's Rossall Hall. A Poem (Printed for the Author, Preston 1834.) It was bound up with 6 other books including a book of Epicurean recipes (1832) and Memoirs of Madame Malibran de Beriot by Isaac Nathan author of The Hebrew Melodies. All in a small rust coloured moiré cloth-bound book with a leather label on the spine with the word 'Miscellanies' lettered in gold. Decent condition with some occasional foxing to text. The John Lennon book appears to be, like its author, completely unknown-- no copies at WorldCat, Copac or the mighty University of Karlsruhe database which has the complete catalogues of many worldwide libraries. The book is an UNCLE ('Unique No Copy Located Elsewhere') and worth a small fortune (let me dream...)




The book is a mere 36 pages and is mostly devoted to unadulterated praise of the great local landowner and philanthropist Sir Peter Hesketh-Fleetwood (1801 - 1866) who founded the town of Fleetwood, in Lancashire and was squire of Rossall Hall. At the time he also owned most of Southport. The book is dedicated to him and some of the verses may have been used in his election campaign. At the 1832 general election, Fleetwood was elected M.P. for Preston, in the first parliament following the Reform Act. The poem's style is slightly thumping, far better than McGonagall, but Swinburne he was not:

Hail Rossall Hall! thou stately dome,
With heavenly virtues blest:
Where learned sages find a home,
And weary traveller's rest.

Lennon, however, was no sycophant, his backing of Fleetwood was based on the politician's promise of work in the reform parliament for the rights of a million hand-loom weavers '...who, for a series of years have been labouring under the most unjust privations ever yet recorded in the annals of England's domestic history.' Lennon was campaigning in his poems for a minimum wage of a pound a week for the weavers. Fleetwood's many good works are recorded in his lengthy Wikipedia entry. He was also responsible for starting the development of the new resort town of Fleetwood built on a rabbit warren at Rossall Point near his stately pile. Initially he had considered naming his new town New Liverpool or Wyreton. I can find no trace of this John Lennon, the political poet, but an afternoon in Preston Library would probably reveal a few facts about him. Politically he was on the side of the working man and a dogged campaigner for worker's rights- that and a certain facility for rhyming connect him to his illustrious namesake.

Other compelling connections appear with a bit of searching online. Rossall Hall later became a private school and was attended by Stan Parkes, John Lennon's cousin. A fan site has this:

"Lennon had a large affiliation with Fleetwood where he regularly visited his cousin Stanley Parkes, the 'big brother' to the young John, the son of his Aunt Elizabeth (known as Mater)...George Parkes, the husband of Elizabeth and father of Stanley, died young and they moved to 33 Galloway Road where they lived with a local Fleetwood solicitor Mr Hodson. Stanley recalls he would often visit Liverpool and return to Fleetwood in the school holidays with his cousin Leila, Aunt Harriet's daughter. Stanley recalls they would all go up to Blackpool on the tram two or three times a week during their summer holidays to see separate shows. They would visit the Blackpool Tower Circus and see artists such as Dickie Valentine, Arthur Askey, Max Bygraves and Joe Loss and his big band. However, Stanley recalls it was George Formby who John particularly liked. The duo used to pass Formby's house regularly on the bus journey from Preston to Fleetwood where he and his wife would often be sitting in deck chairs in their garden at the front of their house. Stanley recalls he and John would wave and they would wave back. Stanley and the young John were keen fans of Fleetwood Flyers Speedway Club and Fleetwood Town FC. "

For a small outlay you could probably find the original John Lennon on ancestor or public records sites. He may even have been a relation to John Winston Lennon but probably not great grandfather as that man was said to have come from Ireland. A website called John Lennon's Family Tree states John Winston Lennon's great grandfather, James Lennon, son of Patrick Lennon, was born in County Down, Ireland in 1829. His father was a farmer. The John Lennon who flourished in 1832 appears to have been poor. He may have been a weaver himself ('One hundred hours we, every week/ Must toil for scanty fare...') He apologises to the great squire for 'the feeble outpourings of his rustic muse...the rude grasp of poverty will not afford me much time for mature reflection in the humble, but useful ranks, of a workman.' The book was printed by Wilcockson's of Preston. Who paid for the printing?