![LAWRENCE, David Herbert (1885-1930). Amores. London: T. and A. Constable for Duckworth and Company, [1916].](https://www.christies.com/img/LotImages/2001/CSK/2001_CSK_09261_0012_000(034903).jpg?w=1)
细节
LAWRENCE, David Herbert (1885-1930). Amores. London: T. and A. Constable for Duckworth and Company, [1916].
8° (185 x 125mm). Publisher's device on title. 16-page publisher's catalogue bound in at the end. (Occasional light spotting and marginal browning.) Original blue cloth, the spine lettered in gilt, blind-stamped publisher's device on lower board (spine a little darkened, extremities lightly rubbed, a few marks), top edge trimmed, others uncut. Provenance: Katherine Mansfield (1888-1923, presentation inscription on title: 'To Katharine[sic] Mansfield , from D.H. Lawrence')--John Middleton Murry (1889-1957, Mansfield's husband, gift to:)--Millar Darroch Dunning (1884-1982, pencilled quotations from Lawrence's writings on upper pastedown and recto and verso of front free endpaper)--by direct descent to the present owner.
FIRST EDITION. A RARE AND IMPORTANT PRESENTATION COPY INSCRIBED BY LAWRENCE TO KATHERINE MANSFIELD. The present copy is remarkable not only for the association of two important twentieth-century writers, but also because Mansfield and Amores form the basis of an entire chapter in one of Lawrence's most important works, Women in Love. On the evening of 30 August 1916, Mansfield was in the Café Royal, London with her friends the writer S.S. Koteliansky and the artist Mark Gertler. The café was busy, and the party was obliged to share a table with several acquaintances, who had visited the Lawrences at Byron Villas, their Hampstead home. These acquaintances were reading aloud from a copy of Amores, mocking both Lawrence and the poems. As Gertler wrote to Lady Ottoline Morrell (the dedicatee of Amores) the following day,
'We had been ragging them all the time, but now we knew that something drastic must be done. We sat and thought. Suddenly Katharine leant towards them and with a sweet smile said "Will you let me have that Book a moment?" "Certainly" they all beamed back--even more sweetly. Imagine their horror and utter amazement when Katharine without a word more, Rose from the table, Book and all, we following most calmly--most calmly we walked out of the Café!!!' (letter of 31 August 1916, quoted in: A. Alpers The Life of Katherine Mansfield (London: 1980), p.216).
Shortly afterwards Koteliansky related the incident to Lawrence, who was writing Women in Love, one of whose leading characters, Gudrun Brangwen, was modeled on Mansfield. This story was fictionalised as chapter 28, 'Gudrun in the Pompadour', in which the Café Royal becomes the Pompadour, and Amores becomes a letter from Rupert Birkin (Lawrence's fictional self-portrait):
'She rose, whilst Gerald was paying the bill, and walked over to Halliday's table. They all glanced up at her.
"Excuse me," she said. "Is that a genuine letter you are reading?"
"Oh yes," said Halliday. "Quite genuine."
"May I see?"
Smiling foolishly he handed it to her, as if hypnotized.
"Thank you," she said.
And she turned and walked out of the Café with the letter, all down the brilliant room, between the tables, in her measured fashion. It was some moments before anybody realized what was happening'.
The present copy (which appears to be an early issue) was probably given to Mansfield by Lawrence around the time of publication in July 1916, and remained in her possession until her sudden death of tuberculosis at Fontainbleau in 1923, aged 34. Mansfield's husband John Middleton Murry inherited her library, and gave this copy to his friend Millar Dunning (who had gone to France to assist with the funeral arrangements) and it has remained in Dunning's family since that time.
Roberts notes that 900 copies of the first edition of Amores were printed, and he further distinguishes three variants: 1, containing the advertisements and with untrimmed fore and lower edges, as here; 2, containing the advertisements, but with all edges trimmed; 3 without the advertisements but with all edges trimmed. Roberts suggests that variant 1 copies may have been advance copies (citing a copy of variant 1 with a publisher's review stamp), and that copies of variant 3 were remainder copies, issued some years after 1916. No other work inscribed by Lawrence to Mansfield is recorded at auction since 1975 by ABPC. Roberts D.H. Lawrence (1982) A9a.
8° (185 x 125mm). Publisher's device on title. 16-page publisher's catalogue bound in at the end. (Occasional light spotting and marginal browning.) Original blue cloth, the spine lettered in gilt, blind-stamped publisher's device on lower board (spine a little darkened, extremities lightly rubbed, a few marks), top edge trimmed, others uncut. Provenance: Katherine Mansfield (1888-1923, presentation inscription on title: 'To Katharine[sic] Mansfield , from D.H. Lawrence')--John Middleton Murry (1889-1957, Mansfield's husband, gift to:)--Millar Darroch Dunning (1884-1982, pencilled quotations from Lawrence's writings on upper pastedown and recto and verso of front free endpaper)--by direct descent to the present owner.
FIRST EDITION. A RARE AND IMPORTANT PRESENTATION COPY INSCRIBED BY LAWRENCE TO KATHERINE MANSFIELD. The present copy is remarkable not only for the association of two important twentieth-century writers, but also because Mansfield and Amores form the basis of an entire chapter in one of Lawrence's most important works, Women in Love. On the evening of 30 August 1916, Mansfield was in the Café Royal, London with her friends the writer S.S. Koteliansky and the artist Mark Gertler. The café was busy, and the party was obliged to share a table with several acquaintances, who had visited the Lawrences at Byron Villas, their Hampstead home. These acquaintances were reading aloud from a copy of Amores, mocking both Lawrence and the poems. As Gertler wrote to Lady Ottoline Morrell (the dedicatee of Amores) the following day,
'We had been ragging them all the time, but now we knew that something drastic must be done. We sat and thought. Suddenly Katharine leant towards them and with a sweet smile said "Will you let me have that Book a moment?" "Certainly" they all beamed back--even more sweetly. Imagine their horror and utter amazement when Katharine without a word more, Rose from the table, Book and all, we following most calmly--most calmly we walked out of the Café!!!' (letter of 31 August 1916, quoted in: A. Alpers The Life of Katherine Mansfield (London: 1980), p.216).
Shortly afterwards Koteliansky related the incident to Lawrence, who was writing Women in Love, one of whose leading characters, Gudrun Brangwen, was modeled on Mansfield. This story was fictionalised as chapter 28, 'Gudrun in the Pompadour', in which the Café Royal becomes the Pompadour, and Amores becomes a letter from Rupert Birkin (Lawrence's fictional self-portrait):
'She rose, whilst Gerald was paying the bill, and walked over to Halliday's table. They all glanced up at her.
"Excuse me," she said. "Is that a genuine letter you are reading?"
"Oh yes," said Halliday. "Quite genuine."
"May I see?"
Smiling foolishly he handed it to her, as if hypnotized.
"Thank you," she said.
And she turned and walked out of the Café with the letter, all down the brilliant room, between the tables, in her measured fashion. It was some moments before anybody realized what was happening'.
The present copy (which appears to be an early issue) was probably given to Mansfield by Lawrence around the time of publication in July 1916, and remained in her possession until her sudden death of tuberculosis at Fontainbleau in 1923, aged 34. Mansfield's husband John Middleton Murry inherited her library, and gave this copy to his friend Millar Dunning (who had gone to France to assist with the funeral arrangements) and it has remained in Dunning's family since that time.
Roberts notes that 900 copies of the first edition of Amores were printed, and he further distinguishes three variants: 1, containing the advertisements and with untrimmed fore and lower edges, as here; 2, containing the advertisements, but with all edges trimmed; 3 without the advertisements but with all edges trimmed. Roberts suggests that variant 1 copies may have been advance copies (citing a copy of variant 1 with a publisher's review stamp), and that copies of variant 3 were remainder copies, issued some years after 1916. No other work inscribed by Lawrence to Mansfield is recorded at auction since 1975 by ABPC. Roberts D.H. Lawrence (1982) A9a.
注意事项
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