First edition. Signed by the author and the illustrator. Original pictorial boards, in dustwrapper. Illustrated in colour by Raymond Briggs throughout. A fine copy, the binding square and firm, 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 (£9.99 to the front flap).

Signed by the author Allan Ahlberg in black ink and the illustrator Raymond Briggs in blue ink on the title page. Scarce thus. A meeting of two of the greats of children's picture books; Briggs was a multi-award winning illustrator known for works such as 'The Snowman', 'Fungus the Bogeyman' and 'Father Christmas', all of which have been adapted for television; Ahlberg has written many popular picture books, several illustrated by his wife Janet Ahlberg, such as 'Each Peach Pear Plum' and 'The Jolly Postman'.

First edition, first printing. Signed by the author. Inscribed presentation copy. Wrappers issue. Publisher's original card covers. A very good or better copy, the binding square and firm with a little rubbing at the corners and edges of the faded spine edges. Small surface scuff to the rear cover. The contents are clean throughout.

Inscribed by the author in blue ink on the title page "For John / yet another souvenir\ of Lahti / - Al / 18 June 1987". The recipient is John Guest, for nearly three decades a distinguished editor at Longmans and Penguin. The poet, novelist, essayist, and critic's third collection of poetry, issued simultaneously in hardback and paperback (as here).

First UK edition, first printing. Publisher's original blue cloth with titles in gilt to the spine, in the illustrated dustwrapper. A near fine copy, the binding square and firm, the cloth and gilt fresh with light bumping to the extremities. The contents are clean throughout, and without inscriptions or stamps. Complete with the lightly rubbed and creased dustwrapper that is without fading, loss or tears. Not price-clipped (£8.95 net to the lower front flap).

The first novel in the 'Xanth' series, winner of the 1978 August Derleth Award for 'Best Novel'.

First edition, first printing. Signed by the author and the illustrator. Publisher's original tan and brown paper boards illustrated by Paul Czainski, with titles in red and black to the upper board. Includes two illustrated card invitations to private book signing and launch event for 'The Beanpole Chronicles' loosely laid in. Illustrated throughout with 34 colour plates by Paul Czainski. A fine copy, the binding square and firm, the contents are clean throughout. Priced (£49.00 on the lower board).

Issued in a limited edition of 400 un-numbered copies. This example is signed by the author Andy Blackford and the illustrator Paul Czainski in black ink on the title page. A lavishly-illustrated surrealist adventure story.

First edition, first printing. Publisher's original red cloth with titles in gilt to the upper board and spine, with magnifying glass and fingerprint illustration in gilt to the upper board, in the J. Abbey illustrated dustwrapper. With nine black and white illustrations by J. Abbey. A very good copy, the binding firm, the spine slightly rolled, the cloth bright with mild toning to the board edges. The contents are clean throughout, and without inscriptions or stamps. Very light spotting to the fore-edge. Complete with the rubbed and nicked original dustwrapper, which is mildly toned to the edges and spine (the red lettering on which is faded to pink). Not price-clipped (5s. net to the lower front flap).

An attractive example of the third volume in the 'Five Find-Outers' Series.

First edition, first printing. Publisher's original green cloth with titles in red to the spine and upper board, with magnifying glass and fingerprint illustration in red to the upper board, in the J. Abbey illustrated dustwrapper. With black and white illustrations by J. Abbey. A very good copy, the binding firm, the spine slightly rolled. The cloth is clean and bright with light mottling to the upper board and a hint of toning to the board edges. The contents are clean throughout, and without inscriptions or stamps. Complete with the rubbed and nicked original dustwrapper, which is mildly toned to the edges and spine. Not price-clipped (5s. net to the lower front flap).

An attractive example of the fourth volume in the 'Five Find-Outers' Series.

First edition, first printing. Publisher's original yellow cloth with green titles and illustration to the upper board and spine, in the Stanley Lloyd illustrated dustwrapper. With illustrated endpapers and seven black and white plates by Stanley Lloyd. A better than very good copy, the binding firm and slightly rolled at the spine, with mild toning to the board edges. The contents are clean throughout, and without previous owners' inscriptions or stamps. Very light spotting to the text block edge. Complete with the attractive original dustwrapper, which is lightly faded to the spine and edges, with a small chip to the bottom-right corner of the front panel. Not price-clipped (5s. net to the front flap). Scarce in first edition.

The first novel in Enid Blyton's beloved 'Malory Towers' series.

First edition, first printing of David Boder's pioneering work of Holocaust testimony. Publisher's original grey cloth stamped with dark grey barbed wire detail to the upper and lower board and with titles in grey 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 bright and fresh. The contents, with some toning to the front endpaper and half title (where a couple of newspaper clippings had been loosely laid in), are otherwise clean throughout and without inscriptions or stamps. Complete with the rubbed and nicked dustwrapper that has several short closed tears and some small chips to the top edge of the rear panel. Not price-clipped ($3.50 to the upper corner of the front flap). Scarce.

In 1946, Latvian-born psychologist David P. Boder travelled from Chicago, Illinois, to Displaced Persons camps ("shelter houses") in France, Switzerland, Italy, and Germany to record the memories and experiences of those who lived through the Holocaust. Armed with a wire recorder and 200 spools of wire, Boder recorded 109 interviews in nine languages with Displaced Persons including Jewish concentration camp survivors, Baltic workers, and Mennonites escaping from Soviet Russia. The interviews were among the earliest (if not the earliest) audio recorded testimony of Holocaust survivors. They are today the earliest extant recordings, valuable for the spoken word (of the DP narrators and of Boder himself) and also for the song sessions and religious services that he recorded at various points throughout the expedition. Copies of the wire recordings were initially shipped to the National Institute of Mental Health but were shunted from there to the Motion Picture and Sound Division of the Library of Congress. The original wire recorder spools are currently unlocated. Eight of the interviews, six of Jewish victims and two of other witnesses, are translated, transcribed, and published for the first time in this volume. For more than a decade after the European expedition, Boder continued to translate the interviews. Eighty of them were eventually transcribed into English, and included in a self-published manuscript of over 3,100 pages, comprising sixteen volumes, which he privately distributed between 1950 and 1957. The volumes all appeared under the title 'Topical Autobiographies of Displaced People Recorded Verbatim in Displaced Persons Camps'. (Rachel Deblinger: After the Holocaust; Alan Rosen: David Broder and I Did Not Interview The Dead).

First edition, first printing. Original dark red paper-covered boards with gilt titles to the spine, in dustwrapper. Illustrated with colour plates featuring Clarke's work as well as black and white in-text images throughout. A fine copy, the binding square and firm, the boards clean, the foot of the spine with very slight bumping. There is some faint spotting to the top edge of the closed text block edge, the contents are otherwise clean throughout and without stamps or inscriptions. Complete with the near fine original dustwrapper that is lightly rubbed and creased at the edges.

The first substantial biography and critical survey of the distinctive artwork of the Irish artist Harry Clarke. Richly illustrated with colour and black and white reproductions of Clarke's beautiful stained glass and illustrative work. Bowe provides in-depth exploration of Clarke's tragically short life and the cultural and historical context of his creative practice.

First separate edition. Mid-twentieth century half red morocco by Morrell, with five raised bands and titles in gilt to the spine. 48pp. Marbled endpapers. Original card covers bound in at the front and rear. A better than very good copy, the binding square and firm, bright and fresh, perhaps just a touch faded to the spine. The contents, with some spotting to the text block edge are otherwise clean throughout and without inscriptions or stamps. The edges of the pictorial front wrapper are a little rubbed and creased at the corners. A handsomely bound and presented first edition.

This volume collects four speeches delivered by Winston S. Churchill in Oslo, May 12-13, 1948 after his conferment of the degree of doctor of philosophy by the University of Oslo, together with addresses by Norwegian dignitaries Otto Lous Mohr, Jacob S. Worm-Müller and Gunnar Jahn. (Cohen A243.1; Woods Db74).

First edition. Original beige cloth with titles in blue and decorations in red to the upper board and spine, in dustwrapper. Illustrated with 24 fantastic full page plates by Harry Clarke of which 12 are in colour and 12 are black and white, with further illustrations in black throughout the text. A better than very good copy, the binding square and firm, the spine tips and corners with mild rubbing and bumping. The contents, with some offsetting to the endpapers, very light spotting to the prelims and closed text block edge and faint marks to the plate facing page 62, are otherwise clean throughout and without inscriptions or stamps. There is a short closed tear each to the blank margins of the plates facing pages 106 and 109, not effecting the illustration. Complete with the near very good, rubbed and nicked original dustwrapper that is a little dusty and toned with a few short closed tears at the edges and some chipping to middle and tips of the spine.

A beautifully illustrated anthology featuring work by poets such as Rupert Brooke, Walter De La Mare, W. B. Yeats and Thomas Hardy. An excellent example of the illustrative work of the Irish artist Harry Clarke, displaying his typically dark and sinuous Art Nouveau style achieved with a combination of dense line work and airy open space.

Two volumes and one volume of plates. Publisher's original navy blue illustrated boards with titles in white and red to the upper boards and spines. Illustrated with 72 plates and 108 diagrams in volume I and 49 plates and 14 diagrams in volume II. Volume I, part II comprises 26 folding maps and archaeologic diagrams, and an envelope of six microfiches loosely laid in to a folding case with a red ribbon pull. A uniformly near fine set, the bindings square and firm, with one small bump to the head of the spine of Volume I and very light rubbing to the extremities. The contents are clean throughout, and without inscriptions or stamps.

Volume I was issued in a limited edition of 500 copies, from which this example is numbered 394 in blue ink on the limitation page. Volume II (1988) was issued in a much smaller (unnumbered) print-run and is scarce.

Uncorrected proof copy of the first edition, first printing. Signed by the illustrator. Publisher's original red card covers printed in black. Illustrated throughout by Quentin Blake. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without previous owners' marks. Uncommon in proof state, especially so signed.

Signed by Quentin Blake in black ink on the title page. The last of Dahl's books to be published in his lifetime.

First edition. Limited edition. Presentation copy, signed and inscribed by the artist. Publisher's original quarter beige and red cloth, with titles and borders printed in black on a cream paper label pasted on upper board. Printed on hand-made paper, with deckled edges. Illustrated title page and fifteen striking hand-coloured linocuts by Biddy Darlow. A very good copy, the binding square and firm, with a little bumping and rubbing to the extremities, the cloth spine somewhat toned and a little marked. The contents, toned to the text block edges, and with mild offsetting to the colophon from the final coloured linocut (XV), are otherwise clean throughout.

Issued in an edition of 150 un-numbered copies, by David Bland and Vivian Ridler at The Perpetua Press (both would go on to have eminent careers in post war publishing, Bland as the illustrations editor for Faber and Faber, and Ridler as Printer to the University of Oxford at Oxford University Press). This example is inscribed by the artist in black ink on the front endpaper "To Jack, with love from Biddy / to wish his mummy happy / returns of to-day. March 24th 1936". Scarce thus. Biddy Darlow (1910-1991) was educated at Hereford High School for girls, and from there at the Royal College of Art. She subsequently taught in various colleges and art schools in the 1930s, 1940s and 1950s, including the Ruskin School of Art in Oxford, and the Bath Academy of Art in Corsham. Her main artistic output was in printmaking: linocuts, woodcuts and lithography, with which she has illustrated a number of books. This beautifully illustrated collection of beloved children's nursery rhymes includes 'Three Wise Men of Gotham', 'There Was an Old Woman', 'I Had a Little Nut Tree', 'Robin and Richard', 'Hot Cross Buns', 'The Man in the Moon', 'The Man in the Wilderness', 'Simple Simon', 'Cock-A-Doodle-Doo', and 'Giant Grim'. It was chosen by the First Edition Club as one of the "50 Best Books of the Year".

First edition with these illustrations (and first Folio Society edition), first printing. Original three quarter blue cloth with a paper-covered upper board printed with an illustration in black, white, grey and red, and titles in silver to the spine. Illustrated throughout in colour, with a frontispiece and seven further full page plates by Shotopop. A fine copy, the binding square and tight, the contents clean and bright throughout. Housed in the original fine blue card slipcase which has a design in silver to the front.

Philip K. Dick's Hugo Award winning alternative history novel. With a new introduction from one of the greats of speculative fiction, Ursula le Guin, and technicolour digital illustrations by Shotopop, this Folio edition does justice to Dick's classic work of science fiction. This is the first printing of this Folio Society edition which has quite rightly been through several reprints. The novel was adapted into a television series which first aired on Amazon Prime Video in 2015 and ran for four seasons.

First edition. Limited edition. Signed by the artist. Bound by Stephen Conway in full black morocco with titles in gilt to the upper board and spine, mirroring that of the publisher's cloth. Top edge gilt, other edges untrimmed. Original cloth laid in at the rear. With four full page wood engravings by Eric Gill. Printed from 14-point Bunyan type on Barcham Green hand-made paper. A fine copy. Housed in a bespoke gold cloth solander case with clover illustration to the upper cover and titles stamped in black to the spine. A beautifully presented and bound example.

Issued in a limited edition of 550 copies, of which 500 copies were for sale, signed by Eric Gill in black ink on the colophon. "The first book to be published in England printed from Gill's Bunyan type" (Gill 298).

First edition, first printing. Original blue cloth with gilt titles to the upper board and spine. Without the rare dustwrapper. Illustrated with sixteen full page black and white plates by Sydney Paget. A very good copy, the binding square and firm, the cloth with a few light marks and some mottling to the top edge of the upper board and upper rear spine fold, is otherwise bright. The contents, lacking the blank front endpaper, and cracked to the inner front hinge, are otherwise complete and clean throughout. All plates are present as called for and in fine condition.

The first edition in book form of 13 Sherlock Holmes stories, originally published between 1903 and 1904 in the Strand Magazine. A Haycraft-Queen Cornerstone. (Green and Gibson A29a).

First edition, first printing of the first work of psychoanalytic writing on war neuroses to be published in book format. Publisher's original burgundy pebble grained cloth, ruled in blind to the upper board and with titles in gilt to the spine. Illustrated with two diagrams (p.34-35). A better than very good copy, the binding square and firm, with a little bumping to the spine tips and corners, the cloth and gilt titles are bright and fresh. The contents, with some offsetting to the endpapers, a little bleed from the cloth to the extreme edge of the prelims, and just the occasional small finger mark to the margins, are otherwise clean throughout and without inscriptions or stamps. An attractive example of this landmark work. Scarce.

The first book-length psychoanalytic study of war neuroses, by British physician and psychoanalyst David Montague Eder (1865–1936). In his examination of the hysterias, diagnoses, and treatments associated with "shell-shock" (now recognised as post-traumatic stress disorder), Eder drew on the first one hundred consecutive cases of psychoneuroses under his care while serving as medical officer in charge of the psycho-neurological department in Malta during the First World War. The volume's appendix includes a detailed table of all one hundred cases, recording the soldiers' ages, lengths of service, symptoms, treatments, and outcomes. The term "shell shock" was first introduced in a 1915 article in The Lancet by Charles Myers of the Royal Army Medical Corps, initially to describe a physical injury to the nervous system caused by heavy bombardment. It soon became apparent, however, that soldiers indirectly exposed to shell fire exhibited comparable symptoms, leading medical officers such as Eder to propose a psychological origin. At the time, "shell shock" was neither formally recognised as a mental disorder nor treated with consistent sensitivity, as both military authorities and patients themselves were under intense pressure to return affected men to active service as quickly as possible. The precise number of soldiers who suffered from shell shock during the war and its aftermath remains contested, with estimates ranging from 80,000 to over 250,000 men.

First edition in book form, first printing. Three volumes. Publisher's original light brown cloth with honey-suckle design after Charles Ricketts in gilt to the upper board, titles in gilt to the spine. Bottom edge untrimmed. Half titles are present as called for in all three volumes. A very good copy, the bindings firm, with bumping and minor fraying to the corners and tips of the slightly rolled spines. The cloth is somewhat darkened, volume I with a few dark marks to the right edge of upper board, volumes II and III with the rectangular shadow of a removed paper label to the upper board, the gilt however remains uniformly bright. The contents, with some offsetting to the endpapers and light spotting here and there, are otherwise clean and without inscriptions or stamps.

A decent example in the original cloth of Hardy's fictional masterpiece, of which only 1000 copies of the first edition were issued (in November 1891). This copy has all of the requisite first issue points present, as called for. The story was first published as a weekly serial between July and December 1891 in 'The Graphic', although in censored form (the episodes dealing with the seduction of Tess by Alec d'Urberville and the baptism and death of Tess's child were removed by the editor). "This temporary dismemberment of the novel necessitated changes in plot, such as the introduction of a mock marriage and the omission of the encounter with the painter of texts, and there were numerous scattered bowdlerizations and omissions. When the novel was published in book form the original text was, of course, restored, and Hardy was able to 'piece the trunk and limbs of the novel together, as originally written'" (Purdy pp. 67-78; Sadleir 1114).

First edition, first printing. Publisher's original brown cloth with titles in gilt to the spine, in dustwrapper. A better than very good copy, the binding square and firm, mildly bumped and rubbed to the spine tips, with light spotting to the fore-edge of the text block, and with a small glue mark to the headband. Complete with the lightly rubbed original dustwrapper, which is a touch toned to the upper edge. Not price-clipped ($24.95 to the upper front flap).

The complete collection of short stories by Leslie Poles Hartley, the famed author of 'The Go-Between' (1953) and critically acclaimed supernatural short fiction.

First edition, first printing. Signed by the author. Inscribed presentation copy from Hillier to his publisher John Guest, then from John Guest to the historical novelist Mary Renault. Publisher's original black cloth with gilt titles to the spine, in the Val Biro designed dustwrapper. Illustrated with photographs in black and white. A better than very good copy, the binding square and firm, bright and fresh with a touch of bumping at the spine tips and some oxidization of the gilt titles to the spine. The contents, with some offsetting to the endpapers, are otherwise clean throughout. Complete with the rubbed, nicked and toned dustwrapper that has several short tears and small chips, mainly at the fold corners. Not price-clipped (16/- net to the lower front flap).

A double presentation copy, first inscribed by the author (and artist) to his publisher (and editor) in blue ink at the head of the title page "To John Guest / from / Tristam Hillier / 13th January 1955", and 21 years after Hillier's presentation by John Guest in blue ink underneath "And / To Mary Renault / from / John Guest - in / memory of five extremely happy / days, 13th - 18th February, 1976 / There is a bibiographical footnote of mild interest: / for ages, we couldn't find a title for this / book - until I suggested the present one. Leda / is the name of Tristram's wife, and a long- / suffering woman she has been where he's / concerned. It was therefore with some hesitation / that I put forward the title, the more so as / Tristram (who has always been absurdly good-looking) / is somewhat vain. He accepted it with a sharp / glance at me and a wry smile / John". A notable association copy of the English surrealist painter's autobiography, with a distinguished provenance: from the author to his acclaimed editor at Longmans (later Penguin), and subsequently to his friend, a bestselling historical novelist.

Second printing of the first Agnes Miller Parker illustrated edition. Contemporary half morocco and red cloth boards, with titles and borders in gilt to the spine. Top edge gilt. Illustrated with woodcuts by Agnes Miller Parker throughout. A near fine copy, the binding square and firm, the gilt bright and fresh. The contents, with an previous owner's bookplate to the front pastedown, are otherwise clean throughout and without inscriptions or stamps. A handsome copy.

A collection of 63 poems by the English poet Alfred Edward Housman, first published (without illustrations) in 1896 by Kegan Paul, Trench, Trübner and Company in London. Agnes Miller Parker (1895-1980) was a Scottish engraver, illustrator and painter, who was well-known for her distinctive woodcut illustrations. She was particularly celebrated for her illustrations for Aesop's Fables and her engravings for various Thomas Hardy novels in the 1950s.

First edition, first printing. Publisher's original red cloth, with gilt titles on a light purple label to the spine, in the Salim Patell illustrated dustwrapper. Frontispiece illustration in black and white by Salim Patell, reminiscent of the jacket artwork. A near fine copy, the binding square and firm, wth a little rubbing to the extremities, the cloth and gilt fresh, with very light fading to the spine tips. The contents are clean throughout, and without previous owners' inscriptions or stamps. The text block is a little toned. Complete with the very good, rubbed, nicked and creased dustwrapper, that has a few light marks to the front panel and a touch of fading to the spine. Not price-clipped (30s to the lower front flap). Scarce.

The author's debut novel. The basis for the 1978 comedy drama film 'The Class of Miss MacMichael', directed by Silvio Narizzano and starring Glenda Jackson, Oliver Reed, Michael Murphy, and Rosalind Cash. The novel was later republished in 1978 by Corgi as a film tie-in under the 'Miss MacMichael' title.

First English edition, first printing. Paperback original. Publisher's original pictorial card wraps with titles in white to the spine and front cover. An excellent near fine copy, the binding square and firm, with a tiny crease to the top corner of the front cover and a little light shelfwear to the extremities, the covers are free from fading, loss or tears. The contents, with light toning to the textblock edge due to the poor quality paperstock, are otherwise clean throughout and without inscriptions or stamps. An attractive copy. Uncommon.

The second novel to be translated into English by the acclaimed 2024 Nobel Prize winning South Korean author. 'Human Acts' was awarded South Korea's Manhae Prize for Literature in 2014 and Italy's Premio Malaparte literary award in 2017.

Limited edition. Two volumes. Publisher's original cream cloth with borders and decoration in gilt to the upper board and spine, titles in gilt to the spine. Deckled fore- and bottom edge. Volume I with a black and white portrait frontispiece of Keats by W. Hilton R. A. Elaborate black and white woodcut borders to the title pages of both volumes. Tissue guard in volume II. Armorial bookplate to the pastedown of volume I. Printed in black and red throughout. A very good or better set, the bindings square and firm with a little bumping at the spine tips of mildly toned spines, the cloth is lightly rubbed and marked, the titles a little rubbed. The contents, with an inscription by the first Mayor and Mayoress of Wimbledon on the front endpaper, and a little toning to the paper stock, are otherwise clean throughout.

Issued in an edition of 350 copies, from which this example is numbered 183. A lovely edition of Keats' poetry with an appealing London provenance. The inscription on the endpaper reads "From the Mayor + Mayoress of / Wimbledon. / W[illia]m Hamelin Hamshaw / D'Arcy Hamshaw./ Oct 25, [19]06." The bookplate features the crest of Wimbledon and its Latin motto "Sine Labe Decus [Honour without stain]".

First edition. Limited edition. Signed by the photographer and the author of the introduction. Publisher's original black and white speckled cotton covered boards with a black and white photograph and titles in black to the upper board, titles in black to the spine. With 75 quadratone photographic plates printed on a natural textured art paper. A fine copy.

Issued in a limited edition of 3000 copies. This example is signed by the photographer Michael Kenna and by the author of the introduction Ian B. Glover in black ink on the title page. Michael Kenna was born in the small industrial town of Widnes in northwest England. The youngest of six children, Kenna grew up in a poor, working-class, Irish-Catholic family. He attended a seminary school for seven years with the intention of becoming a priest, after which he studied at the Banbury School of Art and later at the London College of Printing, before moving to the USA in the late seventies. The adjoining counties of Lancashire and Yorkshire, where Kenna photographed in the early eighties, have much in common regarding their industrial development. Fiercely competitive, they share a border, a spine of mountains known locally as the Pennines, which helps to produce rain. The rise of the powerful cotton and wool industry, and the building of innumerable mills, canals, railways, chimneys and terraced worker houses, have been attributed in part to these high levels of precipitation. The local textile industry proliferated until the second half of the twentieth century, when there was a sudden, rapid decline and eventual decimation. It was during this precise time period that Kenna returned to the area to photograph, during the day and also and at night. Kenna's early photographs of England launched his career and brought him international acclaim; yet it wasn't until 2020, that he revisited this body of work to find many unprinted images, many of which are exquisitely presented in this monograph.

First edition, first printing. Original light grey cloth lettered in gilt to the spine, in dustwrapper. A near fine copy, the binding square and firm, the cloth and gilt bright and fresh. The contents, lightly spotted to the endpapers, are otherwise clean througout and without inscriptions or stamps. Complete with bright, lightly creased dustwrapper that is without fading, loss or tears. Not price-clipped (£1.40 on the front flap)

The front flap of 'High Windows', the poet's final collection, states simply that "No introduction is necessary to this new collection of poems by Philip Larkin. It is his first since 'The Whitsun Weddings' (1964)". It is perhaps the finest, and certainly the darkest, of Larkin's four collections. The first edition was published on 3rd June 1974 in an edition of 6,142 copies which, according to Charles Monteith, sold out in three weeks, a record, in Faber's experience, for a cased volume of new verse. (Bloomfield A10a).

First edition, first printing. Signed by the author. Publisher's original dark black cloth with gilt titles to the spine, in dustwrapper. A near fine copy, the binding square and firm with some bumping to the top edge and spine tips, the cloth bright and fresh. The contents are clean throughout and without previous owner's inscriptions or stamps. Complete with the lightly creased dustwrapper that is without fading, loss or tears. Not price-clipped (£15.99 net to the lower front flap).

Signed by John Le Carré in black ink on the title page. One of the author's most popular novels, 'The Night Manager' was adapted for television by the BBC in April 2016. The first season was directed by Susanne Bier and starred Tom Hiddleston as Jonathan Pine, Hugh Laurie, Olivia Colman, Tom Hollander, and Elizabeth Debicki. A second season premiered in the UK in January 2026.

First edition, first printing. Signed by the author. Publisher's original grey cloth with blue titles to the spine, with bird illustration in blind to the upper board, in dustwrapper. A near fine copy, the binding square and firm, very lightly bumped at the extremities, and with one small mark to the head of the spine. Lightly toned to the text block. The contents are clean throughout, and without previous owners' inscriptions or stamps. Complete with the fine original dustwrapper, a touch creased to the extremities, and otherwise without fading, loss, or tears. Not price-clipped (£12.95 net to the lower front flap). A lovely copy.

Signed by the author John Le Carré in black ink on the title page. The author's twelfth novel, 'The Russia House' was the basis of the Fred Schepisi film released in 1990, starring Sean Connery and Michelle Pfeiffer. It is notable for being one of the first western films and the first US film to be shot on location in the Soviet Union, with principal photography taking place in and around Moscow and St. Petersburg.

First edition, first printing. Publisher's original quarter burgundy cloth and illustrated boards with titles in gilt to the upper board and spine. Gold ribbon page marker. Illustrated in colour throughout. A fine copy, the binding square and tight, bright and fresh. The contents are clean throughout and without inscriptions or stamps. A lovely copy.

The true first edition of the Charlie Mackesy's international bestselling picture book, the 2022 screen adaptation of which won the 2023 Academy Award for Best Animated Short Film.

Publisher's deluxe dark blue morocco ruled and with the regimental insignia in gilt to the upper board, five raised bands, gilt decorated compartments and titles in gilt to the spine. Outer board edges stamped in blind. All edges gilt. Marbled endpapers. With a tissue-guarded frontispiece portrait of HRH Victoria Mary of Teck (1867-1953), Princess of Wales, taken by royal photographers William and Daniel Downey, and twenty-two further plates throughout the text, seven of which are by Major R.A. Wymer, and in colour. A very good copy, the binding square and firm, the gilt fresh, with some rubbing and a small chip at the head of the slightly faded spine. The contents, with a gift inscription to the blank reverse of the front endpaper and some mild spotting to the flyleaves and occasionally to the margins throughout, are otherwise clean throughout. A handsome volume.

Issued simultaneously in this deluxe binding of full blue morocco and a regular binding of blue cloth and gilt, the deluxe issue is uncommon.

First edition, first printing. Publisher's original green cloth with gilt titles to the spine, in the Charles Mozely illustrated dustwrapper. A near fine copy, the binding square and firm, the cloth bright and fresh, the foot of the spine with a very slight bump. The contents, with a bookplate to the front pastedown, light offsetting to the endpapers and a little spotting to the closed top edge of the text block, are otherwise clean throughout and without inscriptions or stamps. Complete with the lightly rubbed dustwrapper that has a few tiny nicks at the edges, mild toning to the spine and a short closed tear to the top edge of the rear panel. Not price-clipped (15s net to the front flap).

An attractive example of Iris Murdoch's fourth novel, this being the correct Chatto and Windus first printing rather than the edition issued with The Book Society.

First edition, first printing. Original turqoise cloth with gilt lettering to the spine, in the Reynolds Stone illustrated dustwrapper. A fine copy, the binding square and tight. There is a small bookseller's label (Lundgrens, Malmo) affixed to the lower right of the front pastedown. The contents are otherwise without marks or inscriptions. Complete with the lightly rubbed dustwrapper has a short closed tear to the bottom edge of the front panel. Not price-clipped (21s net to the front flap).

The author's eighth novel. "Edmund has escaped from his family into a lonely life. Returning for his mother's funeral he finds himself involved in the old, awful problems, together with some new ones. One by one his relatives reveal their secrets to a reluctant Edmund: illicit affairs, hidden passions, shameful scandals. And the heart of all, there is, as always, the family's loyal servant, the Italian girl" - publisher's blurb. (Tominaga and Scheidermeyer 124).

Four volumes in five. Publisher's original red cloth with titles in gilt to the spines, in dustwrappers. Illustrated throughout with colour plates and black and white line drawings and archaeological maps and diagrams. A very near fine set, the bindings square and firm, with a touch of bumping to the extremities, the cloth bright and fresh. The contents are clean throughout, and without previous owners' inscriptions or stamps. Complete with the very lightly creased dustwrappers, that of volume IV with a small three corner tear to the rear panel (without loss), all others without without fading loss or tears. A lovely set.

A monumental work providing coverage of all mosaics in the province of Britannia which were known up to 2010 (the publication date of the last volume).

First edition. Signed by the author. Inscribed presentation copy. Contemporary presentation binding by V. A. Brown (Hildenborough, Kent) of half dark blue morocco and light blue cloth, ruled in gilt, with four raised bands, an illustration, decoration and titles in gilt to the spine. Top and bottom outer edges of the spine are decorated in gilt. Top edge of the closed text block with a decorative pattern in blue ink, deckled fore- and bottom edge. Patterned endpapers. A very good copy, the binding is square and firm, with some rubbing to the edges of the faded spine. The contents, with some offsetting to the edges of the endpapers, and the author's inscription to the front blank. have some spotting throughout.

Inscribed in the hand of Alfred Noyes in black ink "For Ralph Scrope / With all good wishes on his / wedding-day / from / Mary and Alfred Noyes / June 6th [19]34". The recipients are Ralph Henry Scrope and Beatrice Anne (Savile) Scrope (Daughter of John Henry Savile, 6th Earl of Mexborough and Margaret Eva, Countess of Mexborough) who were married on 14th June 1934. Alfred Noyes (1880-1958) was an English poet, short-story writer, playwright and former Princeton University lecturer who counted F. Scott Fitzgerald among his students. This volume collects 117 of his poetical works written between 1902 and 1928.

First edition. Deluxe limited edition. Publisher's original full navy blue morocco, two raised bands, gilt ruled and with titles in gilt on red labels to the spine. Onlaid illustration of Salvador Dali's 'Eight of Swords' to the upper board. Illustrated with 78 colour reproductions of Salvador Dali's Tarot designs for the major and minor arcana with explanatory text. All edges gilt. An excellent near fine copy, with a little light rubbing to the extremities and spine, the upper board a touch bowed, the leather bright and fresh. The contents with a few light marks to the text block fore-edge and endpapers, are otherwise clean throughout and without inscriptions or stamps. Scarce.

Salvador Dali began work on his tarot cards in the early 1970's when he was approached by Albert Broccoli to create a custom deck of tarot as a prop for the James Bond film 'Live and Let Die' (1973). The prop contract fell through due to Broccoli not wanting to meet Dali's fee, but his wife Gala, who was interested in mysticism, encouraged the artist to continue the project. Over the following decade Dali created an entirely new deck, which he described as a 'Universal Tarot', featuring himself as the Magician and his wife Gala as the Empress. In 1984 a limited edition set of cards was printed by Naipes Comas which quickly sold out. This first book publication, by Rachel Pollack, leading expert in modern Tarot and author of 'Seventy-Eight Degrees of Wisdom' (1980), provides an explanatory guide to the imagery and symbolism in his cards. Issued in a 'deluxe' edition of just 125 copies, from which this example is numbered 80, it is decidedly scarce in commerce.

First edition, first printing. Publisher's original dark grey cloth, with copper titles to the spine, in dustwrapper. A near fine copy, the binding square and firm, the cloth bright and fresh. The contents, with creasing to the lower corner of one page due to a production fault, are otherwise clean throughout and without inscriptions or stamps. Complete with the better than very good rubbed and nicked dustwrapper, which is mildly faded to the spine and is otherwise without loss or tears. Not price-clipped (£4.50 to the front flap).

'Objective Knowledge' collects ten essays by Karl R. Popper, many revised and expanded in this volume. Comprising, 'Conjectural Knowledge: My Solution of the Problem of Induction', 'Two Faces of Common Sense: An Argument for Commonsense Realism and Against the Commonsense Theory of Knowledge', 'Epistemology Without a Knowing Subject', 'On The Theory of the Objective Mind', 'The Aim of Science', 'Of Clouds and Clocks', 'Evolution and the Tree of Knowledge', 'A Realist View of Logic, Physics, and History', 'Philosophical Comments on Tarski's Theory of Truth' and an Appendix 'The Bucket and The Searchlight: Two Theories of Knowledge'. "In the past, the theory of human knowledge has been mainly subjectivist: even scientific knowledge was regarded as a special kind of human belief, a particularly well founded kind. The author breaks with this tradition: a realist and fallibilist, he regards scientific knowledge, stated in human language, as no longer part of ourselves, but as exposed to objective criticism, which acts as a bridle and as a spur. Scientific knowledge grows through critical selection" (publisher's blurb).

First and only printing. Signed by the author and artist. Bound by Stephen Conway in black cloth with a printed paper title label to the upper board. Heavy paper. 55 x 58 cm. Kathleen Raine's poem is printed on a single page at the beginning, followed by twelve large, full-page black and white illustrations by Petra Freeman. A fine copy, the binding square and tight, the prelims with a few faint marks, the contents otherwise clean and bright throughout and without previous owners' stamps or inscriptions. Accompanied by a matching fine portfolio, also measuring 55 x 58 cm, containing three loose signed prints by Freeman.

Signed by Kathleen Raine and Petra Freeman on the title page. Two of the three loose prints are numbered 2/8, all are signed in pencil to the lower margin. A collection of large-scale, atmospheric, sparse and bold prints produced while Freeman was studying illustration at the Royal College of Art, to accompany Raine's poem 'The Seal-Woman', which was first published in her 1943 collection 'Stone and Flower'. Though an illustration student, the narrative leanings of Freeman's work led her to explore animation while still at university. Her resulting graduation film, 'Felt, Lifted and Weighted', with its stark, amorphous, monochrome imagery painted on glass bears a striking visual resemblance to the present collection. After graduation Freeman undertook an animation residency at the London Museum of the Moving image, an initiative created in collaboration with Channel 4. This resulted in the short animation 'The Mill', a surrealist fairy tale which aired on Channel 4's 'Secret Passions' in 1992. Freeman went on to create two further painted-glass animations, 'Jumping Joan' and 'Tad's Nest', as well as the short film 'Bee Boy'. She has also held solo exhibitions of her paintings. No matter the medium, her work is recognisable for its distinctive use of whimsy and darkness to capture ephemeral aspects of the psyche, the spirit and the natural world. Freeman was brought up in rural Cornwall, an experience that weaves itself throughout her work. Similarly, Raine was particularly struck by an extended childhood stay in the Northumbrian countryside, which she stated left a lasting mark on her poetry and foretold a lifelong love of the natural world. Her poetry typically contemplates spirituality, nature and the inner self, making it a natural companion of Freeman's dream-like art.

First trade edition. Signed presentation copy from the Anglo-Irish writer Lord Dunsany. Publisher's original greyish brown cloth, with titles in red and illustrations in blue and red to the upper board and spine. Top edge gilt. Illustrated endpapers and half title. Twelve colour plates with captioned tissue guards, mounted on thick black paper, and illustrations and decorative borders in black to every text page by Thomas Mackenzie. A very good copy, the binding square and firm with some bumping to the spine tips and corners, the cloth a little toned and with a few red marks to the upper and lower boards. The contents, with the gift inscription of Lord Dunsany on the front free endpaper (which has a short closed tear to the lower margin), and some light spotting to the prelims and page edges, are otherwise clean throughout. All of the colour plates and tissue guards are present as called for and in fine condition. An attractive example with an interesting provenance.

Inscribed by the prolific writer and celebrated author of fantasy fiction Lord Dunsany in black ink on the front free endpaper "To Bice Savile / wishing her a happy / Christmas. 1920 / Dunsany". The recipient is Beatrice Anne Savile, later Lady Beatrice Anne Scrope (Daughter of John Henry Savile, 6th Earl of Mexborough and Margaret Eva, Countess of Mexborough). Thomas Blakeley Mackenzie (1888–1944) was one of the final prominent illustrators associated with the late golden age of illustrated gift books. His work demonstrates stylistic affinities with Aubrey Beardsley, Edmund Dulac, Kay Nielsen, and Harry Clarke. Commissioned in 1915 to illustrate Arthur Ransome's 'Aladdin', the project was delayed by wartime conditions and by Mackenzie's active military service in Serbia. Publication was postponed until 1919, following further revisions to the text by Ransome and the completion of Mackenzie's illustrations. The work was issued by Nisbet in both deluxe and trade editions. A contemporary review in the Times Literary Supplement praised the illustrations, noting: "The Princess is properly lovely, the genies properly terrible, and Aladdin at once gallant and a little wistful". (Hammond A19a; Times Literary Supplement, 11 December 1919).

First edition, first printing. Publisher's original black cloth with gilt titles to the spine, in dustwrapper. With 13 diagrams and illustrations throughout the text. A very good copy, the binding square and firm with a little bumping at the spine tips, the cloth bright and fresh. The contents, with some spotting to the text block edge and lightly to the prelims, are otherwise clean throughout and without inscriptions or stamps. Complete with the lightly rubbed and nicked first state dustwrapper that is somewhat toned to the spine and panel edges, and otherwise without loss or tears. Not price-clipped (7/6 net to the spine). Scarce.

Israel Regardie's highly influential and accessible text on the understanding the Qabalah, considered a foundational work of the western esoteric tradition. The printed dedication is to Aleister Crowley, whom Regardie served as personal secretary and magical apprentice from 1928.

First edition, first printing. Signed by the author. Inscribed presentation copy from Mary Renault to her life partner Julie Mullard. Publisher's original blue cloth with titles in silver to the spine. Lacking the dustwrapper. A very good copy, the binding square and firm with some bumping and fraying to the spine tips and corners, the titles somewhat rubbed. The contents with a few isolated foxing spots, mainly to the endpapers, are otherwise clean throughout.

Inscribed by the author in blue ink on the front endpaper "To Julie / with my love / Mary". An outstanding association copy. English novelist Eileen Mary Challans, writing under the pen name Mary Renault, is best known for her critically acclaimed historical novels set in ancient Greece. Her early fiction, however, consisted of contemporary romances populated by characters in complex relationships navigating difficult emotional and social circumstances. From the outset, Renault's positive and sympathetic portrayal of homosexual characters earned her an enthusiastic readership and lasting appreciation within the queer community. In 1933, Renault began training as a nurse at Oxford's Radcliffe Infirmary, where she met Julie Mullard, a fellow nurse with whom she formed a lifelong romantic partnership. After completing her training and while working as a nurse, Renault wrote her first novel. 'Purposes of Love' (Longmans, 1939), a heterosexual romance notable for its inclusion of an openly lesbian character, was both critically acclaimed and commercially successful. It was followed by 'Kind Are Her Answers' the following year. This, her third novel, written partly in answer to the despair characteristic of Radclyffe Hall's 'The Well of Loneliness', appears to draw directly on her own life, featuring a lesbian writer and a nurse as its central characters. In 1948, after winning the short-lived but financially lucrative Metro-Goldwyn-Mayer Prize, Renault and Mullard emigrated to South Africa. There, they joined a community of expatriates who had fled Britain's repressive attitudes toward homosexuality in favour of the comparatively liberal atmosphere of Durban. Radical in their politics for the time and place, the couple were among the few white South Africans to participate in the anti-apartheid movement. It was in South Africa that Renault was able to write openly about homosexual relationships for the first time. 'The Charioteer' (1953), despite its classical-sounding title, offers a moving portrait of a young corporal's sexual bildungsroman in postwar Britain. The novel secured Renault's place in the gay literary canon for its rare, positive, and nuanced depiction of homosexual love. Unsurprisingly, it also provoked controversy, particularly in the United States, where her publisher, William Morrow, refused to release the book until a revised version appeared in 1959. Between 1956 and 1981, Renault turned to the historical fiction for which she is now best known. These novels, all set in ancient Greece, offered vivid imaginative reconstructions of figures such as Theseus, Socrates, Plato, and Alexander the Great. Though not a trained classicist, Renault was meticulous in her attention to historical detail. Prior to publishing her first historical novel, 'The Last of the Wine' (1956), she and Mullard travelled extensively in mainland Greece and the islands, including Crete, to study the architecture and landscape firsthand. The couple never returned to England. After a long and remarkably productive career, Mary Renault died of lung cancer in a nursing home in Cape Town on December 13, 1983. Julie Mullard, her lifelong partner and literary executor, died in 1996.

First edition, first printing. Signed by the author. Inscribed presentation copy from Mary Renault to her life partner Julie Mullard. Publisher's original yellow cloth with blue titles to the spine, in the supplied first printing dustwrapper. A very good copy, the binding square and firm with a little bumping at the spine tips, the spine a touch faded and with some marking to the lower edge of the front spine fold. The contents are clean throughout. Complete with the rubbed and nicked dustwrapper that has several small chips and short closed tears to the upper edge, and a slightly faded spine. Not price-clipped ($3.00 to the upper front flap).

Inscribed by the author in blue ink on the front endpaper "To Julie again / with my love / Mary". An outstanding association copy. English novelist Eileen Mary Challans, writing under the pen name Mary Renault, is best known for her critically acclaimed historical novels set in ancient Greece. Her early fiction, however, consisted of contemporary romances populated by characters in complex relationships navigating difficult emotional and social circumstances. From the outset, Renault's positive and sympathetic portrayal of homosexual characters earned her an enthusiastic readership and lasting appreciation within the queer community. In 1933, Renault began training as a nurse at Oxford's Radcliffe Infirmary, where she met Julie Mullard, a fellow nurse with whom she formed a lifelong romantic partnership. After completing her training and while working as a nurse, Renault wrote her first novel. 'Purposes of Love' (Longmans, 1939), a heterosexual romance notable for its inclusion of an openly lesbian character, was both critically acclaimed and commercially successful. It was followed by 'Kind Are Her Answers' the following year. Renault's third novel, 'The Friendly Young Ladies' (Longmans, 1943), appears to draw directly on her own life, featuring a lesbian writer and a nurse as its central characters. In 1948, after winning the short-lived but financially lucrative Metro-Goldwyn-Mayer Prize, Renault and Mullard emigrated to South Africa. There, they joined a community of expatriates who had fled Britain's repressive attitudes toward homosexuality in favour of the comparatively liberal atmosphere of Durban. Radical in their politics for the time and place, the couple were among the few white South Africans to participate in the anti-apartheid movement. It was in South Africa that Renault was able to write openly about homosexual relationships for the first time. 'The Charioteer' (1953), despite its classical-sounding title, offers a moving portrait of a young corporal's sexual bildungsroman in postwar Britain. The novel secured Renault's place in the gay literary canon for its rare, positive, and nuanced depiction of homosexual love. Unsurprisingly, it also provoked controversy, particularly in the United States, where her publisher, William Morrow, refused to release the book until a revised version appeared in 1959. Between 1956 and 1981, Renault turned to the historical fiction for which she is now best known. These novels, all set in ancient Greece, offered vivid imaginative reconstructions of figures such as Theseus, Socrates, Plato, and Alexander the Great. Though not a trained classicist, Renault was meticulous in her attention to historical detail. Prior to publishing her first historical novel, 'The Last of the Wine' (1956), she and Mullard travelled extensively in mainland Greece and the islands, including Crete, to study the architecture and landscape firsthand. The couple never returned to England. After a long and remarkably productive career, Mary Renault died of lung cancer in a nursing home in Cape Town on December 13, 1983. Julie Mullard, her lifelong partner and literary executor, died in 1996.

Second edition. Signed by the author and the artist. Publisher's original pictorial boards, issued without a dustwrapper. Illustrated in colour throughout by Quentin Blake. A fine copy, the binding square and firm, bright and fresh. Publisher's price sticker to the upper right of the front board. The contents are clean throughout and without previous owners' marks.

Inscribed by the author in black ink on the front endpaper "For Jay / Michael Rosen / was / here / April 3 1998" underneath which the artist has added "& Quentin Blake". Uncommon in double signed state. A wonderfully illustrated collection of verse by the Children's Laureate combination of Michael Rosen and Quentin Blake, first published in 1985..

First UK edition, first printing. Original pictorial boards. Issued without dustwrapper. Illustrated in colour by the author throughout. A very good copy, the binding square and firm, with bumping and rubbing to the extremities, a few marks, and light fading to the red lettering on the spine. The contents, with a tiny previous owner's name to the front pastedown, a faint corner crease to the bottom of the front endpaper, and a few isolated foxing spots, are otherwise clean and bright throughout.

A classic picture book with a strong environmental message, 'The Lorax' was Dr. Seuss's favourite of his books and is the basis for several film, television and stage adaptations.

First edition with these illustrations. Publisher's original beige cloth with gilt titles and illustration to the upper board and spine. Profusely illustrated with 40 tipped in colour plates, each with captioned tissue guards, and many black and white illustrations throughout. A very good or better copy, the binding square and firm with a little bumping to the spine tips and corners, the cloth and gilt is clean and fresh with just a few light marks to the upper board. The contents, with a 1909 gift inscription in blue ink on the blank front endpaper, and some spotting to the prelims and text block edges, are otherwise clean throughout. All of the tipped in colour plates remain in fine condition, one tissue guard has a short closed tear to the fore-edge.

An attractive example of one of the most collectable and beautifully illustrated editions of William Shakespeare's A Midsummer-Night's Dream.

Early collected edition of Sterne's complete works. Eight volumes. Full contemporary calf, ruled and with titles in gilt on red morocco labels, and volume numbers in gilt on decorated circular black morocco labels to the spine. Outer board edges decorated in blind. Frontispiece illustration in the first four volumes, by William Hogarth in volumes I and II, Michael Angelo Rooker in volume III, and Henry Bunbury in volume IV. One further illustration (a coat of arms) on p.109 of volume IV. A very good, unsophisticated set, the bindings square and firm, with some rubbing, scuffing and toning to the extremities. The contents, with a short closed tear to the front blank in volume I, and the ownership inscription of Thomas Walker, Irvine in black ink on the front pastedown of the same volume, are otherwise clean throughout. An attractive set.

The complete works of Laurence Sterne in handsome contemporary calf. Includes the iconic humorous novel 'The Life and Opinions of Tristram Shandy, Gentleman', (first published in nine volumes 1759-1767), and his unfinished novel 'A Sentimental Journey Through France and Italy' (1768), of which only two of the planned four volumes were published before Sterne's death in the same year. The famous 'black pages' are placed on pp. 66-67 in volume I. Provenance: Thomas Walker of Irvine, Ayrshire, Scotland (1759 - 1833).

First edition in this form. Signed and inscribed by Algernon Swinburne to the painter John William Archibold. Publisher's original red cloth over bevelled boards, elaborately decorated in gilt to the upper board, and blind to the lower board after a design by John Leighton, titles and decoration in gilt to the spine. Portrait frontispiece. Decorative chapter headings and footers. A very good copy, the binding square and firm with a some bumping, small splits and minor fraying at the spine tips and corners, the cloth a little marked. The contents, with the decorative bookplate of Scottish clothing merchant, textile manufacturer and noted patron of the arts, Thomas Glen Arthur (1857-1907) to the front pastedown, Swinburne's presentation inscription to the half title, and some light spotting to the margins throughout, are otherwise clean throughout. The inner hinges to the front and rear are cracked but holding. An attractive volume of Byron's poetry, published in 'Moxon's Miniature Poets' series. An interesting association copy.

Inscribed by the editor and author of the preface in black ink on the half-title: "J. W. Inchbold / from his affectionate / A. C. Swinburne." Algernon Charles Swinburne (1837–1909), the English poet, playwright, novelist, and critic, was, alongside Dante Gabriel Rossetti and William Morris, a leading figure of the Pre-Raphaelite movement in poetry. He was nominated annually for the Nobel Prize in Literature from 1903 to 1909, and his work exerted a profound influence on later Aesthetic and Decadent poets of the fin de siècle, including Oscar Wilde and Ernest Dowson. The recipient of Swinburne's presentation is the Yorkshire-born artist John William Inchbold (1830–1888). His style was shaped by the ideals of the Pre-Raphaelite Brotherhood, and he counted among his admirers and patrons such figures as Tennyson, Browning, Lord Houghton, Sir Henry Thompson, and John Ruskin. Swinburne later honoured Inchbold's memory with a funeral ode, "In Memory of John William Inchbold," published in Poems and Ballads, Third Series (1889).

First edition. Contemporary full dark red morocco with five raised bands to the spine, with titles in gilt to the spine and with the Corporation of London logo and borders in gilt to the upper board. Inner dentelles elaborately decorated in gilt. Marbled endpapers. All edges gilt. A near fine copy, the binding square and firm with rubbing and a little scuffing to the extremities, the gilt bright and fresh. The contents are clean throughout, and without inscriptions or stamps. A very attractive example.

A beautifully bound guide to the Art Gallery of the Corporation of London's, otherwise known as the Guildhall Art Gallery, twelfth exhibition since its founding, and fifth exhibition thus far to have displayed works by artists from the Dutch School. The exhibition is stated to have run from Tuesday 28th April to Saturday 25th July 1903. Sir Alfred George Temple FSA (1848-1928) was the first director of the Guildhall Art Gallery, a post he held for 42 years. Through his diligent efforts, he built up the collection into one of the finest in England and wrote many books and articles on art.

Early printing of this edition (sixth thousand). Three volumes. Contemporary dark red half calf ruled in gilt, with five raised bands, gilt ruled and decorated compartments, and titles in gilt to the spine. Gilt decorated upper and lower spine edge. Top edge gilt. Red silk ribbon bookmarks. Marbled endpapers. Illustrated with a black and white portrait frontispiece in each volume. A very good or better set, the bindings square and firm with a little rubbing, minor scuffing and a few marks to the extremities, the spines with a touch of uniform fading. The contents, with a gift inscription (dated 1915) in black ink on the reverse of the front endpaper of volume I, and some foxing to the prelims and text block edge, are otherwise clean throughout. A handsome set.

Volumes I and II comprise Poems, volume III Prose. The preface, by Thompson's literary executor 'W. M.' (Wilfrid Meynell), is dated May 1913. Francis Thompson (1859-1907) was an English poet often associated with catholic mysticism. He trained in medicine before pursuing a career as a writer in a period that saw him becoming addicted to opium and living on the streets of London. He was discovered by the literary couple Alice and Wilfrid Meynell who offered him shelter and published his poetry, and it was under their patronage that Thompson created the greater part of his body of work.

First edition in book form. A facsimile of the 1919 portfolio, published by W. F. Embleton, London. Publisher's original half dark green morocco with dark green cloth, decoratively gilt ruled, with gilt titles and decoration to the spine and facsimile of Archibald Thorburn's signature in gilt to the upper board. Housed in the dark green card slipcase. Top edge gilt. Marbled endpapers. Printed on fine arts paper by Vosges-based paper mill Lana, with deckled fore- and bottom edges. Illustrated throughout with twelve beautiful colour plates by Archibald Thorburn mounted on thick cream paper and a small black and white in-text illustration of a Honey Buzzard following the preface. All colour plates are present as called for and in fine condition. A near fine copy, the binding square and firm, the gilt fresh, and with one small nick to the head of the spine. Very light spotting to the text block edges and a few faint splash marks to the 'List of Plates' page and the blank page opposite, the contents are otherwise clean throughout, and without previous owners' inscriptions or stamps. Housed in the very good, structurally sound original slipcase, which is faded, rubbed and scuffed, and has a couple of small marks to the panel edges. A very attractive production. Scarce.

The 'Collector's Edition', issued in an edition of 145 copies of which 135 (numbered 16 to 150) were for sale. This example is numbered 131 in black ink. Widely regarded as one of the finest British wildlife artists, Archibald Thorburn's (1860-1935) ornithological watercolour paintings remain highly sought-after items for collectors today. In the new foreword, publisher Major Iain Grahame discusses his decision to republish Thorburn's work in commemoration of the 50th anniversary of the artist's death on 9 October 1935, "First published in 1919 and limited to only one hundred and fifty copies, ['Thorburn's Birds of Prey'] has always been a great rarity. One reason is that it was never issued in book form, but rather as a portfolio of lithographed prints, each with an accompanying page of text. Many of these have now been split up and framed, so only a very few copies still survive in their original format. To commemorate the fiftieth anniversary of Thorburn's death [...] I am proud to be republishing this little known work [...]. The best materials and the highest standards of craftsmanship have been employed, thus producing a work that I trust does justice to Archibald Thorburn's inimitable talent".

Second edition, first printing (the first revised edition). Three volumes. Superbly bound in full red morocco, each of the three spines titled individually and tooled in gilt, forming the complete Gate of Moria illustration when placed together in order. The upper board with the author's JRRT monogram in gilt. All edges gilt. Hand sewn headbands. Red marbled endpapers. Illustrated by the author, each volume with a large folding map at the rear. A stunning fine set, the bindings square and tight, the contents clean throughout and without inscriptions or stamps. The maps are in fine condition. Housed in a bespoke red cloth slipcase.

A beautifully presented example of a bibliographically important printing of The Lord of The Rings. This first revised edition features a new foreword and revisions to the first edition text by the author throughout. (Hammond & Anderson A5e).

First edition, first printing and notably the first publication of artwork based on the writing of J. R. R. Tolkien (here illustrating 'Goblin Feet'). Inscribed by Beatrice, Lady Dunsany, wife of Lord Dunsany. Original taupe cloth with titles and decorations to the spine and upper board in navy. Top edge grey. Illustrated endpapers, and 16 tissue-guarded colour plates tipped onto grey card, as well as black and white vignettes by Warwick Goble. A very good copy, the binding firm, the corners and spine tips bumped, the cloth with a few small marks. The contents, with Lady Dunsany's gift inscription to the front flyleaf, slight creasing to the top corner of the text block, spotting to the prelims, closed text-block edge, and faintly to some margins, are otherwise clean throughout. The plate facing page 16 has creasing to the bottom left corner, the plates remain otherwise fine.

A collection of poetry and verse about fairies by authors such as William Shakespeare, John Keats, Andrew Lang, Ben Johnson and J. R. R. Tolkien, all beautifully illustrated by Warwick Goble. This example bears a Christmas 1921 gift inscription by Beatrice Child-Villiers, Lady Dunsany, (wife of the Anglo-Irish writer Lord Dunsany whose work influenced the formation of the modern fantasy genre). to Beatrice Anne Savile, later Lady Beatrice Anne Scrope (Daughter of John Henry Savile, 6th Earl of Mexborough and Margaret Eva, Countess of Mexborough).

First edition, first printing. Original grey textured cloth with blue titles to the spine, in dustwrapper. Blue top stain. A better than very good copy, the binding square and firm, the contents with a bookplate to the front endpaper are otherwise clean throughout and without previous owner's inscriptions or stamps. Complete with the rubbed and nicked original dustwrapper which has small chips and a few tears at the extremities, but retains much of the original colour to the spine, uncommon thus. Not price-clipped (8/- to the front flap).

First edition, first printing. Complete in two volumes. Publisher's original quarter dark blue and burgundy cloth, with titles and borders in gilt to the spine, and with royal insignia in gilt to the upper board. Illustrated across both volumes with eighteen black and white plates and sixteen fold-out black and white maps pasted in. Errata slip pasted in to the contents page in Volume II. A very good set, the binding square and firm, the gilt insignia fresh, faded to the spine, and mildly rubbed and bumped to the extremities. Moderate foxing to the fore-edge and a touch of spotting to the bottom edge of the lightly toned text block. Volume I with the ownership signature of Standish Henry Harrison, in black ink on the front free endpaper, the contents are otherwise clean throughout. Brigadier-General Standish Henry Harrison (1853–1953) was a distinguished Irish-born British Army officer. He served in the King's Liverpool Regiment and Royal Munster Fusiliers, commanding battalions and, during WWI, a brigade. He held major commands in Ireland before retiring to County Cork.

A comprehensive regimental history of one of the oldest line infantry regiments of the British Army. Everard Wyrall's extensive military histories include four divisional histories, seven regimental histories, a battalion history, and a RFA howitzer battery history. His history of the King's Regiment (Liverpool) is particularly noted for providing "an enthrallingly interesting narrative" that gave the Regiment a "War Memorial more lasting than stone" (Prof. John Bourne, The Western Front Association, 2022).

New revised edition. With an autograph note on card, signed by the author, loosely laid in. Historical novelist Mary Renault's copy. Publisher's original blue-green cloth, decorated in gilt (after a design by Althea Gyles), and with titles in gilt to the spine. Two prefaces by Yeats, one dated January 1927, the other (a preface to the seventh edition) is dated 1912. A near very good copy, the binding square and firm with rubbing and bumping to the edges, the cloth chipped with some loss at the spine tips. The contents, with the signed bookplate of Mary Challans to the front pastedown, and some spotting to the prelims, are otherwise clean throughout.

Loosely laid into this copy is a small card inscribed by the author in black ink "Please reserve for July 22 [crossed out] 24 / W. B. Yeats". The significance of the note, and the circumstances under which it was inserted, are unknown to this cataloguer. The book bears the ownership bookplate of Mary Challans, (later the acclaimed author of historical fiction Mary Renault) dating from her time as a student at St Hugh's College, Oxford, where one of her tutors and early influences was J. R. R. Tolkien. The volume remained in her library, in its present state, until her death in Cape Town in 1983, after which it passed to her life-partner and literary executor, Julie Mullard. (Wade 153).