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is really attached to her in the senses, in the unconsciousness, in the blood. he is always fighting away from this. But in doing so he is a fool. She is very nice and very real and simple, we like her. his affection for mlle is a desire for the light because he is in the dark. if he were in the light he would want the blood connection, the dark, sensuous relation. With Puma he has this second, dark relation, but not the first. She is quite intelligent, in her way, but no mental consciousness; no white consciousness, if you understand, all intuition, in the dark, the consciousness of the senses…Perhaps he is very split and would like to have the two things separate, the real blood connection and the real conscious or spiritual connection, always separate. For these people i really believe in two wives. i don’t see why there should be monogamy for people who can’t have full satisfaction in one person, because they themselves are too split…monogamy is for those who are whole and clear, all in one stroke…For myself, thank God, i feel myself becoming more and more unified, more and more a oneness. And Frieda and i become more and more truly married - for which i thank heaven. it has been such a fight. But it is coming right. And then we can all three be real friends. Then we shall be really happy, all of us, in our relation”

At the beginning of 1916 Warlock, a conscientious objector, had followed Lawrence to cornwall and involved himself in an unsuccessful venture to publish Lawrence’s books. here Lawrence is discussing his love affairs with Juliette Baillot “mlle” and an artists’ model, minnie Lucy channing “Puma”. Lawrence and Warlock’s friendship did not last and the two split with some acrimony. Warlock returned to cornwall for a brief while in April 1917 and, outwardly, at least, resumed cordial, if distant, relations with Lawrence. What he did not know was that Lawrence was at the time writing Women in Love in which he and Puma were being introduced as two unattractive characters. When in 1921 he learnt that the book was to be published, he threatened legal action and Lawrence was forced to rewrite certain passages.

folding maps bound to throw clear, and 4 full-page maps in the text; dustwrapper priceclipped, slightly marked and faded on spine, small chips and tears at edges, a few scattered, light spots, one plate torn causing small marginal loss, otherwise a very good copy in the dustwrapper.


172. LAWRENCE, T.E. catalogue of an Exhibition of Paintings, Pastels, Drawings and Woodcuts illustrating col. T.E. Lawrence’s book “Seven Pillars of Wisdom”. With Prefaces by Bernard Shaw and T.E. Lawrence. Ernest Brown & Phillips. The Leicester Galleries. 1927.


12mo., original grey printed wrappers stapled as issued. With the two illustrations of Kennington’s bust of Lawrence and Augustus John’s Portrait of King Feysal. Staple a little rusted, a little sunning to wrappers, pin hole through top left corner of pamphlet, otherwise a very good copy.

First edition, press review copy with scarce “To the Press” label on the upper wrapper. “in 1927 for an exhibition of the illustrations to Seven Pillars of Wisdom, Leicester Galleries issued a catalogue. The preface written [by Lawrence] for the 1921 exhibition of Kennington illustrations, with the first three paragraphs omitted, was used for this catalogue for the second exhibition. George Bernard Shaw also contributed a preface saying more about Lawrence than he did about the exhibition” (O’ Brien A099).

Shaw’s preface was reprinted as “Revolt in the Desert and its author” in now & Then (house organ of Jonathan cape Spring 1927) and as “This man Lawrence” in World’s Work (new York April 1927). (Laurence B160).


173. LAWRENCE, T.E. — Sir Basil Henry LIDDELL HART. ‘T.E. Lawrence’ in Arabia and After. London: The Alden Press for Jonathan Cape, 1934.


8vo (217 x 144mm). original orange-red cloth by A.W. Bain & co. Ltd, upper board and spine lettered in gilt, lower board with publisher’s device in blind, top edges red, dustwrapper; pp. [2 (half-title, other books by the author on verso)], 454; portrait frontispiece after Augustus John, 11 half- tone plates after Lawrence, S.F. newcombe, Raymond Goslett, et al., 5


First edition. Written by the eminent military historian, and friend and biographer of Lawrence, Basil Liddell hart (1895-1970), ‘T.E. Lawrence’ in Arabia and After ‘was initially conceived as a study of the war in the middle East from the military viewpoint, though Lawrence would inevitably have been considered. in his introduction, Liddell hart states that he felt this examination would tend to bring Lawrence’s activities into their true perspective but his conclusion was that “But for him the Arab Revolt would have remained a collection of slight and passing incidents”. Liddell hart’s main interest is, therefore, in the military aspect of Lawrence’s life and he feels that his understanding of the war, and the tactics that he evolved, were far superior to many of the regular army officers, although Liddell hart does not over-emphasise the importance of the Arab revolt in the war as a whole’ (clements). Written in close collaboration with Lawrence (who was, like Liddell hart, later disappointed by cape’s attempts to move the book’s emphasis away from military subjects and analysis), o’Brien notes that the ‘blurb on [the dustwrapper] of first impression was written by Lawrence, [and] dropped from all subsequent issues’. According to Lawrence, writing in the dustwrapper blurb, ‘The book gives new interpretation of the middle East campaigns for Jerusdalem and Damascus, the major operations to which the Arab Revolt was tied. it reproduces much fresh evidence, from War cabinet records to soldiers’ stories of what they actually witnessed; amd ioncludes some striking reconsiderations of hitherto accepted ideas. A few actual letters of colonel Lawrence, written in war-time, are first published’. The work was first issued in march 1934, and, such was its popularity, two further impressions appeared in the same month.

O’Brien E058; cf. Clements pp. 95-96 (London: 1965 ed.).

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