First edition, first printing. Publisher's original orange cloth with black titles to the spine, in dustwrapper. A very good copy, the binding square and firm with some bumping to the spine tips and corners, the cloth darkened and with a few small marks. The contents, with some spotting to the prelims and closed text block edge, are otherwise clean and without inscriptions or stamps. Complete with the very good, supplied, first printing dustwrapper that has several short closed tears and chips with associated creasing to the spine tips and fold corners, and some wear and erosion to the upper corner of the front panel and fold edges. Not price-clipped (7s 6d net to the lower front flap). A very scarce title in dustwrapper.

A Roger Bennion novel. (Hubin; Curran, John: The Hooded Gunman).

First UK edition, first printing, preceding the US edition published the following year. Original blue cloth lettered in silver to the spine, in the dustwrapper with Mark Gerson's photographic portrait of James Baldwin to the rear panel. A very near fine copy, the binding square and firm, the contents clean throughout. In the clean, bright dustwrapper, fine except for a little toning to the inner flap tips. Not price-clipped (£2.25 net to the front flap). An attractive copy of the true first edition of Baldwin's Malcolm X screenplay. Scarce.

In 1968, the producer Marvin Worth, who a year before had bought the film rights to Alex Haley's 'The Autobiography of Malcolm X', commissioned a screenplay from James Baldwin. Work on the project took longer than anticipated and the film project was eventually shelved. Baldwin, who later declared of the experience that "I would rather be horsewhipped, or incarcerated in the forthright bedlam of Bellevue, than repeat the adventure", nevertheless developed the work for this book. Although Spike Lee later used the book as the basis for his own screenplay for 'Malcolm X' in 1992 (five years after Baldwin's death), the writer's family requested that Baldwin's name be removed from the film's credits.

Pen, ink and watercolour on paper. 22 x 14cm. A wonderful original artwork, featuring a hot air balloon most probably created for Fortnum and Mason. Folded in the form of a brochure. The image is in very good condition with a little rubbing to the extremities. The fold is worn with a small split (not affecting the image). A very attractive piece.

Provenance: Estate of Stanley Jones MBE, Artist And Master Lithographer. Edward Bawden (1903-89) was a master printmaker, illustrator, watercolourist and designer and is today recognised as one of the most influential artists of his generation. He is perhaps best-known for his commercial work for companies such as Twinings and Fortnum & Mason, and his linocuts depicting everyday England.

First edition, first printings thus. Signed by the author. One of 200 hand-numbered sets, this example is numbered 40. Octavo (21 x 14 cm). Original full black cloth, spines and front panels lettered and ruled in gilt. Issued without dustwrappers. Pale blue marbled endpapers. A very near fine set, presenting as unread, the cloth and gilt sharp, the contents bright and clean throughout. Light fading to spines, though less than usual with this set, and evenly across the set. Light spatter marks to the upper area of the page-block fore-edges of 'Murphy' and 'Molloy' (not affecting the page surfaces). An uncommonly bright, sharp example of this landmark edition.

Signed by Samuel Beckett in black ink to the limitation page at the front of volume I ('Waiting for Godot'). In 1969, Beckett was awarded the Nobel Prize in Literature ("for his writing in new forms for the novel and drama in which the destitution of modern man acquires its elevation"). By all accounts, he saw the event as unfortunate, threatening as it did to destroy whatever anonymity he still possessed. He accepted the prize, however, his friend and publisher at Les Éditions Minuit, Jérôme Lindon, collecting the prize in Stockholm on the author's behalf. The prize was a diploma, a medal, and 375,000 kronor, most of which Beckett gave away (a significant portion to the library of his alma mater Trinity College's library in Dublin). The following year, Beckett's US publisher, Grove Press, marked the honour with this magnificent sixteen-volume 'Collected Works', containing all Beckett's prose, poetry and drama, and limited to 200 signed and numbered copies.

First edition, first printing. Publisher's original green cloth with gilt titles to the spine, in dustwrapper. A very near fine copy, the binding square and firm with a touch of bumping at the base of the spine, the cloth bright and fresh. The contents are clean throughout and without inscriptions or stamps. Complete with the lightly rubbed and nicked pictorial dustwrapper that is a little dust-marked. Scarce in the first edition.

The author's first [published] book, a classic of modern travel writing based on a year spent in Mexico after the Second World War.

First edition, first printing. Original blue cloth lettered and ruled in violet to the upper board and spine, in the Donia Nachsen illustrated dustwrapper. A striking, very near fine copy, the binding square and firm, the cloth fresh, the contents bright and clean throughout, without inscriptions or stamps. The faintest spotting visible to the page block. Complete with the remarkably vibrant, sharp and clean original dustwrapper, without fading, tears, or even any nicks to speak of. Not price-clipped and correctly priced 7/6 net to the front flap. An uncommonly beautiful copy of the author's first novel. Vanishingly scarce in the dustwrapper.

'The Hotel', Bowen's first novel, was written during the two years she was living at 73 Knights Lane, Kingsthorpe, in Northampton where, newly-wed, she had moved with her husband Alan Cameron in 1923. Her two earlier books (both of short story collections), 'Encounters' (1923) and 'Ann Lee's and Other Stories' (1926) had been published by Sidgwick & Jackson, but for 'The Hotel' Bowen moved to Constable. In her invaluable biography of Bowen, Victoria Glendinning quotes from a letter Rose Macaulay sent to Michael Sadleir at Constable in July, 1926: "I believe Curtis Brown [the agent Macaulay and Bowen shared] is sending you 'The Hotel', a novel by Elizabeth Bowen, who wrote two very clever books of short stories [...] This is only to say that I've just read 'The Hotel' and thought it extraordinarily clever and good!" Sadleir read it for himself and was equally impressed. The novel, set among a group of English guests staying in a hotel on the Italian Riviera (where Bowen herself had spent the winter of 1921), is clearly indebted to Forster's 'A Room With A View' and Woolf's 'The Voyage Out' (her own debut novel); Bowen's voice, however, is already distinct. Glendinning asserts that "[t]he important thing about 'The Hotel' is that it is very, very funny [, and] for a first novel it is extraordinary." The book was published on 18 August 1927. Owing to the destruction of the publisher's records during the war, no record survives of the number of copies printed. There is, however, evidence that a second impression was needed by October the same year. (Victoria Glendinning, Elizabeth Bowen: A Biography [London: 1977]; Sellery and Harris A3a.).

First edition, first printing. Original dark brown cloth lettered in black to spine and front panel, in the dustwrapper illustrated with a design from woodcuts by Celia M. Fiennes (the hat shop pictured is the titular 'Ann Lee's' of the opening story). A strikingly fine copy, the binding square and firm, the cloth and black lettering clean and sharp, the contents bright and clean throughout and without inscriptions or stamps. The merest spotting to the page block edges and very light offsetting to free endpapers. Complete with the remarkably well-preserved original dustwrapper, showing just a few minor nicks and a touch of dustiness, the cover illustration still sharp and bright. The green lettering to the spine is a little faded but still easy to decipher. Unclipped and correctly priced 7s. 6d. net to the spine. A beautiful copy of the author's second book. Incredibly hard to find with the dustwrapper in any state; indeed Sellery and Harris, Bowen's bibliographer's, note in their entry for the volume that they have never seen the wrapper.

If the pervading image of Elizabeth Bowen is of the formidable Anglo-Irish grande dame of later years, dividing her time between Bowen's Court, the family home in north Cork, and Clarence Terrace in London, much of her finest writing was done when she was a young woman finding her feet in the literary world. 'Ann Lee's and Other Stories', published when she was twenty-five, was Bowen's second book and second collection of short stories. Three years earlier – the same year that Encounters, her first book, was published – Bowen married Alan Cameron (at the time Assistant Secretary for Education for Northamptonshire, he later worked for the BBC), to whom this collection is dedicated. The couple had moved into 73 Knights Lane, Kingsthorpe, in Northampton, described by Bowen's aunt as "a horrid little house". It was there, however, that she wrote the stories collected in 'Ann Lee's', as well as her first novel, 'The Hotel', both books revealing a new maturity of voice. "I was now located, the mistress of a house", she later wrote, "and the sensation of living anywhere, as apart from paying a succession of visits, was new to me." Writing about these stories, the novelist Tessa Hadley notes that the "contained form and the mannered stylishness [of Encounters] persists, along with the author's all-seeing irony [...]; yet the work grows stranger, and more sympathetic. [...] Bowen's stories don't break the genre frame; rather, they swell it from the inside and make it strange." The first edition was published on 14 April 1926 in an edition of 2,000 copies. (Victoria Glendinning, Elizabeth Bowen: A Biography [London: 1977]; Tessa Hadley, Hats One Dreamed about, London Review of Books, 20 February 2020; Sellery and Harris A2a.).

First edition thus. Limited edition. Original vellum boards with gilt titles to the spine and a blind-stamped 'Soul is Form' rose design to the upper board. Printed on vellum, in Caslon type. Wood-engraved frontispiece by William Strang. Hand-coloured initials by Florence Kingsford Cockerell throughout. A very near fine copy, the binding square and firm with a light scuff to the upper board and some dustiness to the spine. The contents are clean throughout and without stamps or inscriptions. The slipcase is sound with light rubbing at the extremities.

Issued in a limited edition of 150 copies, of which this example is numbered 59. The Essex House Press was founded by Charles Robert Ashbee and Laurence Hodson following the closure of William Morris' Kelmscott Press in 1897. Ashbee bought the Kelmscott Press's Albion printing presses after William Morris's death, and employed one of the Kelmscott compositors, Thomas Binning. In 1902 "a bindery was established in the Guild, under the direction of Annie Power, who had been a student of Douglas Cockerell" (Crawford, p.400). The present work is the seventh in the Essex Press's 'Great Poems Series'. The illuminated initials were provided by Florence Kingsford Cockerell (1871-1949), one of the leading book illuminators of the English arts and crafts movement. Kingsford Cockerell studied calligraphy under Edward Johnston and predominantly worked for the Ashendene Press. (Alan Crawford, C. R. Ashbee: Architect, Designer and Romantic Socialist, 2005).

First edition. A complete run of seven volumes. Publisher's original pictorial card covers. Illustrated in black and white, with occasional colour plates in volumes 4, 5 and 7. Very good or better copies, the bindings square and firm, the extremities lightly rubbed and occasionally creased. The contents, with a few light marks to the closed text block edges and small creases to the top corners of the later pages in volumes 5 and 6, are otherwise clean and without inscriptions or stamps. An attractive set, uncommon thus.

An illustrated journal publishing essays exploring art and literature from the classical to modern eras through Archetypal Psychology and vice versa, aiming to bring "an alchemical and poetic, rather than clinical and linear, language when speaking of psyche - an imaginative language which will do justice to the subtleties and enigmas of psychological life".

First edition in book form, first printing. Publisher's original red cloth with gilt and black titles and design to the front and spine. Illustrated with 16 full page plates by Sidney Paget. An attractive very good or better copy, the binding square and firm with some bumping at the spine tips and a very short split at the upper spine fold. The gilt is bright, the cloth, lightly faded to the spine and with a few minor marks and some wrinkling to the rear board. The contents are entirely complete and without loose or torn pages. There is some spotting to the endpapers, prelims, and closed text block edge, otherwise the contents are clean throughout and without inscriptions or stamps. Housed in a bespoke, red cloth solander case. An attractive example in original condition.

Sherlock Holmes' most famous case, and as those before before it, originally serialised in magazine form. A Haycraft Queen Cornerstone. (Green and Gibson A26a).

First edition, first printing. Publisher's original red cloth with gilt titles to the spine, in dustwrapper. Brilliantly illustrated by Quentin Blake with black ink wash drawings throughout. A excellent better than very good copy, the binding square and firm with a little softening and rubbing at the the spine tips and an indentation to the fore-edge and top-edge of the boards. The contents, with a patch of abrasion to the rear endpaper, are otherwise clean throughout and without inscriptions or stamps. Complete with the lightly rubbed, creased and spine faded dustwrapper, that has a tiny nick to the bottom corner of the rear flap fold and is otherwise without loss or tears. Not price-clipped (£3.50 to the front flap).

First single volume edition, revised and corrected. Publisher's original brown cloth, the borders decorated in blind to the upper and lower boards, gilt motif to the centre of the upper board, titles in gilt to the spine. Illustrated with 24 steel-engravings by George Cruikshank. A good or better copy, the binding square and firm, re-spined with the original cloth laid down, bumping and rubbing to the corners. The cloth on the spine is heavily faded and the gilt worn. The contents, with intermittent spotting and light offsetting to the pages facing the plates, are otherwise clean and without inscriptions or stamps.

First published in three volumes by Richard Bentley in 1838, this first single volume edition was substantially revised by the author.

First edition, first printing. Signed by the author. Publisher's original grey paper covered boards, stamped in blind and orange cloth with gilt titles to the spine, in the Lawrence Ratzkin designed dustwrapper. Top edge pink. An excellent near fine copy, the binding square and firm with a little bumping at the spine tips and a thin strip of toning to the extreme upper edge. The contents, with a tiny in name to the top right corner of the front endpaper, are otherwise clean throughout. Complete with the lightly rubbed and creased dustwrapper that is without fading, loss or tears. Not price-clipped ($4.95 to the upper front flap).

Signed by Joan Didion in black ink on the title page. On first publication of Joan Didion's seminal essay collection, (the title taken from W. B. Yeats' poem 'The Second Coming'), novelist and screenwriter Dan Wakefield wrote for the The New York Times Book Review "Didion's first collection of nonfiction writing, Slouching Towards Bethlehem, brings together some of the finest magazine pieces published by anyone in this country in recent years. Now that Truman Capote has pronounced that such work may achieve the stature of 'art', perhaps it is possible for this collection to be recognized as it should be: not as a better or worse example of what some people call 'mere journalism,' but as a rich display of some of the best prose written today in this country".

First UK edition, first printing. Signed by the author. Publisher's original blue paper covered boards with gilt titles to the spine, in dustwrapper. A near fine copy, the binding square and firm, with just a light bump at the base of the spine. The contents are clean throughout and without inscriptions or stamps. Complete with the lightly rubbed and creased dustwrapper that is a touch faded to the spine and otherwise free from loss or tears. Not price-clipped (£16.99 to the front flap).

Signed by Umberto Eco in black ink on the title page.

First edition, first printing. Original blue cloth lettered and ruled in gilt on black to the spine, in dustwrapper. A very near fine copy, the binding square and firm, the cloth and gilt sharp, the contents bright and clean throughout, without marks, inscriptions or spotting. In the near fine dustwrapper, showing a little marginal toning, and a little rubbing to extremities and folds. Not price-clipped (30s net to the front flap). An sharp, bright copy of this uncommon volume.

Eliot completed his study of Francis Herbert Bradley (its original title was 'Experience and the Objects of Knowledge in the Philosophy of F. H. Bradley') "in partial fulfilment of the requirements" for the degree of Doctor of Philosophy of Harvard University. Thanks to the award of a Sheldon Travelling Fellowship, Eliot was able to travel to England to work under Harold Joachim, a disciple of Bradley at Merton College. When the dissertation was completed, in April 1916, Eliot was working as a junior master at Highgate Junior School and, as things turned out, Eliot didn't return to Harvard to complete the doctorate, living in England from this time until his death in 1965, the year after this volume was published. It was the interest and persistence of two scholars that convinced the poet to allow the thesis to be published for the first time: Hugh Kenner, who referred to it, and Eliot's debt to Bradley, in his 1960 study, 'The Invisible Poet' (Eliot famously quotes the philosopher in the notes to 'The Waste Land') and Professor Anne Bolgan of the University of Alaska, who read it in the Harvard University archives and, at the same time, found a copy of a letter from Professor J. H. Woods, written to Eliot shortly after the dissertation had been submitted, in which he reported that Josiah Royce, the distinguished American Pragmatist had spoken of the young Eliot's study as "the work of an expert". For this edition, the thesis has been provided with notes and a bibliography by Professor Bolgan in addition to two articles Eliot published while writing it. The volume is dedicated to Eliot's wife, Valerie, "who urged me to publish this essay". Published 31 January 1964 in an edition of 5040 copies, it was the last book to be published during Eliot's lifetime. (Gallup A75b).

First edition, first printing. Publisher's original grey cloth with gilt titles to the spine, in the Bill Botten illustrated dustwrapper. Red top-stain. A near fine copy, the binding square and firm with a minor bump to the top corner of the lower board, the cloth and gilt, bright and fresh. The contents are otherwise clean throughout and without stamps or inscriptions. Complete with the very good lightly rubbed and nicked dustwrapper has a short closed tear to to top edge of the rear panel and mild toning to the spine. Not price-clipped (45s / £2.25 net to the front flap). An attractive example.

The winner of the so called "lost" Booker Prize, awarded after a decisive public vote in 2010 due to books published in 1970 being previously excluded for what would have been their eligible year following a rule alteration.

A leaf removed from a sketchbook with a drawing on each side rendered in ink and watercolour. One side is densely illustrated and with an array of highly detailed faces of different sizes, displaying many different expressions, hairstyles, fashions and headwear. The reverse side shows three overlapping sketches of an elegantly dressed woman in a floral hat in black and pink, with 'AF 2' written in tiny characters in pencil along the bottom. The sheet measures 13 x 19.5 cm. In very good condition, the drawings bright and crisp, the very edges slightly toned. Uneven edge to the left side. Unframed.

A beautiful and very unique pair of drawings by the Scottish artist Annie French (1872-1965). French attended and later taught at the Glasgow School of Art alongside her contemporaries Margaret and Frances MacDonald and Jessie M. King at a time when Scottish art and design was enjoying a period of particular innovation and renown. The Glasgow School's distinctive collective style helped to shape the aesthetics of the British Art Nouveau and Arts and Crafts movements at the turn of the twentieth century and beyond. Provenance: Christies Scotland, 9th April 1981, lot 19; Private collection.

Two drawings on joined leaves executed in black and brown ink and pencil. The left side shows a delicate foliage design, the right, a smiling woman in an ornate black ball gown standing on a floral lawn. This image has 'EX LIBRIS / Annie French' written on the bottom right corner, suggesting it may be a design for a bookplate. The reverse side is primarily blank, with a small unfinished sketch of a male figure and slight ghosting of some writing. 'AF 39' is written in pencil in tiny characters along the bottom. The sheet measures 26 x 19.5 cm. In very good condition, the drawings bright and crisp, the very edges slightly toned, the centre fold with small holes where it was bound into the sketchbook.

A beautiful pair of drawings by the Scottish artist Annie French (1872-1965), featuring her classic subjects of romantically dressed women and unique floral motifs. French attended and later taught at the Glasgow School of Art alongside her contemporaries Margaret and Frances MacDonald and Jessie M. King at a time when Scottish art and design was enjoying a period of particular innovation and renown. The Glasgow School's distinctive collective style helped to shape the aesthetics of the British Art Nouveau and Arts and Crafts movements at the turn of the twentieth century and beyond. Provenance: Christies Scotland, 9th April 1981, lot 19; Private collection.

An original painting of a beautiful woman smelling a rose, surrounded by briars and golden leaves and dressed in an elaborate, bride-like dress and veil adorned with many styles of lace and ruffles, with a tree and mountains behind her. Very delicately rendered in ink and watercolour on vellum. Signed at the bottom right corner. Window mounted and framed. The painting measures 17 x 22.3 cm, while the frame measures 39.5 x 46 cm. In very good condition, the vellum very lightly [naturally] toned and waved.

A wonderfully characteristic example of the work of the Scottish artist Annie French (1872-1965), demonstrating her typically delicate, fluid style and her fine, sweeping line, which together lend the image an airy and subtly dynamic atmosphere, and depicting her most visited themes of beautifully adorned women and nature. French attended and later taught at the Glasgow School of Art alongside her contemporaries Margaret and Frances MacDonald and Jessie M. King at a time when Scottish art and design was enjoying a period of particular innovation and renown. The Glasgow School's distinctive collective style helped to shape the aesthetics of the British Art Nouveau and Arts and Crafts movements at the turn of the twentieth century and beyond.

Pen, ink and watercolour on paper. An orginal painting of a woman wearing a red cape and a full-skirted dress patterned with red flowers standing in front of green foliage and a patterned background. The reverse is blank, with 'AF 19' written in pencil in tiny characters along the bottom. The sheet measures 13 cm x 19.5 cm. In very good condition, the drawing bright and crisp, the very edges are slightly toned.

A beautiful drawing by the Scottish artist Annie French (1872-1965), featuring her classic subjects of romantically dressed women and unique floral motifs. French attended and later taught at the Glasgow School of Art alongside her contemporaries Margaret and Frances MacDonald and Jessie M. King at a time when Scottish art and design was enjoying a period of particular innovation and renown. The Glasgow School's distinctive collective style helped to shape the aesthetics of the British Art Nouveau and Arts and Crafts movements at the turn of the twentieth century and beyond. Provenance: Christies Scotland, 9th April 1981, lot 19; Private collection.

An original drawing showing a dark haired woman in a long Art Nouveau-style floral patterned dress holding a long stem of flowers, surrounded by a border of small blossoms. Rendered in pen and ink, with the floor and flowers seeming to have been picked out with a water wash. A few pencil sketch lines can be seen beneath the ink. The reverse side has a painted border of green leaves, with "AF 61" written along the bottom in small pencil characters. The sheet measures 13 x 19.5 cm. In very good condition, the very edges lightly toned. Unframed.

A beautiful drawing by the Scottish artist Annie French (1872-1965) showing the influence of Aubrey Beardsley in the woman's aquiline facial features, solemn expression and dense line work, whilst clearly retaining French's recognisable soft and fluid style. French attended and later taught at the Glasgow School of Art alongside her contemporaries Margaret and Frances MacDonald and Jessie M. King at a time when Scottish art and design was enjoying a period of particular innovation and renown. The Glasgow School's distinctive collective style helped to shape the aesthetics of the British Art Nouveau and Arts and Crafts movements at the turn of the twentieth century and beyond. Provenance: Christies Scotland, 9th April 1981, lot 19; Private collection.

First Danish edition, first printing. Signed by the author. Contemporary half morocco over marbled boards with five raised bands and titles in gilt to the spine. Publisher's original front and rear wrappers retained and bound in. The binding is in fine condition, square and firm. The contents with a little toning to the paper stock and wear to the edges of the front and rear wrappers, are otherwise clean throughout.

Inscribed by the author in black ink on the half title "For P. Saugman / from Graham Greene". A Haycraft Queen Cornerstone. The recipient, Per Saugman was a bookseller and publisher who built Blackwell Scientific Publications into the top medical and scientific publishing house of his generation. As a bookseller he worked closely with Richard Blackwell, chairing Blackwell North America, three of the major UK Blackwell shops (Hartley Seed, Parry's and George's) and Munksgaard, which the Blackwell companies had bought (on Saugman's advice) in 1963. He served as a governor of Oxford Polytechnic, the Dragon school and Headington school in Oxford and set up the Sunningwell School of Art. Unusually, was a fellow of two Oxford colleges, Green and St Cross.

First Danish edition, first printing. Signed by the author. Contemporary half green morocco over green cloth with five raised bands and titles in gilt to the spine. Publisher's original front and rear wrappers retained and bound in. The binding is in fine condition, square and firm. The contents, with a little toning to the edges of the paper stock and wear to the edges of the front and rear wrappers, are otherwise clean throughout.

Inscribed by the author in black ink on the half title "For P. Saugman / from Graham Greene". The basis for the 1944 film of the same name starring Ray Milland and Marjorie Reynolds. The recipient, Per Saugman was a bookseller and publisher who built Blackwell Scientific Publications into the top medical and scientific publishing house of his generation. As a bookseller he worked closely with Richard Blackwell, chairing Blackwell North America, three of the major UK Blackwell shops (Hartley Seed, Parry's and George's) and Munksgaard, which the Blackwell companies had bought (on Saugman's advice) in 1963. He served as a governor of Oxford Polytechnic, the Dragon school and Headington school in Oxford and set up the Sunningwell School of Art. Unusually, was a fellow of two Oxford colleges, Green and St Cross.

Revised and enlarged edition with Arthur Rackham illustrations. Publisher's original red cloth with gilt titles and illustration to the upper board and spine. Dark red top edge. Illustrated with 40 tipped in colour plates, each with a captioned tissue guard, and 55 black and white drawings by Arthur Rackham, both full page and within the text. An excellent near fine copy, the binding square and firm with a little bumping and minor fraying at the head of the faded spine, the cloth otherwise bright and fresh. The contents, with just some mild spotting to the pictorial endpapers, are clean throughout and without inscriptions or stamps. All of the plates are present as called for and in excellent near fine condition, with the occasional small corner crease.

One of the most beautiful of all Arthur Rackham gift books and most ambitious in production. In collecting 60 stories (including favourites such as Hansel and Grethel, Red Riding Hood, Tom Thumb and Rapunzel) and featuring 95 illustrations, the page block is so thick and heavy that it is prone to detaching from its binding in the course of even light use. The result being that most copies of the trade edition have not survived without the need for repair, restoration or rebinding. The present example has escaped any form of intervention and is offered in entirely original condition. Scarce thus.

First bound edition. Publisher's original grey-green illustrated cloth, with titles in black and white. Professionally rebacked with the original spine laid down. Quarto, 36.5 x 28cm. All edges marbled. Illustrated with 100 lithographic plates, many in colour, 34 of which have captioned tissue overlays, all with a corresponding page of explanatory text. Text in German. 55 page supplement to the rear. A near fine copy, the binding square and firm, with light rubbing to the extremities and a few light marks to the boards. The contents, with staining to the outer margin (not affecting the text) of pages 13 to 16 of the supplement, are otherwise clean and bright throughout. The plates are all in clean and bright fine condition, with light toning to some of the tissue overlays. A very attractive example.

The German biologist Ernst Haeckel's most influential work, a landmark publication of naturalist illustration that bridged the gap between science and art in the early twentieth-century. In 1861 Haeckel became a professor of Comparative Anatomy and a year later, the Director of the Zoological Institute at the University of Jena. Throughout his career he studied a variety of zoological areas, his most notable work being on marine organisms, including poriferans, cniaraians and radiolarians. Travelling to Messina, Sicily in 1859, Haeckel studied the structure of radiolarians, a group of microscopic single celled organisms (zooplankton) with silica skeletons, previously little researched, he named nearly 150 new species. This experience encouraged him to study doctorate zoology and in 1862 led to the publication of his first illustrated two volume monograph, 'Die Radiolarien (Rhizopoda Radiaria)' in which he provided positive evidence in support of Darwin's theory of evolution. He was later commissioned to document radiolarians for the British Challenger expedition (1872-1876), a global survey of ocean life and was awarded the Linnean Society's Linnean Medal in 1894. Throughout his career he would discover, describe and name thousands of new species of marine organisms, illustrating them with graphic precision in over 40 works.  'Kunstformen der Natur' [Art Forms in Nature] was originally published in portfolios of ten illustrations between 1899 and 1904. The complete work, with a preface and supplement was first published in book form in 1904. Haeckel's highly detailed drawings, beautifully illustrating plants, mammals, invertebrates and previously unseen microscopic marine life, would popularise science and bring the natural world to a wider audience. The striking natural forms would influence the fields of art, architecture and design with many artists associated with the Art Nouveau directly influenced by his work.,

First edition, first printing. Signed by the author. The dedication copy. Publisher's original bright orange cloth with black titles to spine and front panel, in the Vernon Soper illustrated dustwrapper. A very good copy, the binding square and firm, the cloth bright and fresh. The contents, somewhat spotted to the prelims and text block edge are otherwise clean and free from previous owner's marks. Complete with the rubbed and nicked dustwrapper that has several closed tears and small chips professionally stabilised to the reverse. Correctly priced 7/6 net to the spine.

The printed dedication reads simply 'To W. W.' underneath which the author has inscribed "With very real appreciation / J. Lindsay Hamilton / 3.3.30". The first of two crime novels by J. Lindsay Hamilton. 'Unseen, unheard, unknown, an impenetrable mystery even to his chief lieutenants, "The Gorgon" is all powerful, wielding a rod of terror over his lesser villains' - dustwrapper blurb. (Hubin).

Limited edition, signed by the author. Quarter blue grained calf over French marbled paper-covered boards, lettered in gilt to the spine, in matching marbled card slipcase. Top edges gilt. Printed by the St Edmundsbury Press in Bury St Edmunds on Supreme Book Wove paper; bound by Hunter & Foulis & Co Ltd, Edinburgh. A fine copy, the binding square and firm, the contents clean and bright throughout. In the near fine slipcase, lightly rubbed to spine tips and corners. An uncommonly sharp and fresh example.

Issued in an edition of 112 hand-numbered copies, signed by Geoffrey Hill, of which copies I-XII were reserved for the author and publishers. This is copy numbered 86. This, Hill's first 'Collected', was first issued in paperback format the year before the trade hardback and this limited signed edition. The volume reprints all the poems from the five individual books of verse he had so far published, with the addition of the three 'Hymns to Our Lady of Chartres', printed here for the first time. The collection is dedicated to the memory of the poet's parents. "He is a profound genius, the best poet writing in England. [...] He makes exquisite, immaculate music." (Michael Longley, in The Guardian).

First edition, first printing. Signed by the author. Publisher's original yellow cloth with black titles to the spine, in the photo-illustrated dustwrapper. Illustrated throughout. A near fine copy, the binding firm, the spine a touch rolled, the cloth bright and fresh. The contents are clean throughout and without previous owner's inscriptions or stamps. Complete with the lightly rubbed dustwrapper that is faintly spotted to the underside (not visible to the printed side) and otherwise bright and without loss or tears.

Inscribed by David Hockney in red, green and brown ink on the page opposite the title page "For / Richard / love / David H.". The recipient is the gallerist and art dealer Richard Salmon who, in collaboration with the German art dealer Karsten Schubert, helped to shape and highlight the 'Britart' movement of the 1980s and 1990s. Provenance: From the library of Richard Salmon.

An original design illuminated in pen and ink, watercolour, bodycolour and gilt. Tennyson's verse is decorated with the profiles of Arthur and Guinevere, a jousting scene, a number of animals and stylised foliage designs. The artwork, measuring 23.5 x 33cm, is bright, crisp and unfaded, the paper with some faint dustiness. Framed using UV protection glass, the frame measures 37 x 46.5cm.

'The Song of Enid' is an extract from 'The Marriage of Geraint', a poem from Alfred Lord Tennyson's cycle of narrative poems 'Idylls of the King', published between 1859 and 1885, which retells stories of Arthurian legend, beautifully illuminated here by Sir Richard Rivington Holmes (1835-1911). Holmes' father was an assistant in the manuscript department of the British Museum, a role Holmes took on himself upon his father's death in 1854. His familiarity with and understanding of the visual conventions of illuminated manuscripts is plain to see in his attention to detail, use of composition and choice of motifs. One of Holmes' illuminated manuscript designs, also illustrating a Tennyson poem ('Godiva'), was woven into a fine silk 'ribbon' or banner which was shown at the International Exhibition of 1862. In 1868 he was appointed archaeologist to Lord Napier's Abyssinian expedition, during which he acquired material for the British Museum. In 1870 he became the royal librarian at Windsor Castle, where he was responsible for the acquisition and arrangement of books and works of art. He was nominated Sergeant-at-arms to Queen Victoria on 1898, made M.V.O in 1897, C.V.O in 1901 and K.C.V.O in 1905. As well as designing and creating illuminated manuscripts, Holmes designed stained glass windows and bookbindings and made pen drawings and landscape paintings. Similar pages, illuminated by Sir Richard Rivington illustrating Tennyson's Idylls of the King, were exhibited at Cardiff University Special Collections and Archives Exhibition 'Tennyson's Women', August 2016.

First edition, first printing. Shirley Hughes' retained copy, signed by the author. Original pictorial boards, in dustwrapper. Illustrated throughout in colour. A fine copy, the binding square and firm, the contents clean and bright throughout. Complete with the fine original dustwrapper, that is free from fading, loss or tears. Not price-clipped (£12.99 to the front flap).

Signed by Shirley Hughes in black ink on the half title.

The personal address book of the artist Jessie Marion King. Soft dark green leather binding with 'here it is' stamped in gilt on the front panel. The book is divided alphabetically with entries in pen and pencil by King throughout. The leather is rubbed, with chips to the mid spine and head of the spine. The inner front hinge is cracked but holding firm. The pastedowns have a few small chips and closed tears at the edges, the index tabs are a little creased, and the margins are lightly toned, the hand-lettered contents are bright and crisp.

A fascinating personal document belonging to Jessie Marion King, filled in in her hand. The entries include artists such as Elizabeth Amour Watson, Dorothy Johnstone, Alice Coates, Anna Hotchkis, William Gillies, Mrs Newbury, Oscar Paterson, Ronald Searle, Cecile Walton, Wendy Wood, George Wragge; other individuals such as King's students and the writer Lady Alice 'Alix' Egerton; and addresses of shops and services such as publishers, galleries, framers, and London department stores, among many others. There are occasional notes such as "Liberty bodice in 5 sizes S.S.W. small medium large outsize", and "Crêpe de chine - Harvey Nichols... 60 wide - 45-". (Exhibited: Glasgow School of Art Jessie M. King Anniversary Exhibition, 27 July - 3 September 1999, cat no. 148) Jessie Marion King was one of the most influential of the 'Glasgow Girls' of the Glasgow School, helping to shape the British realisation of the Art Nouveau style, particularly in relation to book illustration, though she also worked across a wide range of disciplines and materials. She and her husband E. A. Taylor ran an art school in Paris called 'The Sheiling Atelier' for five years (this period of her life is reflected in the many French addresses in her address book) before returning to Scotland at the onset of WWII, where they lived in the artist's community of Kirkcudbright. King learned the wax resist 'batik' method in Paris and brought it with her to Scotland where it was mostly unknown. She popularised the technique with her batik scarf designs which were sold in Liberty's, and her own narrative guide book on batik called 'How Cinderella Was Able to Go to the Ball'.

First edition, first printing. Publisher's original red paper-covered boards and black cloth with titles gilt titles to the spine, in the Fred Marcellino designed dustwrapper. A very near fine copy, the binding square and tight, bright and fresh. The contents, with just a hint of spotting to the pastedowns are otherwise clean throughout and without inscriptions or stamps. Complete with the fine original dustwrapper that is without fading, loss or tears. Not price-clipped ($8.95 to the upper front flap). A superb copy.

The author's first collection of short stories, of which 16 were previously published in magazine form, and four: 'Jerusalem's Lot', 'Quitters Inc', 'The Last Rung on the Ladder' and 'The Woman in the Room' are printed here for the first time. The first printing, of which approximately 12,000 copies were issued, is identifiable by the 'first edition' statement on the copyright page and 'S52' publisher's code to the gutter of page 336 (as here).

First edition, first printing. Publisher's original yellow paper covered boards and black cloth, with gilt titles to the spine, in the John Cayea illustrated dustwrapper. An excellent near fine copy, the binding square and firm, bright and fresh, the thick cloth spine concave at the centre. The contents are clean throughout and without inscriptions or stamps. Complete with the original price-clipped dustwrapper that is exceptionally bright and otherwise without fading, loss or tears. A lovely copy of a book that due to its weight and poor production standards, is uncommon in this condition.

The author's fifth novel, the first printing of which was issued in an edition of 70,000 copies, identifiable by the 'first edition' statement on the copyright page and 'T39' printing code to the bottom gutter of page 823 (as here). After a deadly, weaponised virus ravages the United States leaving only a handful of immune humans alive, new supernaturally-led societies rise up and clash in a battle of good and evil in this epic post-apocalyptic novel. Twice adapted for television, first in 1994 and again in 2020.

Uncorrected proof copy of the first trade edition, first printing. Publisher's original cream card with black titles to the front cover. Publication date and provisional price written in ink on the front cover. 519pp. A very good copy, the binding square and firm, with mild creasing and browning to the covers and spotting to the spine and extremities. The contents, with toning to all edges of the closed text block, light spotting to the first and last few pages, and a little creasing (mainly within the first twenty five pages), are otherwise clean throughout and without inscriptions or stamps.

Scarce in proof state. The John Carpenter directed film adaptation, now a cult classic, was released in December 1983 starring Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky and Harry Dean Stanton.

First edition, first printing. Original brown cloth with gilt titles to the spine, in dustwrapper. A very good copy, the binding square and firm, the cloth bright and fresh. The contents, with is a previous owner's inscription on the front pastedown and some spotting to the closed text-block edge which sometimes extends onto the margins, are otherwise clean throughout. Complete with the lightly rubbed and creased dustwrapper that is without fading, loss or tears. Not price-clipped (£3.50 on the front flap).

A critically acclaimed anthology of 22 tales of horror and the macabre including: 'Only a Dream' by H. Rider Haggard; 'The Meerschaum Pipe' by L. A. Lewis; 'The Life-Buoy' by A. Erskine Ellis; 'The Lady of Rosemount' by Sir T. G. Jackson; 'How It Happened' by John Gawsworth; 'In the Mirror' by Valery Brussov; 'Calling Miss Marker' by Joy Burnett; 'A Night of Horror' by Dick Donovan; 'The Shouting' by L. T. C. Rolt; 'The Happy Dancers' by Charles Birkin; 'The Weed Men' by William Hope Hodgson; 'Eyes for the Blind' by Frederick Cowles; 'Mr. Ash's Studio' by H. R. Wakefield; 'Montage of Death' by Robert Haining; 'Pallinghurst Barrow' by Grant Allen' 'Randall's Round' by Eleanor Scott; 'The Skeleton at the Feast' by E. H. Visiak; 'Medusan Madness' by E. H. Visiak; 'Out of the Sea' by A. C. Benson; 'Witch In-Grain' by R. Murray Gilchrist; 'The Tudor Chimney' by A. N. L. Munby; 'The Experiment' by M. R. James (notably the first edition in book form).

First edition. One of 40 copies. Original full brown goatskin, the upper board triple ruled in gilt, titles in gilt to the spine. All edges gilt. Marbled endpapers. With a portrait frontispiece after a drawing by Powys Evans and 16 pages of facsimiles, including the working draft of a previously unpublished essay on Lawrence by Henry Williamson. Typeset in Garamond by Castle Hill Press. Printed by The Burlington Press on 100 g.s.m. Supreme Bookwove. Housed in the publisher's slipcase. Publisher's prospectus loosely laid in. A fine copy.

Issued in a limited edition of 40 copies (numbered from 16-55), within an intended total edition of 702 (of which only 475 were produced), this example is number 27.

First edition, first printing. Limited edition, signed by the author. Publisher's original light brown buckram with titles in gilt to the spine. Top edge red. Illustrated with 64 plates. An excellent very near fine copy, the binding square and firm with just a bit of rubbing and mild bumping at the spine tips and edges. The contents are clean and bright throughout. A lovely copy of this scarce signed limited edition.

The first monograph on L. S. Lowry, compiled and introduced by the artist's friend and respected critic Mervyn Levy. Issued in a limited edition of only 100 copies, numbered and signed by L. S. Lowry in blue ink on the limitation page at the rear. This copy is numbered 100 (copy number 1 was given to L. S. Lowry; number 2 was retained by Mervyn Levy).

A beautifully detailed and fluidly painted, glazed earthenware plate showing a woman weeping over the body of a knight, with a hound and two falcons at his feet, set before a sunset-hued shoreline. Signed 'AMcB' on the rear. In fine condition, the colours bright and fresh. The underside with only a 1mm chip to the glaze at the rear edge, which is not visible from the front. An excellent example of Ann Macbeth's ceramic work.

Ann Macbeth had links to the Glasgow School of Art as both a student and a teacher for over 30 years. She worked across a range of decorative arts, including embroidery, metalwork, bookbinding, ceramic decoration and china painting, the latter of which she fired herself in her own kiln. She was influential in her advocacy for the accessibility of arts and crafts to all social classes, championing the use of humble materials such as linen and cotton, and she believed that the crafts traditionally produced by women in their spare time should be valued as professional skills and be priced to provide a fair income. She was actively involved with women's suffrage, using her artistic abilities to create banners and textile pieces for demonstrations and to commemorate the 80 hunger strikers held at Holloway prison, as well as becoming involved in direct action herself, for which she was imprisoned: the Glasgow School of Art Archives holds a letter sent by Macbeth to the School's secretary which describes being put in solitary confinement and force-fed for two weeks, and the lasting impact this had on her health.

First edition. One of ten copies 'hors commerce'. Signed by the artist. Publisher's original white paper covers printed in black and purple. Illustrated with five drawings by René Magritte. Errata slip tipped in at the rear. An excellent better than very good copy, the binding square and firm with some rubbing and mild toning to the extremities. The contents are clean throughout. Paul Nougé (1895-1967) was a Belgian poet and intellectual theorist. He and René Magritte were the most important figures in the Brussels group of Belgian Surrealists. A superb association copy.

Issued in a total edition of 110 copies, 100 of which were available for sale, and 10 'hors commerce' were for presentation by the poet and artist. This example, marked 'h.c.' is inscribed in black ink on the front endpaper "à Monsieur P. G. Van Hecke / avec ma sympathie / Magritte / le 25 Novembre 1927". The recipient Paul-Gustave van Hecke was a leading figure on the Belgian art scene. Together with his wife Honorine Deschryver, he co-founded the Modernism inspired couture house 'Norine' where they employed artists such as Max Ernst, Frits Van den Berghe, Geo Navez, E. L. T. Mesens, and René Magritte. With the proceeds from the fashion house van Hecke threw himself into the art world opening the galleries 'Sélection' and 'L'Epoque' and publishing contemporary art journals such as 'Variétés' primarily promoting the work of Flemish Expressionists and Surrealists. René Magritte's oil painting of his patron, 'Portrait de P.-G. Van Hecke' was completed in 1928 and remained in the Van Heck family collection until the 1970s.

Re-issue of this early novel by the author of the Aubrey-Maturin series. Signed by the author. Publisher's original blue cloth with gilt titles to the spine, in the Geoff Hunt illustrated dustwrapper. A fine copy, the binding square and tight, the cloth and gilt bright and fresh. The contents are clean throughout and without inscriptions or stamps. Complete with the fine original dustwrapper that is without fading, loss or tears. Not price-clipped (£14.99 to the lower front flap).

Signed by Patrick O'Brian in black ink on the title page. First published in the UK in 1952 by Secker and Warburg under the title 'Three Bear Witness', the novel is re-issued here by Harper Collins (publisher of the Aubrey-Maturin series) under the title that the author originally intended.

First editions, first printings of the complete 20 volume uniform set (Vols. I-IX were previously issued in 1986-7). Original blue cloth lettered in silver to spines, in the dustwrappers designed by Ekhorn/Gray, each volume with a bound-in ribbon bookmark. A fine set, presenting as unread, the bindings square and firm, the contents clean throughout. The unclipped dustwrappers are very near fine with just the occasional nick and touch of rubbing. A wonderful example of this magnificent, and scarce, set. Although unmarked as such this set was formally in the collection of Ian Angus.

Peter Davison's monumental edition of Orwell's complete works is, even by the standard of editorial undertakings on this scale, a labour of love, and of sheer persistence in the face of serial obstacles that might have deterred anyone less tenacious. In a 2012 article, he recounted the vicissitudes that beset the project. The original plan to publish freshly edited versions of Orwell's nine books in time for publication in 1984 ("a new but intriguing kind of anniversary celebration") had, "owing to disastrous delays" only materialised in 1986 and then had to be pulped, the printer having used an uncorrected version of Davison's text. Despite many further headaches (including a sextuple heart bypass and Secker and Warburg changing hands seven times) and precarious financial circumstances, Davison, with the assistance of his wife Shelia, and Ian Angus, set about collecting, editing and annotating everything Orwell wrote, including letters, articles, reviews, lecture notes, as well as hundreds of BBC broadcasts. Angus, formerly Librarian and Keeper of the Orwell Archive at University College London, had earlier edited (with Sonia Orwell) the 1968 four-volume set of Orwell's 'Collected Essays, Journalism and Letters', an edition which became the starting point for Vols. X to XX of this later edition. A huge bibliographic undertaking, Davison soon discovered that all previous and current editions of Orwell were, to a greater or lesser extent, unreliable. The new edition attempts to restore the author's original intentions. "This is no simple reprint with a few typographical errors corrected", he writes in the general introduction. "It was realised from early on that the textual position was complex and as the history of the texts was recovered and the variations in readings realised, it became apparent that a new edition without explanation would prove confusing". Each volume is provided with textual notes and a list of readings and variants. In his review (The Observer, 23 August, 1998), Paul Foot wrote of the edition that "the volumes sing with Orwell's irresistible writing style. Prose, he said, should be like a window pane, so you can see right through it. Every letter, every broadcast, even every diary entry is written clearly, sprinkled everywhere with wit, surprise and hope".

Gouache, pencil and ink on artists board. Signed by Bip Pares in pencil along the lower right edge. Measuring 26.8 x 24cm. In very good condition, with a little rubbing to the extremities and a bump to the lower right corner, the colours are bright, with a few light marks and light spotting. Author's initials and notes inscribed on the reverse.

Ethel 'Bip' Pares (1904-1977), best known for her British art-deco style, illustrated several posters and brochures for London Underground and over 600 book dustjackets for a variety of publishers during her career.

First edition, first printing. Original blue cloth with silver titles to the spine, in dustwrapper. A very near fine copy, the binding square and firm, the cloth and lettering crisp and sharp, the contents clean throughout. There is some blanching to the blue pigment on the outer edges of the boards. Complete with the fine, bright dustwrapper, showing just the merest of rubbing to spine tips. Not price-clipped (£1.00 net to the front flap). The volume was the Poetry Book Society's choice for Autumn, 1971 and, loosely laid in is a contemporary flyer for the society, along with an offprint of Dan Jacobson's review of the book in 'The Listener' (7th October, 1971). A nice copy.

The poems collected in 'Winter Trees' were written during the last nine months of Sylvia Plath's life and drawn from the same batch of poems as those included in 'Ariel' (1965). The volume, which is edited by Ted Hughes, also includes the slightly earlier 'Three Women: A Poem for Three Voices'.

First edition, first printing. Signed by the author. Publisher's black paper-covered boards and white cloth with black titles to the spine, in the Lawrence Ratzkin designed dustwrapper. A near fine copy, the binding square and firm with a little bumping at the spine tips, the cloth bright and fresh. The contents, with a small square shadow to the top right corner of the front endpaper, are otherwise clean throughout and without previous owner's marks. Complete with the lightly rubbed and creased dustwrapper that has a couple of short closed tears (secured with a single piece of tape to the underside) and mild toning to the extremities. Not price-clipped ($6.95 to the upper front flap), the flap with a couple of creases.

Signed by the author as Luke Rhineheart in black ink underneath the printed dedication on the dedication page. The author's debut novel, that became a cult classic.

First edition, first printing. Publisher's original bright pink card covers with Keith Haring's 'Three Eyes' illustration in black on the upper panel. Spiral bound. 23 x 23cm. Illustrated profusely throughout, with a portrait frontispiece and 135 plates, most of which are full page, with 16 plates in full colour. Offset printed on a variety of matte and gloss papers. A near fine copy, the binding firm, with a little rubbing to the extremities and a few light marks to the covers, the rear cover is mildly rubbed. The contents are clean and bright throughout, with a tiny nick to the fore-edge of the rear page and is otherwise without inscriptions or stamps. An attractive example.

A striking catalogue produced to coincide with Keith Haring's seminal exhibition at the Tony Shafrazi Gallery in 1982. The first edition (as here) was issued in a edition of 2000 copies. A second edition of 5000 copies (so marked) was called for in 1983. Documenting Haring's work in the early 1980's, it features examples of his varied output, including sculptures, subway drawings, colouring book pages, large scale murals and mixed media work, alongside essays on the artist, studio photographs and bibliography. A beautifully designed catalogue and comprehensive look at the artists early and most influential work.

First edition, first printing. Signed by the author. Publisher's original white card with brown titles to the spine and front cover. 13 x 17cm. Unpaginated. 30pp. Perfect bound. Illustrated throughout with 30 black and white drawings by David Shrigley. A very near fine copy, the binding square and firm, with light rubbing and a little dustiness to the extremities, the text on the spine a touch faded, the contents are clean throughout and without inscriptions or stamps.

Issued in a limited edition of 100 copies, this example is numbered 54 and signed by David Shrigley in pencil on the inside cover. A rare, very early artists book, containing 30 witty, humorous and surreal illustrations. David Shrigley regularly contributed to the Guardian's Weekend magazine between 2005 and 2009 and was shortlisted for the Turner Prize in 2013.

A black and white pen and ink drawing of an elegantly looped Chinese dragon standing in front of a tree, its body patterned with many detailed concentric circles. Signed by the artist to the right of the drawing. Window mounted and framed, the drawing measures 14 x 16 cm and the frame measures 29 x 32 cm. In fine condition, the drawing bright and crisp, the paper with very slight dustiness.

This amazingly finely rendered drawing clearly displays Sidney Sime's interest in East Asian art, the dragon with the long, slender, large-headed design of Chinese dragons, the tree mimicking Chinese and Japanese brush paintings, the artist's signature even adopting the vertical format of East Asian writing. Sime's characteristically fantastical, gothic style also shines through in the dragon's sinewy form and densely patterned body. Sidney Sime (1865-1941) was born to a poor family in Manchester. He worked in coal mines in Yorkshire as a boy, then worked for a draper and a baker before becoming a self-employed sign writer and eventually enrolling at Liverpool School of Art, where he won various prizes and started to exhibit. He soon became a sought-after book illustrator, and is now particularly known for illustrating the work of the fantasy writer Lord Dunsany.

Publisher's original sewn card covers printed in colour printed. With two colour illustrations as well as black and red illustrations throughout by Louis Wain. A very good copy, the covers lightly spotted, the extremities a little rubbed and creased with a tiny closed tear to the top edge of the front cover and to the fore-edge of the rear. The spine is a little worn and chipped, with discrete repair to the inner hinge. The contents, a little toned to the paper stock, are otherwise clean and without inscriptions or stamps. Scarce.

Issued as number 9331 in "Father Tuck's Pictureland Series". A tale of three little kittens who must find their lost mittens before they are allowed any pie.

First edition, first printing. Publisher's original blue paper covered boards, blue cloth spine with silver titles to the spine, in dustwrapper. A superb very near fine copy, the binding square, firm, bright and fresh with just a little bumping at the extremities. The contents are clean throughout and without inscriptions or stamps. Complete with the fine original dustwrapper, correctly priced $29.95 to the upper front flap and with the first state "Vollman" mispelling to the rear panel.

A beautiful example of the late author's magnus opus.

First edition, first printing. Signed by the author, with an original soup can drawing. With an "Andy Warhol Studio" card loosely laid in. Original yellow paper-covered boards and orange cloth spine lettered in black and white, in dustwrapper. A near fine copy, the binding square and firm, the spine tips and lower corners with minor bumping, the extremities with a few light marks. The contents are clean and bright and without previous owners' stamps or inscriptions. Complete with the lightly rubbed and nicked dustwrapper which remains bright and without loss or tears. Not price-clipped ($7.95 on the front flap).

Inscribed by Andy Warhol in black ink on the half title "To Frederic P. Vigneur / [Campbells soup can drawing] / Andy Warhol". The correct first printing with "First edition" statement on the copyright page and "B C D E" letter code underneath.

First edition, first printing. One of 250 signed, hand-numbered copies produced in association with Goldsboro Books. Original blue cloth lettered in metallic red to the spine, in the dustwrapper designed by Ghost. Pictorial endpapers. A fine copy, presenting as unread, the cloth sharp, the contents bright and clean throughout. In the fine, unclipped, dustwrapper, priced £18.99 to the front flap.

The second in Carlos Ruiz Zafón's Cemetery of Forgotten Books series and a a prequel to 'The Shadow of the Wind' (2001), 'The Angel's Game' returns to the 1920s, the eponymous cemetery, and Sempere & Sons bookshop in Barcelona's Raval district. "Readers familiar with 'The Shadow of the Wind' will find themselves back in the Cemetery of Forgotten Books, the echo of Eco where, from a labyrinthine library, volumes seem to select their readers." (The Spectator).