First edition, first printing. Publisher's original black cloth with gilt titles to the spine, in the Craig Dodd designed dustwrapper. Top edge orange. A near fine copy, the binding square and firm, the cloth bright and fresh, with light rubbing to the spine tips. The contents, with just a little spotting to the top edge and a couple scuffs to the fore-edge of the closed text block are clean throughout and without inscriptions or stamps. Complete with the slightly rubbed dustwrapper, that is a little toned to the top edge of the flaps, and otherwise remains without loss or tears. Not price-clipped (£3.25 net to the lower front flap). An attractive example.

The author's second book, a black comedy of manners. "[The book] is a grotesque variation on the country house novel, set, like most of Jane Austen's novels, on a country estate, and concerned with the (ill) manners of a group of the young and the privileged. The head of this estate is a man who seems to represent the quintessence of Enlightenment notions of reason, culture, and civility, but who is revealed as a moral monster by the end of the narrative" (Diedrick, 1995). It went on to form the basis for the 2000 William Marsh film of the same name, starring Paul Bettany and Olivia Williams. (Diedrick, James: Understanding Martin Amis, 1995, University of South Carolina Press, pp. 13-14).

First edition, first printing. Publisher's original first state navy blue cloth with red titles to the spine, in the David Kyle illustrated dustwrapper. A near fine copy, the binding square and firm with some bumping to the spine tips, the cloth bright and fresh. The contents, toned to the text block, are clean throughout and without inscriptions or stamps. Complete with the very good, rubbed and nicked, first state dustwrapper that has small chips to the fold corners and some toning to the flap edges. Not price-clipped ($2.75 to the upper front flap). An attractive example.

The first volume in the Foundation trilogy (followed by Foundation and Empire (1952) and Second Foundation (1953)). Winner of the one-time Hugo Award for 'Best All-Time Series' in 1966, beating J. R. R. Tolkien's 'The Lord of the Rings', to the surprise of Asimov himself. Originally published as a series of short stories and novellas in Astounding Magazine between 1942 and 1950, this is the first edition in book form. Both the book and the dustwrapper are in the earliest state and printing. (L. W. Currey: Science Fiction And Fantasy Authors, A Bibliography Of Their First Printings).

First edition, first printing. Publisher's original cream cloth boards with titles in cream to the dark red cloth spine, in the Gail Geltner illustrated dustwrapper. A near fine copy, the binding square and firm, the cloth bright and fresh, with light rubbing to the spine tips and extremities. The contents, with an isolated light mark to p. 262, are otherwise clean throughout and without inscriptions or stamps. Complete with the very lightly rubbed and nicked dustwrapper, that has a short closed tear to the base of the front spine fold, and a tiny closed tear to the base of the spine, and otherwise remains without fading or loss.

The true first edition. Winner of the first Arthur C. Clarke Award, shortlisted for The Booker Prize and nominated for the 1986 Nebula Award. Atwood's futuristic feminist dystopian novel has been the basis for film and Emmy Award-winning television adaptations.

First edition, first printing. Paperback original. Publisher's white card covers printed in black. Illustrated throughout in black and white. A very good copy, the binding square and firm, the covers with a little rubbing and dustiness at the extremities. The contents, with a couple of small marks on the front free endpaper and light toning to the margins, are otherwise clean throughout and without stamps or inscriptions.

Based on the 1972 BBC television series, a collection of seven 'essays', three of which consist solely of images, that examine how we view art. A groundbreaking classic of art criticism that challenged long held, traditionalist conventions within the discipline. It notably introduced the male gaze, a concept that became a significant, perennial topic within feminism, and was famously explored at length in the work of the feminist film theorist Laura Mulvey.

First [and only] edition. Nineteenth century full calf, ruled and stamped in blind with gilt decorated corner pieces to the upper and lower boards. Five raised bands, gilt decorated compartments and titles in gilt on a brown morocco label, to the spine. 141 pp. Marbled endpapers. All edges red. With the engraved title page. Errata leaf. Bookplate of John Deakin Heaton, MD to the front pastedown. A very good copy, the binding firm with some rubbing and scuffing to the spine and corners. The engraved title page is somewhat darkened with several notations in ink and pencil to the upper margin. John Deakin Heaton's autograph initials, dated 1867, are to the top of the letterpress title page. The contents are otherwise clean throughout. Scarce.

Samuel Birchall, ardent naturalist and antiquarian, is best known among present-day numismatists for his 'A Descriptive List of the Provincial Copper Coins or Tokens issued between the Years 1786 and 1796'. Privately published by Birchall in February 1796, at the height of the collecting mania for such items., it is an alphabetical reference to pieces in his own collection and those of a small number of other contemporaries, including Evesham's MP Thomas Thompson (1767-1818), the Bath grocer Lacon Lander Lambe who later emigrated to Washington, USA (1770-1860) and the London antiquarian Sarah Sophia Banks (1744-1818). Painstaking but relatively unsophisticated by present-day standards, Birchall lists over 1,000 different tokens and associated items, products of the new factories in Birmingham and elsewhere. Among them is the private token that he himself put out in 1795. Apart from tokens, Samuel Birchall formed valuable collections of British gold and silver coins, stuffed birds and beasts (these were sent to London for sale at the end of 1813), and mineralogy, maintaining extensive acquaintances with men of letters interested in similar pursuits in other parts of the country. Doubtless one of the sources for the coin collection was the dealer Henry Young of Ludgate Street, London, a token issuer himself in 1794 who was followed in business by his much better-known son, Matthew Young (1770-1838), issuer of his own private token in 1798 and a collaborator with Birchall on his List, for which Henry Young was the retail outlet. Described by Harold Welch as "probably the best contemporary list of this series of late 18th century trade tokens prior to Conder's standard work first published in 1798". [Noonans: British Coins from the Collection of Samuel Birchall of Leeds (1761-1814)].

First edition, first printing. Signed by the author. Inscribed presentation copy. Publisher's original blue cloth with gilt titles to the spine, in dustwrapper. A very good copy, the binding square and firm with a little rubbing to the extremities, the cloth bright and fresh. The closed text block is lightly toned with a touch of spotting to the top edge. The contents, with a little creasing, are otherwise clean throughout. Complete with the rubbed, nicked and creased dustwrapper, that has several short closed tears and scuffs (with associated creasing), and heavy fading to the red lettering on the spine. Not price-clipped (£2.10 / 42s net to the front flap).

Inscribed by the author in blue ink to the front free endpaper "To dear Cousin Caroline / with much love / from / Cousin Christopher / 8th October 1969 / (after hearing the / B-minor Mass)". The journalist, and 'Private Eye' founder's first book. A highly critical analysis of the role played by fantasy in the political and social life of two decades, starting with the Angry Young Men of the 1950's through to the phenomenon of "swinging London".

First UK edition, first printing. Original duo-tone green and red cloth with gilt titles to the spine, in dustwrapper. A very good copy, the binding square and firm, the extremities very slightly bumped. There is light spotting to the prelims and closed text-block edge, the contents are otherwise clean throughout and without previous owners' stamps or inscriptions. Complete with the lightly rubbed, nicked and creased dustwrapper that is a little spotted to the rear panel and underside. Not price-clipped (21s on the lower front panel).

A collection of the novellas and short stories of the Nobel Prize winning philosopher and novelist Albert Camus (1913-1960).

First edition, first printing. Publisher's original red paper-covered boards with gilt titles to the spine, in dustwrapper. A very near fine copy, the binding square and firm with just a little bumping to the spine tips, the boards bright and fresh. The contents are clean throughout and without inscriptions or stamps. Complete with the price-clipped dustwrapper that is otherwise fine and bright.

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

First edition, first printing. Three volumes. Signed by the author in the first volume. Publisher's original black and blue cloth with gilt titles to the spine, in dustwrappers. Top edge blue (Of Their Own Choice only). With four maps and three line-drawn plans across the set, and a black and white photographic plate tipped-in to the rear of the final volume. A better than very good set, the bindings square and firm, lightly bumped at the spine tips and a little rubbed to the extremities, with some dulling to the gilt titles of Of Their Own Choice. The Spirit in the Cage has a little bowing to the board ends and a touch of fading to the tail of the spine. The closed text block edges are a little spotted. The contents, with spotting to the endpapers of the first volume and with a few foxing spots throughout The Spirit in the Cage, are otherwise clean and without previous owners' inscriptions or stamps. Complete in the rubbed, nicked and creased dustwrappers, that have a little fading to the spine of Of Their Own Choice, with a couple of short closed tears with small chips to Duel of Wits. The Spirit of the Cage retains the original 'Recommended by The Book Society' yellow wraparound band, which has a closed tear and light spotting. The front flap of Duel of Wits is price-clipped, the other two volumes are priced 12/6 net to the lower front flaps.

Inscribed by the author in blue ink on the title page of Of Their Own Choice 'For Miss Jo Ockenden / with all good wishes / Peter Churchill / 9-10-52'. The definitive memoirs of Peter M. Churchill DSO (1909-1972), a British Special Operations Executive officer in the Second World War, exploring his espionage training and wartime operations, his ultimate discovery and arrest by Nazi spycatcher Hugo Bleicher, and consequent imprisonment in German concentration camps.

Facsimile editions of the 1909 and 1910 first editions. Limited edition. Two volumes. Publisher's original quarter brown morocco and grey paper-covered boards, with gilt titles to the spine and upper boards. Housed in the grey paper-covered slipcase with metallic indigo titles to the right side and the publisher's device to the left side. With the accompanying pamphlet and a publisher's notice loosely laid in, as issued. 'London' is illustrated with 20 tipped-in two-tone plates, with a further 20 two-tone plates tipped in to 'New York', all mounted on grey Materica paper. An excellent fine set, the bindings square and firm, bright and fresh. The contents are clean throughout, and without inscriptions or stamps. Housed in the fine, structurally sound slipcase.

A beautiful large-format production of two of the cornerstone photobooks of the twentieth century. Issued in an edition of 500 copies, from which this example is numbered 473 on the limitation pages. A key figure in the development of American pictorialism, photographer Alvin Langdon Coburn (1882-1966) was the first major photographer to emphasize the visual potential of elevated viewpoints, as can be seen here. Coburn's career began at a young age, receiving his first camera at the age of 8 and quickly developing an impressive talent for visual composition and technical proficiency in the darkroom. He swiftly entered the exclusive literary and artistic circles of New York, Paris and London in his later teenage years and early twenties, connecting with and finding mentors in the greatest pictorial photographers and gallerists of the time, including Edward Steichen, Gertrude Käsebier, and Alfred Stieglitz. While an established portraitist, Coburn developed a fondness for cityscapes, finding that they offered more scope for design and pattern, and particularly loved his time spent working in London, famously remarking in a 1906 letter to Stieglitz "After all, there is no place like London. I have never really done any photographic work before - wait until you see the new stuff!". Coburn's photographs, having previously featured in other artists' books and magazines, were finally published independently for the first time as 'London' in 1909, after five years of preparation. 'New York' quickly followed in 1910 in the same format and became notably scarcer than its sister publication. In his autobiography, released the same year of his death, Coburn reflected that "There are countless interesting things in the world waiting to be recognized and captured, and the photographer has unique opportunities for recording for posterity aspects of the world around him. Photography helps us not only to remember, but to see afresh, and to cultivate the capacity to see with more clarity, and this is of great value in the ability to lead a fuller and richer life. [...] Even in 1910 New York was a remarkable place, and I am glad to have recorded it as it was then. The New York book is, I believe, now quite difficult to find, but I often look at my own copy with considerable pleasure, for it brings back to my mind many precious memories of the past" (Gernsheim, Helmut and Alison (edits): Alvin Langdon Coburn, Photographer, An Autobiography 1966).

First edition, first printing. Publisher's original blue cloth with gilt titles to the spine, in the Michael Gibbon illustrated dustwrapper. A very good copy, the binding square and firm, the cloth a little toned and rubbed at the edges with some bumping to the extremities. The contents, with an ownership inscription in black ink to the front free endpaper, a scuff to the front pastedown, and some spotting to the text block edge and occasionally throughout, are otherwise clean. Complete with the rubbed, nicked, toned and creased dustwrapper, which has a few short closed tears with associated creasing and some minor spotting and light marks to the panel and flap edges. Not price-clipped (7s 6d net to the lower front flap).

A Scottish political satire novel.

First edition, first printing. Publisher's original pictorial boards. Illusrated in colour by the author throughout. A very good copy, the binding firm, with some rubbing to the tips of the slightly rolled spine. The contents, with a gift inscription to the front endpaper, a few finger marks and some toning to the page edges, are otherwise clean. Scarce.

The first book in the Mrs Easter series, the second of which 'Mrs Easter and the Storks' won the 1957 Kate Greenaway Medal.

First edition, first printing. Advance review copy. Publisher's original pink cloth with gilt titles to the spine, in the R. G. Williamson designed dustwrapper. Top edge blue. A publisher's review slip fixed to the epigraph. A better than very good copy, the binding square and firm with a little bumping to the spine tips. The contents, with a little scuff and a small indentation to the front pastedown and a couple of small foxing spots to the rear endpapers, are otherwise clean and without inscriptions or stamps. The top edge of the text block is a little faded and spotted. Complete with the lightly rubbed, creased and toned dustwrapper that is spotted to the flap folds and edges, and otherwise without loss or tears. Not price-clipped (15s. net to the lower front flap).

An erotic comedy novel, Rosalind Erskine's story of an English girls' boarding school setting up a "service" for the local boys' school in lieu of receiving formal sex education caused a sensation upon publication, and became a bestseller. The book's true authorship would later be revealed as Roger Erskine Longrigg (1929-2000), a prolific novelist of Scottish historical novels, spy and mystery thrillers, and black comedies, all published under a female pseudonym. Two sequels followed, 'Passion Flowers in Italy' (1964) and 'Passion Flowers in Business' (1965). The basis for the 1978 German language film 'Leidenschaftliche Blümchen', directed by André Farwagi and starring Nastassja Kinski. It also formed the basis for a 1965 musical by John Barry and Trevor Peacock, produced by Gene Gutowski, that ran for 148 performances in London and starred Francesca Annis, Jeremy Clyde, and Jane Birkin.

First edition, first printing. Signed by the author. Original beige cloth with black titles to the spine with a unique black and white photograph tipped on to the upper board (by the authot). A very near fine copy, the binding square and firm, the cloth fresh, the head of the spine and the top corners of the boards with mild bumping. The contents are clean throughout and without stamps or inscriptions. Scarce in this form.

One of a limited edition of 26 signed, hardbound copies. This example is lettered 'Z' and signed and inscribed in black ink by the author on the limitation page "For / Pat / Jamieson / The "2" Mule, / with an [illegible] / cover. (somewhat / the way the cover / should have been done!). / July 1978". Additionally inscribed on the photograph on the upper board. A collection of poems and a journal by the American poet Clayton Eshleman. The writing dates from a period when author lived in Peru with his pregnant wife while he attempted to procure manuscript material from the widow of the Peruvian poet César Vallejo, whose work Eshleman produced notable translations of. 700 unsigned softcover copies were also issued.

First edition, first printing. Publisher's original grey cloth with gilt titles to the spine, in dustwrapper. Illustrated with 388 colour photographs, black and white maps, floorplans and architectural sketches throughout. A near fine copy, the binding square and firm, bright and fresh, with just a little bumping to the extremities. The contents are clean throughout, and without inscriptions or stamps. Complete with the lightly creased dustwrapper, that remains without fading, loss or tears. Not price-clipped.

'In a new addition to the Pelican History of Art series, leading architectural historian Eric Fernie presents a chronological survey of Romanesque architecture and the political systems that gave rise to the style. Known for its massive quality, thick walls, round arches, piers, groin vaults, large towers and decorative arcading, as well as the measured articulation of volumes and surfaces, Romanesque architecture was also, at the time of its greatest popularity in the eleventh and twelfth centuries, the first distinctive style to dominate western and central Europe' (publisher's blurb).

Early edition. Original heavy beige cloth with gilt titles to the spine, titles and an illustration printed in brown to the upper board, in dustwrapper. Deckled edges. Illustrated with fifteen colour plates by Frank Brangwyn mounted on heavy grey paper. Each page of text features a decorative border. A very good copy, the binding firm, the extremities slightly rubbed, the boards lightly bowed, the cloth clean. There is faint offsetting to the endpapers and a few light spots to the early and late pages, the contents are otherwise clean throughout and without stamps or inscriptions. Complete with the rubbed, nicked and creased dustwrapper that is toned to the spine, with a stain to the rear panel and a few short closed tears and chips to the edges. Uncommon in the dustwrapper.

The Welsh painter Sir Frank Brangwyn (1867-1956) lends his rich, painterly hand to the much-illustrated 'Rubáiyát of Omar Khayyam' in this beautiful example of a golden age gift book.

First edition, first printing of Frankl's seminal work in psychotherapy. Publisher's original pictorial paper covers. A better than very good copy, the binding square and firm with a little rubbing and creasing to the extremities and a couple of tiny nicks to the spine corners, without loss. The contents, toned to the poor quality paper-stock, are otherwise clean throughout and without inscriptions or stamps. An excellent example, in entirely original condition.

One of the earliest and most influential survivor accounts of the Nazi concentration camps. Published in Vienna in 1946, scarcely a year after the end of the Second World War, Frankl's memoir is exceptional in combining firsthand testimony with the observations of a trained psychiatrist. Written after his liberation from the camps, the work laid the foundations for his theory of logotherapy and was later revised and expanded as 'Man's Search for Meaning', which has become one of the most widely read books of the twentieth century. This first edition is considerably scarcer than the later English-language issues that established Frankl's international reputation and represents a landmark in both Holocaust literature and the history of modern psychology.

First edition, first printing. Signed by the author. Publisher's original red cloth with gilt titles to the spine, in the Larry Rostant illustrated dustwrapper. With two black and white map illustrations by Ken Lewis and Leslie Robinson. 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 very near fine dustwrapper, that has just a hint of rubbing to the extremities, with a little bleed from the cloth to the underside of the flap folds, and otherwise remains without fading, loss or tears.

Signed by George MacDonald Fraser in blue ink on the title page. The tenth instalment in The Flashman Papers.

First edition, first printing. Signed by the author. Publisher's original red cloth with gilt titles to the spine, in the Arthur Barbosa illustrated dustwrapper. With three black and white map illustrations by Ken Lewis. A very near fine copy, the binding square and firm, the cloth bright and fresh, a touch rubbed to the tail and with just a hint of fading to the head of the spine. The contents, with some toning to the closed text block, are otherwise clean throughout and without previous owners' inscriptions or stamps. Complete with the very lightly rubbed dustwrapper that is faded to the spine and is otherwise without loss or tears. Not price-clipped (£13.95 net to the lower front flap).

Signed by George MacDonald Fraser in blue ink on the title page. The ninth instalment, and the fourth chronological story, in the The Flashman Papers.

First edition, first printing. Signed by the author. Publisher's original black cloth with gilt titles to the spine, in the A. E. Barbosa illustrated dustwrapper. A very near fine copy, the binding square and firm, the cloth bright and fresh, with just a tiny bump to the extreme bottom edge of the upper board. The contents are clean throughout and without previous owners' inscriptions or stamps. Complete with the very lightly rubbed dustwrapper, that remains without fading, loss or tears. Not price-clipped (£16.99 to the lower front flap).

Signed by George MacDonald Fraser in blue ink on the title page. The eleventh and penultimate instalment in The Flashman Papers. A collection of three short stories comprising 'The Road to Charing Cross', 'The Subtleties of Baccarat', and 'Flashman and the Tiger'.

Second printing of the UK first edition. Signed by the author and the illustrator (with a large original drawing). Inscribed for the multi-award winning fellow author Lavie Tidhar. Original glossy illustrated boards. Illustrated throughout with full-page colour artwork by Dave McKean. A very near fine copy, the binding square and firm with slight rubbing at the spine tops and board corners and a minor bump at the head of the spine. The contents are clean throughout and without previous owners' stamps or inscriptions.

Inscribed by Neil Gaiman in silver ink on the front pastedown "It's all over! [in a speech bubble] / Neil Gaiman [underlined]" and signed by Dave McKean alongside a large drawing of a wolf in silver pen on the front free endpaper. An appealing association copy. Winner of the New York Times Award for Best Illustrated Children's Book, the Children's Book Council's Children's Choice Award and the British Science Fiction Award for Short Fiction. It was adapted into a musical stage production that toured the UK in 2006 following a premier at Tramway in Glasgow, winning the 2006 TMA Award (later the UK Theatre Awards) for Best Show for Children and Young People, and was staged at the New Victory Theatre in New York in 2007.

First edition, first printing. Publisher's original light blue cloth with black titles to the spine, in dustwrapper. With a colour plate of Sir Christopher Wren's death mask to the half-title, a colour frontispiece, two colour plates in the introductory essay, and 453 colour plates throughout. A near fine copy, the binding square and firm, the cloth just a little marked, with light wrinkling to the spine joints and a touch of rubbing to the spine tips. The contents are clean throughout and without inscriptions or stamps. Complete with the lightly rubbed and spine-faded dustwrapper, that is otherwise without loss or tears. Publisher's price (£85.00) on a faded label to the lower-left of the rear panel.

Anthony Geraghty (Art History Lecturer at the University of York) presents the complete collection of Sir Christopher Wren's architectural drawings, housed at All Souls College, University of Oxford. It is the first publication to reproduce the whole collection in colour. 'The collection reveals how Wren went about designing one of the largest buildings in Christendom - St Paul's Cathedral; how he rebuilt fifty parish churches after the Great Fire of London; and how he furnished England with some of its best-loved public buildings, including Hampton Court Palace, the Royal Naval Hospital at Greenwich, and the Library at Trinity College, Cambridge. The drawings also shed light on the internal workings of Wren's office. Geraghty introduces us to Wren's team of assistants and draughtsmen, including the young Nicholas Hawksmoor, who spent the first twenty years of his career in Wren's office' (publisher's blurb).

First UK edition, first printing. Publisher's original red cloth with gilt titles to the spine, in dustwrapper. A near fine copy, the binding square and firm, the cloth a touch toned to the spine tips and with light marks to the joints. The contents, with a couple of isolated marks to the fore-edge of the closed text block, are otherwise clean and without inscriptions or stamps. Complete with the lightly rubbed, nicked and creased dustwrapper, that is a little toned to the spine and flap edges. Not price-clipped (10/6 net to the lower front flap). Scarce.

The author's first detective short fiction collection, comprising 23 stories, all of which feature Detective Inspector John Appleby. (Hubin, p.213).

First UK edition, first printing. Publisher's original red cloth with gilt titles to the spine, in dustwrapper. A near fine copy, the binding square and firm, the cloth a touch faded to the lightly bumped spine tips, with a tiny mark to the upper board. The contents, with a small bookseller's label to the front pastedown and a little toning to the closed text block, are otherwise clean throughout and without inscriptions or stamps. Complete with the lightly rubbed and toned dustwrapper, that is a little nicked and creased to the spine tips and extremities. Not price-clipped (13/6 net to the lower front flap).

The seventeenth book featuring Detective Inspector John Appleby. A biblio-mystery, following the eponymous Appleby as he investigates a mysterious forgery case involving an antiquarian bookshop. (Hubin, p. 214)

Third impression of the 1937 first edition. Publisher's original beige cloth, with beige titles and gilt borders on a black cloth label to the spine, in dustwrapper. Top edge blue. With a black and white frontispiece, a map, and a black and white illustration at the rear. A better than very good copy, the binding square and firm, with a little rubbing to the tips of the lightly toned spine, and a tiny bump to the extreme top edge of the upper board. The top-stain is a little dusty and faded. The contents, with some spotting to the endpapers and closed text block edge, are otherwise clean throughout and without inscriptions or stamps. Complete with the rubbed, nicked and creased dustwrapper, that is toned to the spine, rear panel and flap folds, and is otherwise without loss or tears. Clipped and re-priced by the publisher (12s 6d net to the lower front flap).

The author's first book, widely regarded as one of the greatest works of World War I poetry. Winner of the 1938 Hawthornden Prize. "In Parenthesis was first published in London in 1937. I am proud to share the responsibility for that first publication. On reading the book in typescript I was deeply moved. I then regarded it, and I still regard it, as a work of genius. [...] Here is a book about the experiences of one soldier in the War of 1914-18. It is also a book about War, and about many other things also, such as Roman Britain, the Arthurian Legend, and divers matters which are given association by the mind of the writer" (from T. S. Eliot's 1961 introduction).

First edition. Signed by the author. Limited edition. Publisher's original beige buckram over bevelled boards, titles stamped in blind to the upper board and in gilt over black to the spine. Top edge brown. In the brown cloth slipcase. Frontispiece and one further full page illustration by David Jones. A near fine copy, the binding square and tight, bright and fresh with some faint toning to the spine. The contents are clean throughout and without previous owners' marks. Housed in the lightly rubbed and faded, structurally sound slipcase.

Issued in a limited edition of 150 copies, this example is numbered 26 and signed by David Jones in black ink on the limitation page. The last work published by the painter and poet David Jones in his lifetime, 'The Sleeping Lord' continues the exploration of the themes of war and religion begun by its predecessors 'In Parenthesis' and 'The Anathemata'. During World War One Jones was stationed at the front for two years, one of the longest stretches of any British writer, an experience that left him with post traumatic stress disorder and shaped his literary and visual work for the rest of his life. His lengthy works of poetry and sensitive paintings that grapple with both anxious tension and quiet normalities have evaded the clear definitions of contemporary movements such as modernism or expressionism, standing instead enigmatically alone. While Jones has remained a relatively obscure figure in general culture, his work has been praised as some of the greatest of the 20th century by giants of literature and the arts such as Igor Stravinsky, W. H. Auden and T. S. Eliot, and art historians Kenneth Clark and Herbert Read.

First edition with these illustrations). Limited edition. Publisher's original white faux leather, with silver and metallic blue titles to the spine and upper board, in the Don Maitz illustrated dustwrapper and white faux leather slipcase with silver and metallic blue titles to eh backstrip and left side. Textured endpapers. Illustrated with limitation page artwork by Glenn Chadbourne, eight full page colour plates by Don Maitz and four exclusive bonus scans of 'The Shining' from The Literary Guild Promotional Brochure. A fine copy, the binding square and firm, bright and fresh. The contents are clean throughout and without inscriptions or stamps. Complete with the very slightly rubbed dustwrapper, that remains without fading, loss or tears. Not price-clipped ($95 to the upper front flap). Housed in the structurally sound slipcase, that just has a couple of light marks to the bottom edge.

'Deluxe Slipcased Gift Edition', issued in a print-run of 3000 copies. This was the third volume in the publisher's Stephen King 'Doubleday Years' collection. It includes the complete forty page prologue 'Before the Play', a deleted chapter 'After the Play' not found in King's archive (and therefore thought lost), and an essay 'The Shine Manuscript: An Early Draft of The Shining' by Jon Page. An attractive illustrated edition of Stephen King's classic horror novel that formed the basis of the 1980 film of the same name directed by Stanley Kubrick.

First edition, first printing of this revised and extended edition. Review copy, with the publisher's review slip loosely laid in. Original terracotta paper-covered boards lettered in gilt to the spine, in the Pentagram designed dustwrapper showing Nick Cudworth's illustration of Larkin holding a pair of drumsticks. A fine copy, the binding square and firm, the boards and gilt bright, the contents clean throughout. In the near fine, original dustwrapper that is very lightly rubbed at the extremities and has a touch of fading at the front spine fold. Not price-clipped (£9.95 to the front flap).

An extended collection of Phillip Larkin's jazz criticism, from articles originally printed in The Daily Telegraph between 1961 and 1971. Published simultaneously in hardback and paperback in June 1985. 2,052 copies of the hardback were printed. (Bloomfield A8c).

First trade edition, first printing. Publisher's brown cloth boards with gilt titling to the spine and gilt sword illustration to the front panel, in dustwrapper. Top edge brown. Deckled fore- and bottom edges. Illustrated with a black and white portrait frontispiece, 53 additional plates, and 4 maps by Eric Kennington, William Rothenstein, Augustus John, William Roberts and others. Maps printed in black and red. A better than very good copy, the binding square and firm with a little bumping to the spine tips and light rubbing to the extremities. The cloth is faded lightly to the extreme top edge of the upper board and spine tips. The closed text block has a touch of toning and some spotting to the fore-edge. The contents, with a little spotting to the half-title and the occasional foxing spot throughout, are otherwise clean and free from inscriptions or stamps. Complete with the rubbed nicked, creased and toned dustwrapper, that has a split and a small chip at the base of the front spine fold, and a tiny mark to the upper rear panel.

The first publicly available edition, published immediately after the author's death. The publication of this complete text is preceded by the very limited privately printed 'Subscriber's' or 'Cranwell' edition of 1926. This first trade edition includes 3 illustrations not previously published. (O'Brien A042).

First edition, first printing. Softcover issue. Original pictorial card covers with titles in black and white to the spine and upper board. Illustrated throughout with black and white photographs by Peter Marlow. A very good or better copy, the binding square and firm, with some rubbing light scuffs to the extremties. The contents are clean throughout and without stamps or inscriptions.

A collection of photographs taken over an eight year period in Liverpool in the 1980s and 90s, showing the city's decline and resilience of human spirit. Peter Marlow was a multi-award winning photojournalist and twice-president of the international photographic cooperative, Magnum Photos. Marlow worked all over the world, covering conflicts and political elections as well as architecture, landscapes and quiet moments of everyday life. "Liverpool: Looking Out to Sea" is one of his most beloved projects, hailed for its unflinching and sensitive portrayal of contemporary British urban life. It also marked a transitional point in the photographer's career as he moved away from war documentation and towards a greater focus on personal projects, much of which centred on his home country.

First edition, first printing. Publisher's original blue paper-covered boards and beige spine. Deckled edges. A good copy, the boards marked, the extremities worn and bumped, the spine chipped and cracked, the binding holding. Some small numbers have been written in ink on the rear board. The contents, with a bookplate to the front pastedown and some light foxing and toning throughout, are otherwise clean and without inscriptions or stamps. Scarce in the original binding.

A collection of writings, including an autobiography and a number letters and addresses on a wide range of topics such as agriculture, politics and world events, written by Richard Milnes (1750-1844), a collier and farmer from Flockton, a village near Wakefield, Yorkshire. Milnes was, seemingly reluctantly, obliged to run his father's colliery with his three brothers; he describes how the colliery was started with insufficient prior knowledge, leading to financial difficulties and tensions between the brothers following their father's death.

First edition, first printing. Original limp vellum with green silk ties and titles hand lettered in ink by Herbert Ellis (son of F. S. Ellis, an antiquarian bookseller who was friend and publisher to William Morris) to the spine. Deckled edges. Text printed in black and red. The first page of text features a heavily decorated border and illuminated initial by Morris, with further illuminated initials throughout. An excellent better than very good copy, the binding square and firm, the vellum with a little natural discolouration and a few light marks, the spine faintly toned. The ends of the silk ties have been trimmed or perished. The contents, with a previous owner's bookplate to the front pastedown, slight offsetting to the endpapers and a little faint toning to the margins, are otherwise clean throughout and without stamps or inscriptions. An attractive example of this wonderfully produced volume.

William Morris' first book of poetry. The collection had originally been published by Bell and Daldy in 1858 in a plain style, quite contrary to Morris' predilections, which were eventually realised in this richly decorated edition, published and printed by Morris at the Kelmscott Press. The poems conjure dreamlike glimpses of a mysterious medieval world inspired by the legends of King Arthur and his court, and informed by Jean Froissart's Chroniques, a narrative history of medieval European chivalric culture. The collection was first published when Morris was 24, and many of the poems were written while he was still a student at Oxford, a time when he was first exposed to Pre-Raphaelite art. Morris was particularly affected by the work of Dante Gabriel Rossetti, and the poems 'The Blue Closet' and 'The Tune of the Seven Towers' each reference a Rossetti watercolour of the same name. 'The Defence of Guenevere' was the first Kelmscott Press publication to be bound in vellum and the only Kelmscott publication with a hand-lettered title. One of 300 copies on paper, there were also 10 copies printed on vellum. (Peterson A5)

First English edition, first printing. Publisher's original dark blue paper-covered boards with silver titles to the green cloth spine, in the Shigeo Okamoto illustrated dustwrapper. A near fine copy, the binding square and firm with a little bumping to the spine tips, the cloth clean and lightly faded to the extreme edges of the boards. The contents are clean throughout and without inscriptions or stamps. Complete with the lightly rubbed and creased dustwrapper that is a little toned to the flaps edges, and is otherwise bright and without loss or tears. Not price-clipped ($18.95 to the upper front flap).

The author's third novel, and his first novel to be translated into English. The third and final book in Murakami's 'Trilogy of the Rat' series, following 'Hear the Wind Sing' (1979) and 'Pinball, 1973' (1980). First published in Japan as 'Hitsuji o meguru boken' by Kodansha International in 1982. The sequel 'Dance Dance Dance' was first released in 1988 and translated into English by Alfred Birnbaum in 1994; it does not form part of the original trilogy. Winner of the 1982 Noma Literary Prize in the 'Best Newcomer' category.

First edition, first printing. Complete in three volumes. Hardcover. Publisher's original light grey cloth, with titles in white and black to the spines and upper boards. Illustrated endpapers. Illustrated with over 1700 photographs, 1000 line-drawn plans and diagrams, and 80 regional maps. A fine set, the bindings square and firm, the cloth bright and fresh, with just a tiny mark to the upper board of the first volume. The top edge of the closed text block with a few finger or dust marks. The contents are clean throughout and without inscriptions or stamps. Scarce.

An essential and classic reference work for architects, anthropologists, geographers, folklorists, planners, historians, conservationists and all those who work in, or are concerned with, the built environment Vernacular, or, traditional, architecture encompasses most of the buildings of the world. Paul Oliver's encyclopedia is the first to show the remarkable diversity of the buildings constructed and lived in by the people of over a thousand cultures. The first of the three volumes focuses on the theories, principles and philosophy that underpin traditional architecture. Volumes II and III consider these principles within specific cultural and societal contexts. As building traditions vary widely within some countries and extend across the political boundaries of others, the work considers vernacular architecture within its cultural rather than its national contexts. Richly illustrated with photographs, line drawings and maps, the work is also supported by a glossary, a lexicon, and the largest bibliography on the subject ever published.

First edition, first printing. Publisher's original blue cloth, with titles in blind to the upper board and in gilt to the spine, in dustwrapper. With 45 black and white line drawnings throughout. A near fine copy, the binding square and firm, the cloth bright and fresh with some rubbing to the spine tips and extremities. The text block edges are a little spotted. The contents, with a bookplate to the front pastedown, a bookseller's label to the title page, light offsetting and spotting to the endpapers, and the occasional foxing spot, are otherwise clean and free from inscriptions or stamps. There is a tiny nick and a short closed tear to the fore-edge of pages 319 and 342, respectively. Complete with the rubbed, nicked and faded dustwrapper, that has a short closed tear to the top edge of the front panel and tears with a little loss to fold corners. Not price-clipped (15s net to the upper front flap).

A summary of three dozen Theosophical texts published from 1897 to 1926 on the higher energy bodies and planes: the causal, buddhic, and nirvanic. The ego in the title refers to our higher self.

First edition, first printing. Limited edition. Signed by the author. Publisher's original illustrated boards with titles in white to the upper board and spine, in dustwrapper. With 51 black and white illustrations throughout. A fine copy, the binding square and firm, bright and fresh, with just a touch of bumping to the head of the spine. The contents are clean throughout, and without previous owners' inscriptions or stamps. Complete in the near fine, lightly creased dustwrapper, that is a little rubbed and scuffed to the head of the flap folds and is otherwise remains without fading, loss or tears. Not price-clipped.

Issued in an edition of 3000 copies, from which this example is numbered 1729, and signed by Robert Rankin in black ink on the limitation page. A steampunk-adventure illustrated novel that reimagines Lewis Carroll's beloved children's classic 'Alice in Wonderland' and follows the eponymous Alice as she is abducted by aliens. A planned film adaptation has been in development since 2013, with independent film-maker Martin Gooch attached. Robert Rankin became the first Fellow of the Victorian Steampunk Society in September 2009.

First edition, first printing. Limited edition. Signed by the author. Publisher's original black cloth with silver 'Brentford Trilogy' emblem to the upper board. Housed in the black paper-covered slipcase. A graphic novel, illustrated throughout in black and white. Unpaginated. 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. Housed in the lightly rubbed and marked, structurally sound slipcase. Scarce.

Issued in an edition of 1000 copies, from which this example is numbered 725, and signed by Robert Rankin in black ink on the limitation page. An uncommon volume from Rankin's extensive bibliography, that notably includes the comedic fantasy 'Brentford Trilogy' series. Printed on 200GSM fine art paper and released after three years in production to commemorate 40 years of Robert Rankin in print, this fully illustrated 'book with no words' is described in the author's Goodreads entry as "Part autobiography, part Eddie Bear adventure, its likes will never be with us again". Rankin's popular Eddie Bear character previously appeared in such novels as 'The Hollow Chocolate Bunnies of the Apocalypse' (2002), 'The Toyminator' (2006), and the omnibus 'Eddie Bear, Private Detective' (2006).

First edition, first printing. Limited edition. Signed by the author. Publisher's original dark green cloth with gilt titles to the spine, in the Dez Skinn designed dustwrapper. Richly illustrated throughout with black and white photographs, line-drawn illustrations, first edition covers from the author's bibliography, film stills and newspaper front covers. With a publisher's commemorative postcard loosely laid in. 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 the fine original dustwrapper that remains without fading, loss or tears. Not price-clipped (£19.95 to the lower front flap).

Issued in an edition of 5000 copies, from which this example is numbered 2472, and signed by the author in black ink on the limitation page. A volume of autobiography by the author best known for his comedic-fantasy novels. In typical Rankin style, the book's title parodies a classic work of fantasy or science fiction, here spoofing Isaac Asimov's classic fixup science fiction collection 'I, Robot'.

First edition, first printing. Limited edition. Signed by the author. Publisher's original red cloth with gilt titles to the spine, in the Rachel Rankin-Hayward designed dustwrapper. With an illustrated title page and 24 black and white illustrations by Robert Rankin throughout. 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.

Issued in an edition of 2000 copies, from which this example is numbered 1136, and signed Robert Rankin in black ink on the limitation page. The third and final book in the author's comedic fantasy 'The Final Brentford Trilogy' series, preceded by 'The Lord of the Ring Roads' (2017) and followed by 'The Chronicles of Banarnia' (2018). In typical Rankin style, the book's title parodies a classic work of fantasy or science fiction, here spoofing Mervyn Peake's gothic fantasy 'Gormenghast' series.

First edition, first printing. Two volumes Limited edition. Signed by the author. Original brown cloth with gilt titles to the spines, 'A Heron Caught in Weeds' with a gilt motif and titles to the upper board, 'Gráinne' in dustwrapper, illustrated by the author. 'Gráinne' is illustrated with a black and white frontispiece and small black and white illustrations throughout the text depicting archaeological artefacts. Housed together in a brown cloth-covered slipcase. Fine copies, the bindings square and tight, the contents clean throughout and without previous owners' stamps or inscriptions. Complete with the original dustwrapper which is a touch faded to the spine. Not price-clipped (£12.50 on the front flap). Complete with the very lightly rubbed slipcase.

The slipcased 'Collector's Edition' of 'Gráinne', issued together with 'A Heron Caught in Weeds', a collection of the author's poetry, in a limited edition of 250 copies. This example is numbered 137 and signed by Keith Roberts on the limitation page. A dreamlike, semi-autobiographical novel about a man (who, like the author, is an artist and writer) that finds the monotony of life suddenly broken by the bright and mysterious character of a beautiful woman. An unconventional fantasy that incorporates elements from Celtic mythology and Eastern philosophy. Winner of the British Science Fiction Association Award for best novel.

First edition, first printing. Limited edition. Signed by the author. Publisher's original olive green cloth with gilt titles to the spine, in the author designed and illustrated dustwrapper. With the cloth bound chapbook 'Irish Encounters', both volumes contained in the original cloth slipcase. With a black and white frontispiece by the author in each. A fine set, the bindings square and tight, the cloth bright and fresh. The contents are clean throughout and without previous owners' stamps or inscriptions. Complete with the slightly spine-faded dustwrapper that is without loss or tears. Housed in the fine, structurally sound slipcase. Not price-clipped (£37.50 net to the lower front flap).

Issued in a limited 'collector's edition' of 250 copies, this example is numbered 163 and signed by Keith Roberts in brown ink on the limitation page. 750 unsigned trade copies and 26 quarter leather bound copies for private distribution were also issued.

First edition, first printing. Softcover. Publisher's original illustrated card covers, with beige and white titles to the upper board and spine. A near fine copy, the binding square and firm, the spine faded and with light rubbing to the extremities. The contents, with a couple of very light dust marks to the bottom edge of the closed text block, are otherwise clean throughout and without inscriptions or stamps.

'This unique anthology presents a selection of over seventy of the most important historical essays on comedy. Ranging from antiquity to the present, the readings are divided into historical periods and arranged chronologically with substantive introductions. Across its span it traces the development of comic theory, highlighting the relationships between comedy, politics, economics, philosophy, religion and other arts and genres' (publisher's blurb).

First edition, first printing. Publisher's original black cloth with gilt titles to the spine, in the correct first printing Michael Mitchell designed dustwrapper. A near fine copy, the binding square and firm with some bumping at the spine tips, the cloth and gilt are bright and fresh. The contents are clean throughout and without inscriptions or stamps. Complete with the very good, rubbed and nicked dustwrapper that has small chips at the tips of the somewhat toned spine, and a closed tear to the upper rear spine fold. Not price-clipped (£3.00 to the upper front flap).

Salinger's first novel remains one of the most widely read and loved works of twentieth century American literature. Partially published in serial form in 1945–46, in book form both the US edition (as here), and the UK edition (published later by Hamish Hamilton), were issued in 1951.

First edition. Original black paper-covered boards with gilt titles to the spine, in dustwrapper. Illustrated throughout with black and white photographs, alongside eight photographic colour plates at the centre. A fine copy, the binding square and tight, the boards fresh, with one extremely slight bump to the bottom edge of the upper board. The contents are clean throughout and without stamps or inscriptions. Complete with the very lightly rubbed and creased dustwrapper that is a touch faded at the spine, and otherwise without loss or tears. Not price-clipped (£45 on the lower front flap).

A landmark survey of the construction and restoration, both historical and contemporary, of Wells Cathedral west front, one of the earliest Gothic buildings in Britain. Cathedral archaeologist Jerry Sampson worked alongside conservationists during a major preservation programme carried out between 1974 and 1986, giving him the rare opportunity to analyse and photograph the sculptural and architectural elements up close. The in-depth examination of the cathedral is placed within its historical and spiritual context, giving fascinating glimpses of how it looked and how it was used at different points in its 700 year history.

First edition, first printing. Signed by the author. A number of materials related to See-Paynton exhibitions are loosely laid in, including two autograph postcards from the artist. Original illustrated card covers. With a black and white frontispiece portrait and numerous illustrations in black and white throughout. A near fine copy, the binding square and firm, the extremities lightly rubbed. The contents are clean throughout and without stamps or inscriptions.

Signed by Colin See-Paynton in black ink on the half-title. A catalogue of See-Paynton's editioned wood engravings, accompanied by an illustrated walkthrough of the artist's process, a glossary of technical terms, and introductions by Kyffin Williams and David Alston.

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

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

Facsimile of the 1609 first edition. Mid 20th century quarter green morocco, spine lettered in gilt, green cloth boards. The closed text-block edge is flecked red. A very good copy, the binding square and firm, the extremities very lightly rubbed and bumped, the leather spine a little faded at the edges. The contents are foxed, and otherwise clean and without stamps or inscriptions.

The binding, whilst not signed is dated 1965 and numbered 2/20 on the front free endpaper. An attractive facsimile edition of Shakespeare's sonnets, reproducing the first edition copy held in the British Museum.

Contemporary half vellum, ruled in gilt over marbled paper covered boards. Titles in gilt on a brown morocco label to the the spine, which is decorated with gilt floral designs accented with red morocco. Marbled endpapers. With a frontispiece portrait. A very good copy, the binding square and firm with a little rubbing and bumping at the corners and spine tips, the vellum with a little natural toning and spotting. The contents, with a contemporary gift inscription of the front flyleaf, some foxing to the early and late pages, and a few small marks to the closed text-block edge, are otherwise clean throughout.

An attractive copy of Shakespeare's works, including all of his plays, poems and sonnets, and with a useful glossary by W. J. Craig.

First edition, first printing. Mid-twentieth century full red polished calf by Bayntun, the boards with double-ruled in gilt, with five raised bands, compartments decorated with gilt rose garlands and titles in gilt on a navy morocco label, to the spine, gilt. Floral gilt inner dentelles. All edges gilt. A very good copy or better copy, the binding square and firm, the extremities lightly rubbed, the upper and lower boards a little scuffed. The contents are clean throughout and without inscriptions. An attractive copy.

The sonnets of William Shakespeare, accompanied by a commentary by Walter Thompson that, unusually, argues that a significant amount of the sonnets attributed to Shakespeare were in fact penned by Henry Wriothesley, 3rd Earl of Southampton. Wriothesey was a patron of the playwrite, who, in turn, dedicated two poems, 'Venus and Adonis' and 'The Rape of Lucrece' to the Earl. Wriothesley was a prominent, often controversial figure at the court of Queen Elizabeth I, recorded as jousting at the accession day tournament as well as involving himself in duels and fights with fellow courtiers, eventually being briefly imprisoned for marrying Elizabeth Vernon, a lady in waiting, without the queen's permission. He was known for his good looks, vanity and love of poetry. As well as Shakespeare, Wriothesley was the patron of many other writers and accrued dedications from literary figures such as Barnabe Barnes, Gervase Markham, Thomas Nashe and William Burton. The connection between Shakespeare and Wriothesley has been of great interest to scholars through the centuries, producing many popular, often connected theories, such as the notion that a number of Shakeaspeare's sonnets were commissioned by Wriothesley's mother to persuade the stubborn young bachelor to marry; that the sonnets are dedicated to Wriothesley, and that Wriothesley is the 'Fair Youth' of the sonnets. Thompson's argument adds an unorthodox but diverting range of ideas to this body of scholarly work.

First edition, first printing. Publisher's original turquoise cloth, with gilt titles to the spine and a facsimile of the author's signature in gilt to the upper board, in dustwrapper. Deckled fore- and bottom edges. With a black and white frontispiece, 87 black and white photographic plates and three tipped-in maps (one printed on light green paper, and another folding, at the rear). A better than very good copy, the binding square and firm, the cloth a little faded to the spine and moderately to the extreme top and bottom edges and lightly rubbed spine tips. The contents, with a pencilled inscription to the front pastedown, a touch of toning to the closed text block and a short closed tear to the fore-edge of p. 105, are otherwise clean throughout. Complete with the rubbed, nicked and creased dustwrapper, that is a little faded and marked to the spine, edges and flap folds. Not price-clipped (16s net to the lower front flap).

Freya Stark (1893-1993) was an English explorer and travel writer who undertook her first expedition in 1927 when, due to Lebanon and Syria being under a repressive French regime which did not allow travel in the region, she travelled in secret (moving only at night and through the countryside) by donkey through Lebanon. A few years later she became the first westerner to explore certain remote parts of the Iranian wilderness, and in 1934 travelled to the Hadhramaut. During World War II Stark was employed by the British Ministry of Information and was posted in Yemen, Egypt, Iraq and Palestine. Following the war she resumed her explorations, was made a Dame in 1972 and travelled widely all the way into old age; at the age of 89 she was filmed by the BBC riding into the Himalayas on a mule. She wrote of her travels prolifically from 1934 to 1988. "In all her journeys she was able to distil and communicate a rich philosophy of travel and to illustrate the art of travelling in time as well as place. She carried the past with her, whether discovering long-buried fortresses in the Valley of the Assassins in Luristan or tracing the footsteps of the ancient incense traders of Arabia, always teaching and learning at the same time. She was, quite simply, a classic" (Robinson, Jane: Wayward Women, A Guide to Women Travellers, OUP 1991).

First edition. Publisher's original grey cloth with gilt titles to the spine, in dustwrapper. Deckled fore-edge. With a black and white frontispiece, seven line-drawn plates, and eight black and white illustrations throughout. A near fine copy, the binding square and firm, with white marks to the top edge of the boards, and some rubbing to the tail of the spine. The contents, with an ink inscription to the front pastedown, and light spotting to the top edge of the closed text block, are otherwise clean throughout. Complete with the rubbed, nicked and creased dustwrapper, that has three short closed tears to the edges, and a little surface loss to the upper rear panel. Not price-clipped ($3.50 to the upper front flap).

An exploration of the hidden connections between Biblical allegory and Masonic symbolism. From the ancient mystery schools of Egypt and Israel to the spiritual architecture of Solomon's Temple, Steinmetz reveals how Masonic rituals, far from being mere ceremony, express universal truths about the soul's quest for enlightenment, the divine nature of man, and the eternal search for the "Lost Word", the ineffable name of God and the key to inner awakening.

Uncorrected proof copy of the first Left Book Club edition. Publisher's original beige card covers printed in black to the upper cover and spine. 190pp. A good or better copy, the binding firm, the covers, nicked, rubbed and dust-marked with a small '1/' inscription in red ink to the upper cover, the spine ever so slightly rolled. The contents, a little toned and creased to the edges, and a few foxing spots to the fore-edge margin of a couple of pages, are otherwise entirely complete, clean and without loose or torn pages. Scarce in this form.

First published in April 1921 by G. Bell and Sons, this Left Book Club edition was published in October 1937 in the standard limp orange wrappers format. English writer Richard Henry Tawney (1880-1962) was an economist, historian, social critic and university professor and a leading advocate of Christian Socialism.

First edition. Original blue cloth with a white paper label printed with black titles to the spine, in dustwrapper. Portrait frontispiece with tissue guard. A near fine copy, the binding square and firm with just a little bumping and light wear at the spine tips and board corners, the spine ever so slightly faded. The contents, with a little offsetting to the endpapers, half title and last page of text, are otherwise clean throughout. Complete with the lightly rubbed, nicked and creased dustwrapper that is a little toned to the spine and panel edges and has a tiny closed tear to the bottom edge of the front panel. An attractive example. Scarce in the dustwrapper.

A posthumous collection which includes the few war poems written before Thomas's death at the Battle of Arras in 1917.

Recent craft binding of full morocco embellished in bronze and silver, depicting a house in the countryside, with gilt titles to the spine. In a half dark green buckram and light green paper-covered felt-lined solander box, with gilt titles on a light green paper label to the backstrip. With a copy of the poem 'The Musician' printed in black on a single leaf of green paper loosely laid in. A very good copy or better copy, the binding square and firm with a little toning to the spine and a few light marks. The contents, spotted to the text block edge and variously throughout, are otherwise clean and without inscriptions or stamps. Housed in the near fine, structurally sound solander box, that has a couple of light marks to the fore-edge.

First published in 1993 to mark the poet's eightieth birthday, this remains the standard collected R. S. Thomas, including the contents of individual volumes from 'The Stones of the Field' (1946) through to 'Experimenting with an Amen' (1986). "From the beginning, R. S. Thomas was determined to follow his own path and this extraordinary book bears witness to that" (Stephen Knight for The Times Literary Supplement, 1993).

First edition, first printing. Limited edition. Signed by the author and cover artist. Author's copy. Hardcover. Publisher's original brown cloth with gilt titles to the spine, and decorated in gilt with an illustration to the upper board, in the Erik Mohr illustrated dustwrapper. A very near fine copy, the binding square and firm, bright and fresh, with just a little rubbing to the spine tips. The contents, with the occasional tiny spot to the top edge of the closed text block, are otherwise clean throughout, and without previous owners' inscriptions or stamps. Complete with the lightly rubbed and creased dustwrapper that has a little bubbling to the laminate at the spine tips and to the lower front panel, with a couple of tiny scratches to the rear panel, and otherwise remains without fading, loss or tears.

Issued in an edition of 67 copies, from which this example is marked 'PC' [publisher's copy], and signed by the authors Lavie Tidhar and Nir Yaniv, and the cover artist Erik Mohr in blue and black ink on the limitation page. Tidhar's ownership signature is also present in black ink on the front free endpaper. The authors' debut full-length novel, set in a dystopian Tel Aviv wracked by a Lovecraftian apocalypse. The first edition was issued in this very limited edition hardcover and paperback trade format. Provenance: From the library of Lavie Tidhar, multi-award winning author of such works as 'Osama' (2011) and 'Central Station' (2016).

First edition, first printing. Hardcover. Publisher's original illustrated boards, with titles in white to the upper board and spine. Illustrated with line drawings by Pauline Baynes throughout. A very good copy, the binding firm, with some rubbing to the corners and edges of the rolled and faded spine.. The contents are clean throughout and without inscriptions or stamps.

The fragile nature of the binding on the first edition means that most copies suffer from heavy wear and scuffing. In later printings the binding colour was changed to incorporate a white spine and panel edges with a heavier lamination to prevent the wear issues of the first. (Hammond & Anderson A9a).

First edition, first printing with these illustrations. Original brown cloth with gilt titles and illustrations to the spine and upper board. Illustrated with 30 tipped in colour plates by Arthur Rackham with tissue guards, illustrated endpapers, and a number of small black and white vignettes throughout. A very good copy, the binding square and firm, the cloth lightly browned to the spine and board edges, the gilt a little faded in a few areas. The plates and tissue guards are all present and in fine condition. The contents, with a 1911 gift inscription to the front free endpaper, a few spots to the prelims and light toning to the margins, are otherwise clean throughout.

The second of two volumes in the beautifully illustrated Arthur Rackham edition of Richard Wagner's The Ring of Nibelung, a cycle of four operas based on Germanic and Norse mythology.

Two volumes in one. Contemporary full, gilt decorated red morocco. Gilt decorated inner board edges, marbled endpapers. Gauffered gilt page edges. 12mo. [1], 302, [30]pp; [2], 260, [35]pp. A very good copy, the binding firm with a little rubbing to the extremities. Front endpaper excised. The contents, with the an early 19th century previous owner's inscription to the recto and verso of the front blank, and the occasional nick or crease to the page edges, are othwerwise clean throughout. A few pages of the index in both volumes are trimmed close. A handsome volume.

A scarce Leeds printing of the prolific hymn writer and theologian Isaac Watts' (1674-1748) The Psalms of David, first published in 1719, together with Hymns and Spiritual Songs, first published in 1707, in a very attractive contemporary binding. (ESTC T201583).

Publisher's original green cloth over bevelled boards, with titles in gilt to the spine. Signed by the author. Yellow endpapers. Top edge gilt, others untrimmed. With two, tissue guarded engraved portraits of the author, facing page 28 and 296. A very good copy, the binding square and firm with a little rubbing and bumping to the spine tips and corners. The cloth is clean, with just a few light marks. The contents, with the ownership inscription of 'Helen Webb' dated '1883' to the front endpaper, and a little spotting to the prelims, are otherwise clean throughout. An attractive example, in entirely original condition.

Signed by Walt Whitman in black ink on the title page. A scarce and desirable edition of Whitman's radically original and continuously evolving collection of free verse poetry celebrating the beauty of nature, the human body, and the shared experience of humanity through the perspective of the common individual. First self-published by Walt Whitman in 1855, the original edition contained just twelve poems. Over the next four decades, Whitman continually revised, expanded, and rearranged the collection, transforming it into his life's work. By the end of this process, Leaves of Grass comprised more than 400 poems, making it one of the most ambitious and enduring evolving literary projects in American literature. Rather than viewing each revision as a correction, Whitman regarded every new edition as a new stage in the book's life. As both his own experiences and America itself changed, 'Leaves of Grass' evolved alongside them, continually incorporating new poems, ideas, and perspectives. Twenty-six years after the publication of the first edition, the Boston publisher James R. Osgood & Co. invited Whitman to produce a sixth edition. He accepted on the condition that it would include his preferred arrangement of the poems, together with several additions, including the so-called "sexuality odes" that had previously provoked controversy. Shortly after publication, the Massachusetts District Attorney, Oliver Stevens, declared the work obscene and demanded that Osgood suspend its publication. Given the choice of removing the disputed passages or withdrawing the book, Whitman refused to make any alterations. As a result, his contract with the publisher was terminated, publication ceased, and the unbound sheets, printing plates, dies, and a payment of $100 were returned to him. Whitman immediately issued his own "Author's Edition", distinguished by a newly designed title page, and had a small number of copies bound for private distribution, as here. "This is a scarce and almost unknown issue; it is doubtful if more than one hundred copies were printed. The text and type is the same as that used in the Boston edition, the title page only being different. All copies were autographed, and it is probable that Whitman had these made for a few friends while waiting for the first Philadelphia edition" (Wells and Goldsmith, p.25). Later in 1882, Whitman reached an agreement with the Philadelphia publisher Rees Welsh to issue a new edition. By December, nearly 5,000 copies had been sold. Ironically, the attempted suppression of Leaves of Grass proved to be one of its greatest advertisements. Newspapers across the United States widely reported the ban, generating intense public interest and a dramatic increase in demand (Myerson A7.2.c3).