First edition, first printing. Paperback. Publisher's original pictorial card boards, with titles in pink and white to the upper board and spine. A near fine copy, the binding square and firm, very lightly rubbed to the extremities. The contents are clean throughout and without previous owners' inscriptions or stamps. The pictorial covers are bright and fresh, with original price showing (95p to the rear).

The true first edition of the second book in the 'Hitch-Hiker's Guide to the Galaxy' series. The first hardcover edition was published later the same year by Arthur Baker Limited.

First edition, first printing. Signed by the author. Publisher's original blue cloth with titles in gilt to the spine, in the Matthew Cook illustrated dustwrapper. A fine copy, the binding square and firm, bright and fresh. The contents are clean throughout, and without previous owners' inscriptions or stamps. Complete with the fine original dustwrapper that is without fading, loss, or tears. Not price-clipped (12.95 net to the lower front flap).

Signed by the Kingsley Amis in black ink on the title page. The author's twentieth novel.

First edition, first printing. Signed by the author. Original grey cloth with gilt lettering to spine, grey endpapers, in dustwrapper. A fine copy, the binding square and tight, the cloth bright and fresh. The contents are clean throughout and without previous owners' inscriptions or stamps. Complete with the fine, clean and bright dustwrapper that is without fading, loss or tears. Not price-clipped (£12.95 net to the front flap). A very attractive, sharp copy.

Signed by the author in black ink to the title page. Amis's sixth novel. "A sort of transatlantic, post-modern 'Brighton Rock' with soundtrack by 'The Cure', 'London Fields' is Martin Amis's most ambitious, intelligent and nourishing novel to date." (Jay McInerney, 'The Observer', September 24, 1989).

First edition, first printing. Signed by the author. Publisher's original grey cloth with gilt titles to the spine, in the Douglas Brothers illustrated dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the fine original dustwrapper that is without fading, loss or tears. Not price-clipped (£13.99 net to the lower front flap).

Signed by Martin Amis in blue ink on the half title.

Early edition. Contemporary half leather with five raised bands, gilt titles and decorative borders to the spine, marbled paper to the upper and lower boards. All edges marbled. Illustrated with 28 black and white engravings designed by Johann Baptist Zwecker, Jules Worms and others. A very good copy, the binding square and firm, with rubbing and wear to the spine, spine hinges and the extremities of the boards. There is a previous owner's inscription to a flyleaf, spotting to the prelims and a few light marks throughout, the contents are otherwise clean.

Icelandic librarian and museum director Jón Árnason (1819-1888) was inspired by the work of the Brothers Grimm to compile the first collection of Icelandic folk tales, which he did with the help of his friend Magnus Grimsson. His extensive collection, which contains many stories about elves, is believed to have influenced the elven race in J. R. R. Tolkien's 'The Lord of the Rings'.

First edition with these illustrations. Deluxe issue. Publisher's full vellum, elaborated decorated and with titles in gilt to the upper board and spine. Top edge gilt, the others untrimmed, as issued. Red silk ribbon page marker. Illustrated with a tissue guarded frontispiece, illustrated title page and a further 22 full page colour plates after watercolours by C. E. Brock. An excellent near fine copy, the binding square and firm, the vellum and gilt, bright and fresh. The contents, with just a little toning of the endpapers, and light spotting to the prelims and text block edge, are otherwise clean and without inscriptions or stamps. A very attractive example.

A beautifully illustrated edition of Jane Austen's first published novel, in its scarcest and most desirable deluxe binding. (Gilson E120).

First edition with these illustrations. Deluxe issue. Publisher's full vellum, elaborately decorated and with titles in gilt to the upper board and spine. Top edge gilt, the others untrimmed, as issued. Red silk ribbon page marker present although loosely laid in and holding by a thread. Illustrated with a tissue guarded frontispiece, illustrated title page and a further 22 full page colour plates after watercolours by C. E. Brock. An excellent near fine copy, the binding square and firm with just a little bumping at the spine ends. The vellum remains clean and the gilt bright. The contents, with just a little toning of the endpapers, and light spotting to the text block edge, are otherwise clean and without inscriptions or stamps. A very attractive example.

A beautifully illustrated edition of Jane Austen's masterpiece, in its scarcest and most desirable deluxe binding. (Gilson E114).

First edition with these illustrations. Deluxe issue. Publisher's full vellum, elaborated decorated and with titles in gilt to the upper board and spine. Top edge gilt, the others untrimmed, as issued. Red silk ribbon page marker present but loosely laid in. Illustrated with a tissue guarded frontispiece, illustrated title page and a further 22 full page colour plates after watercolours by C. E. Brock. An excellent near fine copy, the binding square and firm, the vellum and gilt, bright and fresh. The contents, with just a little toning of the endpapers, are otherwise clean and without inscriptions or stamps. A very attractive example.

A beautifully illustrated edition of Jane Austen's fourth published novel, in its scarcest and most desirable deluxe binding. (Gilson E124).

First edition with these illustrations. Deluxe issue. Publisher's full vellum, elaborated decorated and with titles in gilt to the upper board and spine. Top edge gilt, the others untrimmed, as issued. Red silk ribbon page marker present but loosely laid in. Illustrated with a tissue guarded frontispiece, illustrated title page and a further 22 full page colour plates after watercolours by C. E. Brock. An excellent near fine copy, the binding square and firm, the vellum and gilt, bright and fresh. The contents, with just a little toning of the endpapers, are otherwise clean and without inscriptions or stamps. A very attractive example.

A beautifully illustrated edition of Jane Austen's first completed but last published novel, in its scarcest and most desirable deluxe binding. (Gilson E116).

First UK edition, first printing. Publisher's original blue cloth with gilt titles to the spine, in dustwrapper. A very good or better copy, the binding square and firm with a little bumping at the spine tips, the cloth and gilt is bright and fresh. The contents, with some spotting to the closed text block edge, are otherwise clean throughout and without inscriptions or stamps. Complete with the lightly rubbed dustwrapper that is without fading, loss or tears. Not price-clipped (£2.50 to the upper front flap). Scarce.

The first of two novels by Donald Barr, published in the final year of the author's tenure as headmaster of the Dalton School, New York. An unsettling and depraved work of space opera science fiction about a planet ruled by oligarchs who engage in sex slavery. First published in America by Charterhouse in September 1973, this first British edition followed a few months later.

First edition, first printing. Signed by the author (and artist). Publisher's original pictorial boards. Illustrated in colour throughout. A very good or better copy, the binding square and firm with a little bumping at the spine tips, the boards bright and fresh. The contents are clean throughout and without previous owners' inscriptions or stamps.

Signed and dated "June 1989" by Quentin Blake in black ink on the title page. An ABC in verse, with typically energetic and humorous illustrations by the first Children's Laureate.

First edition, first printing. Signed by the author. Publisher's original black cloth with titles in gilt to the spine, in the Slatter-Anderson designed dustwrapper. A fine copy, the binding square and firm, the cloth bright and fresh. The contents are clean throughout, and without previous owners' inscriptions or stamps. Complete with the fine original dustwrapper that is without fading, loss, or tears. Not price-clipped (£12.95 net to the lower front flap).

Signed by Anthony Burgess in blue ink to the title page. The author's thirtieth novel, a modern update of the Excalibur legend, is divided into six parts numbered in Welsh ("Un", "Dau", "Tri", "Pedwar", "Pump", "Chwech" and "Saith").

Two volumes. Author's presentation bindings of white textured paper-covered boards, imitating vellum, with gilt titles to the spines, gilt triple-ruled borders and gilt illustration motifs to the upper and lower boards. Inscribed presentation copies. Signed by the author. All edges gilt. 'Alice's Adventures in Wonderland', fifty-eighth thousand, with 42 black and white illustrations; 'Through the Looking Glass', forty-fourth thousand, with 50 illustrations by John Tenniel. Tissue guard to the frontispiece of 'Looking Glass'. Very good copies, the bindings firm, both with the spines slightly rolled. The lightly marked paper-covered boards are dusty and darkened, more so to the spines, 'Wonderland' with a clean square to the top corner of the upper board and the bottom corner of the lower board (from brass corner guards, since removed). There is some light bumping and wear to the corners and spine tips of both volumes, and 'Looking Glass' has minor splitting at the bottom of the spine where it meets the front board, although in both cases the binding remains firm. 'Wonderland' bears the recipient's ownership name to the top right corner of the half title, above the author's presentation inscription and has some creasing at the upper corner of the front endpaper. Both volumes are spotted to the prelims, with occasional finger marks and light spotting throughout. 'Looking Glass' is cracked (but holding firm) at the gutter of the half-title and has an autograph letter from the author, loosely laid in. An exceptional inscribed set of Lewis Carroll's Alice books, in the notably rare presentation bindings, and with a wonderful single family owned provenance.

'Alice's Adventures in Wonderland' is inscribed in purple ink on the half-title "Ada Frost / from the author / Jan. 29. 1888."; 'Through the Looking Glass' is inscribed in black ink on the half-title "Mrs Dixon, / from the author. / July 18, / 1892". The recipient Ada Dixon, (née Frost, 1874-1964), was a professional child model who sat for sketches made by Dodgson in Mrs Shute's studio in 1888 (Letters 2: 692-93), where presumably this copy of 'Alice's Adventures in Wonderland' was presented. 'Through the Looking Glass', inscribed some four years later was presented in celebration of Ada Frost's, (now Dixon) marriage, the accompanying letter, dated the same day as the author's inscription in the book, reads "Dear Mrs Dixon, I am so very much obliged to you for writing to one, and was very glad indeed to get your letter and to know that you still remember me as a friend, and that you have turned over another leaf in the book of the story of your life, and have found such pleasant reading on the other side! I wish, to your husband and you, all possible happiness. As you already have "Alice in Wonderland" I want you now to accept the sequel "Through the Looking Glass", which I will send you by parcel-post, bound in "bridal white", which I think is more appropriate, this time, than scarlet. If ever I find myself near enough to Chalk Farm, I will give myself the pleasure of calling. With very kind regards to you husband, I am sincerely yours, C. L. Dodgson". Dodgson had white, gilt-stamped copied bound exclusively for his use as presentation copies for his close friends and cherished acquaintances, typically keeping a few on hand to give as gifts as and when he needed them, naturally making this variant notably scarce. Whilst Dodgson is known primarily for his writing, he was also a keen amateur photographer and artist. He created thousands of photographs in the Victorian symbolist tradition formed by the likes of Julia Margaret Cameron and Oscar Gustave Rejlander, and illustrated his own written drafts, including a precursor to what would become 'Alice's Adventures in Wonderland', a hand written manuscript titled 'Alice's Adventures Under Ground'. Ada Dixon was among many models who posed for Dodgson's photographs and sketches, and it was not uncommon for him to form friendships with them, exchanging letters and even attending their weddings. The most famous of his models is undoubtedly Alice's namesake herself, Alice Liddell, a daughter of Henry Liddell, who was the Dean of Christ Church College, Oxford, where Dodgson was a lecturer of mathematics. As well as employing them as photographic subjects, Dodgson would take the Liddell children out on rowing trips, and it was on one such trip that he first told a tale of the fantasy world through the rabbit hole, which Alice Liddell enjoyed so much that she begged him to write it down. Provenance: presented by the author to Ada Dixon (nee Frost) in 1888 and 1892, thence by family descent.

First edition, first printing. Two volumes. Inscribed presentation copies, signed by the author. Publisher's original red cloth, triple ruled in gilt and with circular illustrations in gilt to the upper and lower boards, titles in gilt to the spines. All edges gilt. Each volume with a tissue guarded frontispiece and 45 further illustrations throughout the text by Harry Furniss. Both volumes are in very good or better condition, the bindings firm with a little bumping at the extremities, the cloth with a few minor marks, the spine of Sylvie and Bruno somewhat faded, that of Sylvie and Bruno Concluded a little rippled. The contents, with a little spotting to the prelims, and occasionally to the margins throughout, are otherwise clean and bright. An attractive set.

'Sylvie and Bruno' is inscribed on the half title in purple ink "Ada Frost / from the Author / [flourish] / Dec. 12. 1889" above which the recipient has inscribed "Dixon" in black. 'Sylvie and Bruno Concluded' is inscribed in black ink on the half title "Mrs Dixon, / with the Author's kind regards, / [flourish] / Dec. 28, 1893". The recipient Ada Dixon, (née Frost, 1874-1964), was a professional child model who sat for sketches made by Dodgson in Mrs Shute's studio in 1888 (Letters 2: 692-93), after which the author presented her with a specially bound, presentation copy of 'Alice's Adventures in Wonderland'. The present copy of Sylvie and Bruno followed on first publication, shortly after. In 1892, on receiving a letter from Ada advising of her marriage, Dodgson sent a specially bound presentation copy of 'Through the Looking Glass' to match the Alice he had given her four years earlier, followed shortly after by the present copy of 'Sylvie and Bruno Concluded', his final work for children. Whilst Dodgson is known primarily for his writing, he was also a keen amateur photographer and artist. He created thousands of photographs in the Victorian symbolist tradition formed by the likes of Julia Margaret Cameron and Oscar Gustave Rejlander, and illustrated his own written drafts, including a precursor to what would become 'Alice's Adventures in Wonderland', a hand written manuscript titled 'Alice's Adventures Under Ground'. Ada Dixon was among many models who posed for Dodgson's photographs and sketches, and it was not uncommon for him to form friendships with them, exchanging letters and even attending their weddings. The most famous of his models is undoubtedly Alice's namesake herself, Alice Liddell, a daughter of Henry Liddell, who was the Dean of Christ Church College, Oxford, where Dodgson was a lecturer of mathematics. As well as employing them as photographic subjects, Dodgson would take the Liddell children out on rowing trips, and it was on one such trip that he first told a tale of the fantasy world through the rabbit hole, which Alice Liddell enjoyed so much that she begged him to write it down. Provenance: presented by the author to Ada Dixon (nee Frost) in 1889 and 1893, thence by family descent.

First edition, first printing. Signed by the author. Hardcover issue. Publisher's original black cloth with titles in gilt to the spine, in the Howard Hodgkin illustrated dustwrapper. A fine copy, the binding square and firm, the contents are clean throughout, and without previous owner's inscriptions or stamps. Complete with fine original dustwrapper that is without fading, loss or tears.

Signed by the Ciaran Carson in black ink on the title page. The first edition was published in simultaneous paperback and hardback editions, on 9 October 2008. This collection features poems from 'The New Estate and Other Poems' (1988), 'The Irish for No (1987)', 'Belfast Confetti' (1989), 'First Language' (1993), 'Opera Et Cetera' (1996), 'The Twelfth of Never' (2001), 'Breaking News' (2003), and 'For All We Know' (2008). The poems are printed in this volume without any indication of publishing history, provenance, or chronology (the contents, however, are given in roughly chronological order). Award-winning Northern Irish poet, novelist, and translator Ciaran Carson (1948-2019) published 15 volumes of poetry and a number of books about The Troubles during his prolific career. In 2004, he became the first director of the Seamus Heaney Centre for Poetry at Queen's University Belfast until his retirement in 2016. This position was a natural fit for Carson, as Heaney was one of his tutors at Queen's during his undergraduate years. A longstanding member of Aosdána, the Affiliation of Creative Artists in Ireland, Carson's influences also included Rimbaud, Baudelaire, Keats, Borges, Calvino, Flann O'Brien, and Alberto Manguel (The Guardian, 2019). Carson passed away at the age of 70 on 6th October 2019 in Belfast, Northern Ireland.

First edition, first printing. Publisher's original quarter red cloth over red and black speckled cloth, lettered in gilt to the spine, in the Brian Russell designed dustwrapper. A better than very good copy, the binding square and firm, lightly toned to the edges, with a touch of rubbing to the spine and extremities. The contents are clean throughout, and without inscriptions or stamps. Complete with lightly rubbed and nicked dustwrapper that is mildly toned to the spine and to the edges. Not price-clipped (16s net to the front flap).

A Miss Marple mystery. The first edition was published in the UK on 15th November 1965, the American edition was issued the following year. (Hubin; Wagstaff & Poole; Curran, John: The Hooded Gunman).

First edition, first printing. Publisher's original red cloth with black titles to the spine, in dustwrapper. A very good copy, the binding square and firm, with some bumping and rubbing at the spine tips, the cloth a touch toned to the upper edge. The contents, with some offsetting to the endpapers and a previous owner's armorial bookplate to the front pastedown, are otherwise clean throughout. Complete with the lightly rubbed and nicked dustwrapper, that has a couple of tiny closed tears and some toning to the edge of the rear panel. Not price-clipped (12s 6d net to the lower front flap).

A Hercule Poirot mystery. (Hubin; Wagstaff & Poole; Curran, John: The Hooded Gunman).

First edition with these illustrations. Original blue cloth with gilt titles to the spine and upper board. Top edge gilt. All other edges deckled. Illustrated endpapers. Illustrated with six black and white plates by Herbert Cole, complete with captioned tissue-guards. A very good copy, the binding square and firm, the extremities a little rubbed. The contents, with a previous owner's Christmas 1900 inscription on the flyleaf, offsetting and spotting to the endpapers and some spotting throughout, are otherwise clean.

A lovely edition of Coleridge's classic epic poem with beautiful Pre-Raphealite style illustrations.

First edition with these illustrations. Deluxe issue. Publisher's original vellum, elaborately decorated and with titles in gilt to the upper board and spine. Top edge gilt. Red ribbon page marker, present but loosely laid in. With a tissue guarded frontispiece, illustrated title page and a further 22 full page colour plates after watercolours by C. E. Brock. A near fine copy, the binding firm with a little bowing at the board ends, the vellum and gilt bright and fresh. The contents, with a neat ownership inscription (dated 1912) to the blank front free endpaper, and a touch of spotting to the closed text block edge, are otherwise clean throughout.

A beautifully illustrated edition of Eliot's classic of English literature, in the publisher's deluxe binding.

First edition with these illustrations, first printing. Publisher's original white cloth, decorated and with titles in gilt to the upper board and spine. Illustrated with a frontispiece and 19 further tipped in colour plates by Edmund Dulac, each with a captioned tissue guard. Decorative borders and title page. A very good copy indeed, the binding square and firm with a little bumping at the spine tips, the cloth just a little darkened to the spine. The contents, with a previous owner's bookplate to the front pastedown and a little spotting to the prelims and text block edge, are otherwise clean and bright throughout. All plates and tissue guards are present as called for and in fine condition.

An attractive example of this exquisitely illustrated golden age gift book.

Deluxe issue. Publisher's original vellum, elaborately decorated and with titles in gilt to the upper board and spine. Top edge gilt. With a tissue guarded frontispiece, illustrated title page and a further 22 full page colour plates after watercolours by C. E. Brock. A near fine copy, the binding square and firm, the vellum and gilt bright and fresh. The contents, with just a little toning to the endpapers, are otherwise clean throughout and without inscriptions or stamps.

A beautifully illustrated and produced deluxe edition of Elizabeth Gaskell's classic of English literature, issued in J. M. Dent's 'Series of English Idylls'. Charles Brock's colour illustrations for Cranford were first published in 1904.

First edition with these illustrations. Deluxe issue. Publisher's original vellum, elaborately decorated and with titles in gilt to the upper board and spine. Top edge gilt. With a tissue guarded frontispiece, illustrated title page and a further 22 full page colour plates after watercolours by C. E. Brock. A near fine copy, the binding firm with a little bowing at the board ends, the vellum and gilt bright and fresh. The contents, with a neat ownership inscription (dated 1914) to the blank front free endpaper, and a little spotting to the prelims and text block edge, are otherwise clean throughout.

A beautifully illustrated edition of Goldsmith's classic of English literature, in the publisher's deluxe binding.

First edition, first printing. Hardcover issue. Publisher's original black cloth with titles in gilt to the spine, in the Michael Kane illustrated dustwrapper. A fine copy, the binding square and firm, the cloth bright and fresh. The contents are clean throughout, and without inscriptions or stamps. Complete with fine original dustwrapper that is without fading, loss, or tears. Not price-clipped (£11.95 to the lower front flap).

The first edition was published in simultaneous paperback and hardback editions, on 11th November 1993. In this volume, esteemed Irish poet Michael Hartnett translates into the English language most of the poems of Pádraigín Haicéad (1600-1654), or Patrick Hackett in English, an Irish-language poet and Dominican priest. Haicéad, together with Dáibhí Ó Bruadair and Aogán Ó Rathaille, was considered one of the most important poets of the Gaelic tradition, a tradition Hartnett himself 'desperately' wanted to join (McDonagh and Newman, 2006). A former poetry editor of The Irish Times, Hartnett was a member of Aosdána, the Affiliation of Creative Artists in Ireland, and a recipient of numerous literary and poetry awards during his lifetime, including the Irish Poetry Prize (1980), a Poetry Ireland Choice (1987), and awards from the Irish American Cultural Institute (1986, 1988) and the American Ireland Literary Fund Award (1975, 1980, and 1990). Michael Hartnett sadly passed away on 13th October 1999, at the age of 58. The Éigse Michael Hartnett, a poetry festival established in 2000, is held annually in Newcastle West, County Limerick, in his honour (Poetry Foundation, 2025).

First edition, first printing. Signed by the author. Hardcover issue. Publisher's original black cloth with titles in gilt to the spine, in the John Shinnors illustrated dustwrapper. A fine copy, the binding square and firm, the cloth bright and fresh. The contents, very lightly toned to the text block edge, are clean throughout and without previous owners' marks. Complete with fine original dustwrapper that is without fading, loss or tears. Not price-clipped (£12.95 to the front flap).

Signed by Michael Hartnett in black ink on the title page. The first edition was published in simultaneous paperback and hardback editions, on 22 July 1994. This selection includes 'Anatomy of a Cliché' (1968), 'Prisoners' (1968), 'The Retreat of Ita Cagney' (1975), 'Inchicore Haiku' (1985), in addition to sonnets 1 and 9 from 'Thirteen Sonnets' (1968), poems 5 and 7 from 'A Farewell to English' (1975), and the first five poems from 'Notes on My Contemporaries' (1969): 'The Poet Down', 'The Poet as Mastercraftsman', 'The Poet as Black Sheep', 'The Person as Dreamer: We Talk About the Future', and 'The Poet Dreams and Resolves'. A former poetry editor of The Irish Times, Hartnett was a member of Aosdána, the Affiliation of Creative Artists in Ireland, and a recipient of numerous literary and poetry awards during his lifetime, including the Irish Poetry Prize (1980), a Poetry Ireland Choice (1987), and awards from the Irish American Cultural Institute (1986, 1988) and the American Ireland Literary Fund Award (1975, 1980, and 1990). Michael Hartnett sadly passed away on 13th October 1999, at the age of 58. The Éigse Michael Hartnett, a poetry festival established in 2000, is held annually in Newcastle West, County Limerick, in his honour (Poetry Foundation, 2025).

First edition, first printing. Signed by the author. Limited edition, one of 15 copies. Inscribed association copy. Signed by the illustrator. Hardcover issue. Publisher's original black cloth and cream marbled paper covered boards, ruled in gilt, and with gilt titles to the spine, in matching slipcase. With black and white portrait of Michael Hartnett by John Shinnor. A very near fine copy, the binding square and firm, with one small mark to the spine and a very small loose thread to the lower board. The contents are clean throughout, and without previous owners' inscriptions or stamps. Housed in the fine, structurally sound slipcase. A lovely example.

Issued in an edition of 110 copies, form which this example is numbered XII of the first 15 copies that are reserved for the publisher and poet's estate. Signed by John Shinnor in black ink underneath his portrait of Michael Hartnett. The first edition was published in simultaneous paperback and hardback editions, on 18 September 2001. A loving tribute to Hartnett's forty year-long poetry career, this collection includes 'Poems 1958-1970', 'Secular Prayers'(1967), 'Anatomy of a Cliché' (1968), 'Thirteen Sonnets' (1968), 'Notes on My Contemporaries' (1969), 'Maiden Street' (1967), 'Prisoners' (1968), 'The Retreat of Ita Cagney' (1975), 'Inchicore Haiku' (1985), 'New Poems' (1990-1999), and a selection of poems taken from 'A Farewell to English' (1975), 'Poems to Younger Women' (1988), 'The Killing of Dreams' (1992), and 'Selected and New Poems' (1994). The poems are printed in this volume without any indication of publishing history or provenance (the contents, however, are given in roughly chronological order). A former poetry editor of The Irish Times, Hartnett was a member of Aosdána, the Affiliation of Creative Artists in Ireland, and a recipient of numerous literary and poetry awards during his lifetime, including the Irish Poetry Prize (1980), a Poetry Ireland Choice (1987), and awards from the Irish American Cultural Institute (1986, 1988) and the American Ireland Literary Fund Award (1975, 1980, and 1990). Michael Hartnett sadly passed away on 13th October 1999, at the age of 58. The Éigse Michael Hartnett, a poetry festival established in 2000, is held annually in Newcastle West, County Limerick, in his honour (Poetry Foundation, 2025).

First edition with Quentin Blake illustrations. Signed limited edition. Publisher's cloth with wraparound Quentin Blake illustration, silver foil titles to the spine, in the original slipcase. Illustrated in colour throughout. A fine copy, the binding square and tight, the contents clean throughout and without previous owner's inscriptions or stamps. Housed in the fine, structurally sound slipcase.

Issued in a limited edition of 1000 copies, from which this example is hand numbered 87 and signed by Quentin Blake in black ink on the limitation page. A superb example of this wonderfully illustrated edition of Russell Hoban's award winning dystopian novel.

First edition, first printing. Inscribed presentation copy, signed by the author. Original dark blue paper-covered boards with a red cloth spine lettered in silver, in the Philip Grushkin designed dustwrapper. A very good or better copy, the binding firm with the slightest lean to the spine, the boards with some faint scuffs, the top corner of the lower board with a minor bump. The contents with a couple of light spots to the front pastedown and free endpaper and a small, light stain to the closed text-block fore-edge, are otherwise clean throughout and without previous owners' stamps or inscriptions. Complete with the lightly rubbed, nicked and creased dustwrapper that is a touch faded to the spine and a little dusty to the rear panel. Not price-clipped ($3.50 on the front flap). Scarce in presentation state.

Inscribed by Shirley Jackson in blue ink on the front free endpaper "For Eleanor and Franklin Ford. / Affectionately. / Shirley Jackson. / 1958". The author's third novel, a quietly unsettling and dryly humorous tale of a young woman with dissociative identity disorder. Jackson's most direct exploration of mental illness, a recurring theme in her work that is also vital to her novels 'We Have Always Lived in the Castle' and 'Hangsaman'. The basis for the 1957 film noir drama 'Lizzie', directed by Hugo Haas and starring Eleanor Parker. An excellent example of a scarce signed Jackson novel.

First UK edition, first printing. Signed by the author. Inscribed presentation copy Original black paper-covered boards with gilt titles to the spine, in the Frieda Nichols illustrated dustwrapper. A very good copy, the binding firm with the slightest lean to the spine, the upper board with a few light scuffs, the spine tips and bottom corner of the lower board a little bumped. There is faint offsetting to the endpapers, slight exposed webbing at the gutter of the title page (the binding remaining firm), short closed tears to the bottom edges of pages 65-74 as if knocked during reading, and longer closed tears to the bottom edges of pages 60, 61 and 187, which present more as printing or binding anomalies as they are very clean and lack any associated creasing. There is loss to the foot of page 133, which affects the last few lines of text. The contents are otherwise clean and without previous owners' stamps or inscriptions. Complete with the rubbed, nicked and creased original dustwrapper that is faded to the spine, with minor chipping to the head of the spine and flap folds, closed tears to the foot of the spine and front flap, and loss to the bottom edge of the rear flap. Not price-clipped (12s 6d on the front flap). Scarce in inscribed state.

Inscribed by Shirley Jackson in black ink on the front free endpaper "For Eleanor and Franklin [Ford]. / with love. / Shirley. / 1957". A sequel to Jackson's 1953 title 'Life Among the Savages', a series of fictionalised short stories about Jackson's life as a mother and wife, originally published in magazines such as Good Housekeeping and Woman's Home Companion, edited together into one text. 'Raising Demons' follows the same format, starting soon after 'Savages' ends, and is full of wacky, comedic stories about Jackson's four characterful children, her academic husband and their eccentric life together. A distinct departure from her usual gothic literary fare (though maintaining her unmistakable wit and style), Jackson's humorous domestic memoirs were a resounding and welcome commercial success following the lukewarm reception to her second novel, the 1951 eerie coming-of-age story 'Hangsaman'. The proceeds of the memoirs granted Jackson a previously unknown level of financial security and allowed her to buy the house in which she would write her masterpieces 'The Haunting of Hill House' and 'We Have Always Lived in the Castle'.

First edition. Signed by the author. Publisher's original black cloth with titles in gilt to the spine, in the Timothy Engelland designed dustwrapper. Illustrated with two wood cuts by Timothy Engelland. A near fine copy, the binding firm, the cloth bright and fresh. The contents, with some offsetting to the pastedowns, are otherwise clean throughout, and without previous owners' marks. Complete with the lightly rubbed and nicked dustwrapper that has a couple of short closed tears and a touch of fading to the spine and panel extremities.

Published simultaneously by The Deerfield Press, Massachusetts, and The Gallery Press, Ireland in an edition of 300 copies in December 1981. Signed by Thomas Kinsella in black ink on the colophon.

First edition, first printing. Signed by the author. Publisher's original grey cloth with blue titles to the spine, in dustwrapper. A fine copy, the binding square and firm, the cloth bright and fresh. The contents are clean throughout and without previous owners' inscriptions or stamps. Complete with the fine original dustwrapper, that is without fading, loss or tears. Not price-clipped (£12.95 net to the front flap). A lovely copy.

Signed by the author in black ink to the title page. John le Carré's twelfth novel. The basis for the 1990 Fred Schepisi directed film starring Sean Connery and Michelle Pfeiffer.

First edition, first printing. Signed by the author and the artist. Inscribed by the publisher. Publisher's original quarter light blue-grey cloth and grey paper covered boards, with titles in black and white on a white paper label to the upper board and in black to the spine. Illustrated with 7 line drawings in black and white by Jim Allen. A fine copy, the binding square and firm, bright and fresh. The contents are clean throughout, and without previous owners' inscriptions or stamps.

Issued in an edition of 500 copies from which this is one, but is not numbered. Signed by the author and illustrator in blue and green ink, respectively, on the colophon. Inscribed by the publisher in pencil on the title page "For Paul and Ulla / anticipating much fun / in Loughcrew very soon / - / love Peter. / 12/3/1[9]82". Described by Seamus Heaney as 'A keeper of the artistic estate, a custodian of griefs and wonders', Michael Longley CBE (1939 - 2025) was a widely celebrated Northern Irish poet whose prolific writing career began in 1965 with 'Ten Poems' (Belfast: Festival Publications), and lasted through to 2024, with the publications of 'Birds & Flowers' (Rochdale, UK: Fine Press Poetry) and 'Ash Keys: New Selected Poems' (London: Jonathan Cape). Longley won the Whitbread Poetry Prize for 'Gorse Fires' in 1991, and the T. S. Eliot Prize for 'The Weather in Japan' in 2000. He was the 2001 recipient of the Queen's Gold Medal for Poetry and was appointed Commander of the Order of the British Empire (CBE) in the 2010 Birthday Honours (Poetry Archive, 2025). First published on 28 November 1981 in an edition of 500 copies, this volume collects six poems reflecting on nature, memory, and sexuality.

First edition. Hardcover issue. Signed by the author. Publisher's original black cloth with gilt titles to the spine, in the Ciarán Lennon illustrated dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the fine original dustwrapper that is without fading, loss or tears.

Signed by the author in black ink on the title page. A long poem that meditates on the idea of cultural decadence in its historical and contemporary manifestations: apocalyptic fears, sexual 'anarchy', the conflicting claims of art and nature. The first edition was published in simultaneous paperback and hardcover editions, on 17 August 2018.

First edition, first printing. Signed by the author. Limited edition, one of 15 copies. Quarter blue cloth over cream marbled boards, lettered in gilt to the spine. Complete with matching slipcase. A fine copy, the binding square and firm, the boards bright and fresh. The contents are clean throughout and without previous owner's marks. The slipcase is in fine condition.

Signed by Derek Mahon in black ink to the limitation page at the front of the book. This page states that one hundred and twenty-five copies of the edition were specially bound and signed: fifteen copies, numbered I-XV, reserved for the author and publisher, and one hundred and ten copies, numbered 1-110, for trade. This example is numbered XIV of the XV reserved for the author and publisher. Like Yeats, Auden, Marianne Moore, and Robert Lowell before him, Mahon was an inveterate reviser of his poems. The volume, as the jacket copy for the standard trade edition stated, brings together "in updated form" the poems the author wishes to preserve from the work of forty years. As Hugh Haughton notes in his fine study of the poet (Oxford, 2010), the wording suggests that for Mahon revision was "not only a question of his critical conscience, but a desire to re-situate [...] past work in the cultural present." As such, the volume boldly and unapologetically prints the poems without any indication of publishing history, provenance, or chronology (the contents, however, are given in roughly chronological order).

First edition. Hardcover issue. Signed by the author. Publisher's original black cloth with gilt titles to the spine, in the Michael Kane illustrated dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the fine original dustwrapper that is without fading, loss or tears.

Signed by the author in black ink on the title page. Edmond Rostand (1868-1918) is chiefly remembered for the 'heroic comedy' Cyrano de Bergerac, a verse play based on the life of a 17th-century Gascon to whom he gave legendary status. The play opened in Paris in 1897. Derek Mahon's version was commissioned by the National Theatre, London. It was first published in simultaneous paperback and hardcover editions, on 19 April 2004, the day of its premiere.

First edition. Hardcover issue. Signed by the author. Publisher's original black cloth with gilt titles to the spine, in the Paul Henry illustrated dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the fine original dustwrapper that is without fading, loss or tears.

Signed by the author in black ink on the title page. The first edition was published in simultaneous paperback and hardcover editions, on 29 April 2005. Winner of The Irish Times Poetry Now Award 2006.

First edition. Hardcover issue. Signed by the author. Publisher's original black cloth with gilt titles to the spine, in the Timothy Engelland illustrated dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the fine original dustwrapper that is without fading, loss or tears.

Signed by the author in black ink on the title page. A sequence of poems written by the Belfast born poet whilst he was living in New York. The first edition was published in simultaneous paperback and hardcover editions, on 3 October 1995.

First edition. Hardcover issue. Signed by the author. Publisher's original black cloth with gilt titles to the spine, in the Charles Tyrell illustrated dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the fine original dustwrapper that is without fading, loss or tears.

Signed by Derek Mahon in black ink on the title page. Like Yeats, Auden, Marianne Moore, and Robert Lowell before him, Mahon was an inveterate reviser of his poems. Like the earlier 'Collected Poems' (1999), this updated edition, which includes poems published subsequently (but also changes the ordering of the 1999 volume), brings together, as the jacket copy states, "in new form", the work the author wished to preserve from the work of fifty years. As Hugh Haughton notes in his fine study of the poet (Oxford, 2010), such wording suggests that for Mahon revision was "not only a question of his critical conscience, but a desire to re-situate [...] past work in the cultural present." As such, the volume boldly and unapologetically prints the poems without any indication of publishing history, provenance, or chronology (the contents, however, are given in roughly chronological order). The first edition was published in simultaneous paperback and hardcover editions, on 12 May 2011.

First edition. Hardcover issue. Signed by the author. Publisher's original black cloth with gilt titles to the spine, in the Charles Tyrell illustrated dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the fine original dustwrapper that is without fading, loss or tears.

Signed by the author in black ink on the title page. The Belfast born author's second collection of prose, following Journalism (1996). Best known as a poet, Mahon has also published a considerable body of prose. This, mostly newly collected material includes 'Critical' essays - on Swift, Coleridge, Yeats and Dylan Thomas among others and autobiographical excursions - 'Huts and Sheds', 'The Poetry Nonsense', 'Bowen on the Box' and 'Indian Ink'. The first edition was published in simultaneous paperback and hardcover editions, on 31 March 2012.

First edition. Hardcover issue. Signed by the author. Publisher's original black cloth with gilt titles to the spine, in the Gustav Klimt illustrated dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the fine original dustwrapper that is without fading, loss or tears.

Signed by the author in black ink on the title page. A long poem that meditates on the idea of cultural decadence in its historical and contemporary manifestations: apocalyptic fears, sexual 'anarchy', the conflicting claims of art and nature. The first edition was published in simultaneous paperback and hardcover editions, on 26 October 1997.

First edition, first printing. Hardcover issue. Publisher's original black cloth with titles in gilt to the spine, in the Michael Kane designed dustwrapper. A fine copy, the binding square and firm, the cloth bright and fresh. The contents are clean throughout, and without previous owners' marks. Complete with the lightly rubbed dustwrapper that has a single short closed tear and a few light marks to the underside. Not price-clipped (publisher's paper price label to the lower front flap).

Issued simultaneously in paperback and hardcover, this example is one of 325 hardcover copies. Widely regarded as one of the most talented and innovative Irish poets of the late 20th century, Derek Mahon was best known for illuminating the ordinary aspects of daily life through his skillfully crafted verse. A recipient of numerous literary and poetry prizes in his lifetime, Mahon's poetry has been critically compared to that of Auden, MacNeice, and Beckett. He passed away peacefully at age 78 in County Cork, Ireland in 2020 (Poetry Foundation, 2025).

First edition, first printing. Hardcover issue. Publisher's original black cloth with titles in gilt to the spine, in the Charles Tyrrell illustrated dustwrapper. A very near fine copy, the binding firm, the spine a touch rolled, the cloth bright and fresh. The contents are clean throughout, and without inscriptions or stamps. Complete with fine original dustwrapper that is without fading, loss, or tears. A comprehensive collection of the widely-celebrated poet's body of work.

The first edition was published in simultaneous paperback and hardback editions, on 23 September 2021. Widely regarded as one of the most talented and innovative Irish poets of the late 20th century, Derek Mahon was best known for illuminating the ordinary aspects of daily life through his skillfully crafted verse. A recipient of numerous literary and poetry prizes in his lifetime, Mahon's poetry has been critically compared to that of Auden, MacNeice, and Beckett. He passed away peacefully at age 78 in County Cork, Ireland in 2020 (Poetry Foundation, 2025).

First edition. Signed by the author and the artist. Limited edition. Publisher's original stitched orange card covers. A fine copy, the binding bright and fresh, the contents clean throughout.

Published on 28 June 2011 in an edition of 175 copies of which only 150 were for sale. This example is numbered 19 and signed by Derek Mahon and Fionnuala Ní Chisosáin on the limitation page.

Ninth impression of the 1897 first edition. Publisher's original red cloth with an illustration of The Beetle in black and green and titles in black and gilt to the upper board, and titles in black and gilt to the spine. Illustrated with a tissue guarded frontispiece and three further full page black and white plates by John Williamson. Single page of publisher's adverts at the rear. A very good copy, the binding firm with rubbing and bumping to the extremities, the cloth with a few minor marks and some fading to the slightly rolled spine. The contents, with a previous owner's name in pencil, and a Christmas 1905 gift inscription in ink to the half title, are otherwise clean with just the odd finger mark or isolated foxing spot to the margins.

An early supernatural mystery novel, first published in the same year as Bram Stoker's 'Dracula' and, like 'Dracula', developing a vein of gothic terror first popularised by Ann Radcliffe's 'The Mysteries of Udolpho' and later by Mary Shelley's 'Frankenstein'.

First edition with these illustrations. Deluxe issue. Publisher's original vellum, elaborately decorated and with titles in gilt to the upper board and spine. Top edge gilt. Red ribbon page marker. With a tissue guarded frontispiece, illustrated title page and a further 22 full page colour plates after watercolours by C. E. Brock. A near fine copy, the binding firm with a little bowing at the board ends, the vellum and gilt bright and fresh. The contents, with a neat gift inscription (dated 1905) to the blank front free endpaper, and a little spotting to the prelims and text block edge, are otherwise clean throughout.

A beautifully illustrated edition of Mitford's classic of English literature, in the publisher's deluxe binding.

First edition, first printing. Signed by the author, artist and publisher. Inscribed presentation copy. Original green card self wrappers, printed in black stitched with red thread. Illustrated with five tipped in linocut illustrations by Timothy Engelland. Set in hand by Susan and Jarlath Hayes in Delphin Type, printed letterpress by the Leinster Leader, and finished by hand by the publisher Peter Fallon. A very near fine copy, clean and bright with just a hint of fading to the cover edges. The contents, with inscriptions from all of the contributors are otherwise clean throughout.

Issued in an edition of 100 copies. Signed by Paul Muldoon in black ink on the colophon. Inscribed by the publisher Peter Fallon in blue ink on the front endpaper "For Ulla and Paul / with gratitude for hospitality / and with admiration and / affection / Peter / Acorn St. April 1981". Also inscribed by the artist, who has also added an original illustration, in pencil "- and from me as well / 6 Acorn Street, Nov 1982 / Timothy Engelland". Scarce thus.

First edition, first printing. Signed by the author and the translators. Hardcover issue. Publisher's original black cloth with titles in gilt to the spine, in the Mary Fitzgerald illustrated dustwrapper. A fine copy, the binding square and firm, the contents are clean throughout, and without previous owners' inscriptions or stamps. Complete with fine original dustwrapper that is without fading, loss, or tears. Not price-clipped (£14.95 on the front flap).

Signed by the author and both translators in black and blue ink on the title page. The first edition was published in simultaneous paperback and hardback editions, on 28th October 1999. The title of this collection comes from the water spirit in Irish folklore 'Each-uisce', literally meaning 'water horse'. This shapeshifting figure usually first appears as a handsome young man whose true form is later revealed as a horse, similar to a kelpie, but is known for being far more vicious. The Each-uisce has a particular preference for devouring human women, a trope which features in Ní Dhomhnaill's poem (on p. 26 in this volume). Nuala Ní Dhomhnaill is a prolific and award-winning Irish language poet, and is internationally recognised as one of the few female Irish poets who write exclusively in Irish. She has been described as being a major influence in revitalizing the Irish language in modern poetry, with her works being translated into English by a number of well-known Irish poets, including Seamus Heaney, Paul Muldoon, Eiléan Ní Chuilleanáin, and Medbh McGuckian (Wake Forest University Press, 2011; Poetry Foundation, 2025).

First edition. Trade issue. Inscribed presentation copy. Signed by the author Patrick O'Brian and one of the contributors. Publisher's original blue cloth with gilt titles to the spine, in the Geoff Hunt illustrated dustwrapper. A near fine copy, the binding firm with mild bumping at the spine tips, the cloth bright and fresh. The contents, with a presentation bookplate from Patrick O'Brian on the reverse of the blue front endpaper, and a contributor's presentation inscription on the half-title, are otherwise clean throughout. Complete with the bright original dustwrapper that is a little rubbed and creased to the top edge.

Inscribed by the author in black ink on a bookplate fixed to the reverse of the front endpaper "To Trevor Rowell / with best wishes / Patrick O'Brian / 23.vi.95". Further inscribed in purple ink on the half title ""This saga.... adds up to one of the great achievements of contemporary fiction" / For Trevor Rowell / In appreciation. / Easter 1996". A compilation of essays in an appreciation of Patrick O'Brian's writing life. As well as an autobiographical essay, it also includes two short stories by the author. Other contributors include eminent academics such as N. A. M. Rodger and Brian Lavery, historian and author Richard Ollard amongst other admirers and critics, including the actor and director Charlton Heston. With a bibliography by Arthur Cunningham. The trade edition was issued in April 1994, in an edition of 1000 copies, plus 250 slipcased 'collectors' copies, and 50 numbered and specially bound copies signed by Patrick O'Brian, of which only 30 were for sale.

First American edition, first printing. Signed by the author. Publisher's original blue cloth with titles in gilt to the upper board and spine. A very good copy, the binding firm with some bumping, rubbing and fraying to the spine tips and corners, the cloth, with a few marks and some dulling to the spine. The contents are entirely complete and without loose or torn pages, the text block edges are toned, the pages otherwise clean throughout.

Signed and dated "June 1913" by Oliver Onions in black ink on the front endpaper. Uncommon thus. A crime novel. The second volume in the critically acclaimed, neglected classic "Whom God Hath Sundered" trilogy. (Barzun & Taylor, A Catalogue of Crime, 1989; not in Hubin).

First edition, first printing. Left Book Club issue. Publisher's original orange limp cloth with titles in black to the upper cover and spine. Illustrated with 31 photographs in black and white. A very good copy, the binding firm with some creasing and minor fraying to the corners and tips of the slightly rolled spine. The cloth is a touch faded to the spine and with a few light marks. The contents, with a few light spots to the endpapers and closed text block edge, are otherwise clean throughout and without inscriptions or stamps.

Orwell's classic study of poverty in the industrial north of England, the first part social reportage, the second part socialist polemic in which he condemns British socialist intellectuals and their adherence to the Soviet Union. Published in March 1937, whilst Orwell was in Spain, the publisher Victor Gollancz, against his absent author's wishes inserted his own preface taking issue with many of Orwell's claims. The preface was removed in later editions. 44,150 copies printed. (Fenwick A5a).

First edition, first printing. Signed by the author. Publisher's original black cloth with silver titles to the spine, in the James Marsh illustrated dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the bright, lightly creased dustwrapper that has a single short closed tear to the upper panel, without loss. Not price-clipped (£12.99 to the lower front flap).

Signed by Salman Rushdie in black ink on the title page. A children's fantasy story about a boy who sets out to restore the poisoned source of the Sea of Waters.

First edition, first printing. Signed by the author. Publisher's original black cloth with silver titles to the spine, in dustwrapper. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the ever so lightly rubbed and creased dustwrapper that is without fading, loss or tears. Not price-clipped (£17.99 to the lower front flap).

Signed by Salman Rushdie in black ink on the title page.

First edition, first printing. Signed by the author. Publisher's original pictorial die-cut boards with titles in gilt to the upper board and spine. Ten beautiful and elaborate pop-ups in colour over 22 pages. A very near fine copy, the binding firm and bright, the contents clean throughout and in full working order.

Inscribed by the author in black ink along the edge of the first pop-up "Enjoy the Chase - Robert Sabuda". An original story in which a dragon and a knight race through a book of fairy tales, including Snow White, Cinderella, Rapunzel, Little Red Riding Hood and Aladdin.

First edition, first printing. Signed by the author. Publisher's original cloth backed illustrated boards heightened in glitter. Six beautiful and elaborate pop-ups, with moveable flaps and pulls that reveal more three dimensional surprises. Sound box to the rear, unused with the cellophane seal in place. A very near fine copy, the binding square and firm, bright and fresh. The contents, and all moving parts are in fine condition with only the author's inscription to the front inner board. Publisher's postcard loosely laid in, as issued.

Inscribed by the author in black ink "Best wishes / Robert Sabuda". An original Christmas story from the master of paper engineering.

First edition, first printing. Publisher's original orange boards with illustration in blue to the upper board and blue titles to the spine, in the Pauline Baynes illustrated dustwrapper. With a colour frontispiece, one further full page illustration and numerous line drawings throughout the text by Pauline Baynes. A better than very good copy, the binding square and firm a little rubbing at the spine tips and corners, the boards are bright and fresh. The contents, with a small previous owner's signature on the front endpaper, are otherwise clean throughout. Complete with the rubbed and nicked dustwrapper that has tiny chips to the fold corners and a bit of dustiness to the rear panel. Not price-clipped (6s net to the lower front flap).

The first printing was published in an edition of 4,500 copies on 20 October 1949.

First edition. Two volumes. Limited edition. Signed by the artist. Publisher's original sage green and brown cloth with titles in gilt to the spines and to the upper boards, with colour illustrations onlay to the upper boards. Housed in the Alan Lee illustrated card slipcase. Green and gold silk page markers. Illustrated by Alan Lee throughout with line drawings and watercolour illustrations of Tolkein's iconic Middle Earth setting and characters. A fine set, the bindings square and firm, bright and fresh. The contents are clean throughout, and without previous owners' inscriptions or stamps. Housed in the in the near fine, structurally sound slipcase, which is lightly rubbed to the extremities. Not price-clipped (£75 to the rear board of slipcase).

Issued in a deluxe edition of 3000 copies from which this example is number 2266 and signed by illustrator Alan Lee in black ink on the limitation page. Alan Lee is one of the most celebrated living illustrators of myth and fantasy: a recipient of the Kate Greenaway Medal, Lee was already an established illustrator of Tolkien when he was chosen to be the concept artist for the hugely successful 'The Lord of the Rings' film trilogy directed by Peter Jackson, for which he won an Academy Award for Best Art Direction. Outside of the author's own, Lee's illustrations have become the most admired and recognisable renderings of Middle-earth and its inhabitants.

First illustrated edition, first printing. Signed by the artist Alan Lee. Publisher's original blue boards with gilt titles to the spine, in the Alan Lee illustrated dustwrapper. Blue ribbon page marker. With 18 full-colour plates depicting scenes from the First, Second and Third Ages of Middle-earth from critically acclaimed Tolkien artists, Alan Lee, John Howe and Ted Nasmith. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Complete with the fine original dustwrapper that is without fading, loss or tears. Not price-clipped (£30 to the lower front flap).

Signed by Alan Lee in black ink on the title page. 'Unfinished Tales' is a collection of narratives ranging in time from the Elder Days of Middle-earth to the end of the War of the Ring, and provides those who have read 'The Hobbit' and 'The Lord of the Rings' with a whole collection of background and new stories. The book concentrates on the realm of Middle-earth and comprises such elements as The Quest of Erebor, Gandalf's lively account of how it was that he came to send the Dwarves to the celebrated party at Bag-End; the emergence of the sea-god Ulmo before the eyes of Tuor on the coast of Beleriand; and an exact description of the military organization of the Riders of Rohan. The book also contains the only story about the long ages of Númenor before its downfall, and all that is known about such matters as the Five Wizards, the Palantíri and the legend of Amroth. The tales were edited by Christopher Tolkien, who also provides a short commentary on each story.

First One Volume Edition, first printing. Revised and expanded from the 2007 two volume edition. Publisher's original black boards with gilt titles to the spine, in dustwrapper. Illustrated with colour plates including many little-known illustrations and previously unpublished maps by Tolkien. A very near fine copy, the binding square and firm, bright and fresh. The contents are clean throughout and without inscriptions or stamps. Complete with the bright original dustwrapper that is a little creased at the edges and otherwise without fading, loss or tears. Not price-clipped (£35.00 to the lower front flap).

Issued for the first time in one volume, and revised and updated from the original 2007 edition, John D. Rateliff not only presents the complete unpublished text of the original manuscript of J. R. R. Tolkien's 'The Hobbit', but also gives a lively and informative account of how the book came to be written and published. This book shows the numerous changes made to the story both before and after publication, and examines – chapter-by-chapter – why those changes were made and how they reflect Tolkien's ever-growing concept of Middle-earth. The Hobbit was first published on 21 September 1937. Like its successor, 'The Lord of the Rings', it is a story that "grew in the telling", and many characters and story threads in the published text are completely different from what Tolkien first wrote to read aloud to his young sons as part of their "fireside reads". The book includes many little-known illustrations and previously unpublished maps for The Hobbit by the author himself, and also features extensive annotations and commentaries on the date of composition, how Tolkien's professional and early mythological writings influenced the story, the imaginary geography he created, and how he came to revise the book years after publication to accommodate events in 'The Lord of the Rings'.

A folding advertising brochure opening out to a colour map of New York and London with pop-up elements illustrating The Savoy Hotel and the New York skyline. The brochure also includes adverts for Pan-American Airways and Imperial Airways 'flying boat' service on 'Caledonia' and 'Clipper III', travelling the distance between New York and London in just 24 hours. A second brochure 'What's on in London during 1938' is attached to the front flap with the original metal paperclip, as issued. Condition is near fine with just a touch of rubbing to the extremities.

A wonderfully designed and illustrated brochure inviting the reader to experience 'London's gay and cosmopolitan life'.

First edition. Publisher's original green cloth illustrated in gilt to the upper board and spine, in the Charles Robinson illustrated dustwrapper. Top edge gilt. Illustrated endpapers, delicate line drawings throughout the text and full page plates in black and white by Charles Robinson. Two pages of publisher's adverts at the rear. A near fine copy, the binding square and firm, the cloth and gilt exceptionally bright and fresh. The contents, with a previous owner's bookplate to the blank front free endpaper, are otherwise clean throughout. Complete with the scarce, very good rubbed and nicked dustwrapper that has some marks and stains to the upper panel and underside at the edges, and a few small chips at the head of the spine. An attractive example.

A collection of verse for children, exquisitely illustrated by Charles Robinson.

Second edition. Original red cloth with black titles to the spine and upper board. Lacking the dustwrapper. Deckled edges. A very good copy, the binding square and firm, the spine and board corners a little faded, the extremities rubbed, with some pale marks to the upper board. There is faint offsetting to the endpapers and light spotting to the prelims and a few margins, the contents are otherwise clean and without stamps or inscriptions. The closed text-block edge is a little spotted and there is a mark to the bottom edge.

A broad study of vampire folklore by the occultist and historian Dudley Wright. A classic of the subject that remains an excellent resource to this day. Subjects covered include vampire lore and beliefs around the world, historical encounters, folk tales and burial practices, as well as a review of vampirism in literature from the ancient to the modern era. Also containing an extensive bibliography. The first edition was published in 1914.

Fourth English edition. Publisher's original gilt stamped dark blue cloth with a wonderful floral design by Althea Gyles to the upper board, a figurative design with titles to the spine, and a small circular design to the lower board. All edges untrimmed. Portrait frontispiece, with tissue guard. A very good copy, the binding square and firm with bumping and minor fraying to the spine tips and corners. The gilt somewhat dulled, especially to the spine, but still quite legible. The contents, with a stanza from Yeats' poem 'Blood and the Moon' inscribed in ink on the front endpaper, some small nicks to untrimmed foredge of the text block, and the odd finger mark to the margins, are otherwise clean throughout.

(Wade 19).