THE LAST OF ENGLAND

First edition, first printing. Signed by the author. Inscribed by Derek Jarman to his friend and gallerist Richard Salmon. Original black cloth lettered in silver to the spine, in the dustwrapper illustrated with two photographs by Mike Laye taken on location during the filming of Jarman's film, 'The Last of England'. A very near fine copy, the binding square and firm, the contents clean throughout. There are a few small light marks and a minor dink to the fore-edge of the page block. In the dustwrapper, fine except for the merest wear to the upper spine tip and corners and a few light surface marks. Not price-clipped (£10.95 net to the front flap). On p. 28, Jarman has drawn, in red ink, an elegant Dali-esque moustache onto a photograph of himself taken in New York in 1985 (in black clerical garb, complete with a cappello romano), adding a handwritten caption along the right edge, "auto interference". Loosely laid in is a flyer for the launch of Jarman's first book, 'Dancing Ledge', held at The Diorama, 14 Peto Place, London NW1 on 28 February 1984 (Dancing 10pm-4am, Elizabeth Welch sings 11.30pm) and what appears to be a sketch, in red ink, in Jarman's hand, for a flyer for a forthcoming exhibition of his paintings at Richard Salmon's gallery. A lovely association copy with intriguing additions and inserts.

Inscribed by Derek Jarman in red ink to the first blank page, "Richard's Book / from Derek." The recipient is Richard Salmon, gallerist, friend, and sole dealer of Jarman's paintings and sculptures. 'The Last of England' was written during the making of the 1987 film of the same name (the title borrowed from Ford Madox Brown's great 1855 painting depicting emigrants leaving England to start a new life in Australia). Unfolding with something of the film's impressionistic, intuitive, and deeply personal manner, the book begins, Jarman writes, "with my original ending for the film – 'The Ship Sails' – and takes us on a journey back in time and forward into an uncertain future." A fragmented autobiography covering childhood, family, sexuality, work as a painter, set designer and later filmmaker, the book, like the film, is both angry and melancholy (politically and personally), plangently documenting the dismal (for many) middle years of Margaret Thatcher's eleven-year tenure as Prime Minister.