First edition, first printing. Original red cloth with gilt titles to the spine, in dustwrapper. A very good or better copy, the binding square and firm, the cloth bright, the corners very gently bumped. The contents, with light spotting to the text block top-edge and also very slightly to the fore-edge, are otherwise clean and without previous owners' stamps or inscriptions. Complete with the mildly spine-toned dustwrapper which has some nicking to the spine tips and flap corners, a short closed tear to the front flap fold, a little faint spotting and a small mark to the upper panel. Not price clipped (21/- to the bottom of the front flap). An attractive example.

Robert Aickman was a prolific writer of supernatural short stories which he referred to as 'strange tales'. This, a comedy of manners set in a grand country house with a current of dark mystery running beneath the surface, is the only novel published in his lifetime. The author had a life long interest in the paranormal, dabbling in the investigation of hauntings, and becoming a long-term member of The Society for Psychical Research and The Ghost Club. He received a British Fantasy Award and a World Fantasy Award for his work. Aickam was also a keen conservationist, and is often remembered now as the co-founder of The Inland Waterways Association, which successfully saved England's inland canal system from destruction.

First edition, first printing. Original red cloth with gilt lettering to the spine, in dustwrapper. An near fine copy, the binding tight and square, the cloth bright, the contents without stamps or inscriptions. Complete with the Youngman Carter dustwrapper which shows some age-toning, minor rubbing, a closed tear (c. 1 cm) to the upper edge of the front panel, and a couple of half-centimetre abrasions and tears to the top and bottom edges of the spine, neatly reinforced from the verso with tape. Not price-clipped; correctly priced (12s. 6d. net) to the front flap. Altogether, a very nice copy.

The fourteenth Albert Campion novel and considered by many to be her best. (Hubin).

First American edition, first printing. Publisher's white and grey boards with titles in red to the upper board and spine, in dustwrapper. Illustrated with photographs in black and white throughout. A superb fine copy, the binding square and firm, the boards fresh and bright. The contents are clean throughout and without previous owner's marks. Complete with the near fine lightly rubbed dustwrapper that has a small nick without loss, at the head of the upper spine fold. A very attractive example, scarce thus.

(Parr & Badger: The Photobook Vol. I, 216: Roth 160-161)

First edition, first printing. Publisher's original brown cloth with black titles, quadruple ruled to the upper board and spine. A very good copy, the binding square and firm with rubbing to the edges, some bumping at the spine tips and a few marks to the cloth. The contents are entirely complete with an erased previous owner's signature to the front pastedown, a small crease to the top right corner of the prelims which are also a little spotted. The text block edges are spotted and there is handwritten price in ink on the rear pastedown (25p!). Still a decent example of quite a scarce title in first edition.

A lost race science-fantasy novel incorporating descendants of Atlantis and huge blood-sucking birds, all set in a subterranean land beneath South America. The binding is also known in black cloth with identical red titles and borders. (Bleiler; Locke: Spectrum of Fantasy).

First edition, first printing. Publisher's original red cloth with black titles to the spine, in the Leslie Stead illustrated dustwrapper. A very good copy, the binding firm with a slight lean to the spine. The contents, with a few small, faint stains to the text block edges, are otherwise clean throughout and without previous owner's inscriptions or stamps. Complete with the rubbed and creased dustwrapper that has a few small closed tears and tiny chips to the spine tips and corners, with some minor toning and marking to the spine and rear panel. Clipped and re-priced by the publisher on the front flap for export to Scandinavia .

First UK edition, first printing. Six volumes. Recent full navy blue morocco with titles in gilt to the spine and a facsimile of Churchill's signature in gilt to the upper board of each volume. Hand-sewn endbands. All edges gilt. Illustrated with maps (some folding) and diagrams throughout. A fine set, the bindings clean and square, the contents are clean throughout and without previous owner's inscriptions or stamps. Housed in a blue cloth slipcase.

A beautifully bound first edition of the British Prime Minister's monumental, highly readable history of the Second World War. (Cohen A240.4; Woods A123(b)).

First edition. The binder's retained copy. Full bound in blue cloth with titles in gilt on a black morocco label to the spine. Grey and white patterned card slipcase. Folio. Profusely illustrated with tipped in reproductions of Weiss' work printed in various colours on a wide variety of papers. A fine copy of this beautifully printed monograph.

Published in an edition of 250 copies, this example, uniquely bound, is neither numbered or signed by the book-binder Stephen Conway, whose retained copy this was.

First edition, first printings. Three Volumes. Crown 8vo. Contemporary blue cloth, the spines with six compartments double-ruled in gilt, with lettering in gilt to three compartments. Binder's light speckled fore-edges. A better than very good set, the bindings square and firm, the contents, except for a previous owner's lightly pencilled name to half-titles, another owner's neatly inked name to Vol. I, and small shelf labels affixed to the outer upper corners of each front pastedown, are without inscriptions or stamps. The pages, showing a few marginal spots and marks, are predominantly bright and clean. Toning to free endpapers. All three volumes bound with the original half title; Vol. II and III lack the publisher's advertisement leaves (which were customarily removed by binders). All requisite bibliographical points correct and present: Vol. I, pp. 10-11, page numbers transposed; Vol. II, p. 129, "treachesrouly" spelling error. An attractive first edition set of Collins' seminal detective novel.

A Haycraft Queen Cornerstone. 'The Moonstone' was originally serialised in Charles Dickens' weekly journal 'All The Year Round' in the months preceding its first publication in book form in July 1868. The novel, with its plot involving the theft of a large Indian diamond and the elaborate train of events that follow in its wake was later described by T. S. Eliot as "the first, the longest and the best of modern English detective novels". (Sadleir 598; Wolff 1368; Hubin).

First edition, first printing. Inscribed presentation copy. Original red cloth with gilt and gilt on black lettering to spine and front panel, with facsimile of the author's signature stamped in gilt to the lower edge of the front panel. In the dustwrapper illustrated by Cecil Beaton. A very near fine copy, the binding square and firm, the cloth and gilt bright, the contents clean throughout. The pages are a little toned to margins (owing to the paper stock used) and there is a tiny stain (c. 4 mm) to the upper outer margins of pp. 49-53. Spine tips are a little softened and rubbed. In the bright dustwrapper, rubbed and nicked to corners and folds, with an area of loss (c. 0.5 cm deep) at the head of the spine. Loosely laid in to this copy is a folded sheet of paper headed with a printed monogram and address "Heronden House / Belgrave Square". As this is the fictional address of the central characters in the play, the Marquess and Marchioness of Heronden (there is no such house in Belgrave Square), it is likely that this item of stationery is a stage prop (a letter left for the Marchioness by her husband plays a significant part in the plot). Not price-clipped (8s 6d net to the front flap). A very attractive association copy.

Inscribed by the author in blue ink to the title page, "For Ginette et Marie Antoinette / With, love / Noël". The recipients were Coward's friends, Ginette Spanier (Jenny Yvonne Spanier, 1904-1988) and her husband Paul-Emile Seidmann (who was affectionately nicknamed Marie-Antoinette by Coward). Spanier was director of the House of Balmain, the fashion house founded by Pierre Balmain and patronised by such luminaries as Ava Gardner, Brigitte Bardot, and Marlene Dietrich. According to Philip Hoare, in his biography of Coward, the author met the couple while holidaying in France during the summer of 1946, and he would later provide the Foreword to Spanier's 1959 autobiography, 'It Isn't All Mink'. 'Quadrille', "a glittering Victorian comedy of marital misapprehension" (Sheridan Morley) was first performed at the Opera House, Manchester, on 15 July 1952, before moving to London for an extended run of 329 performances at the Phoenix Theatre. [Philip Hoare, 'Noël Coward: A Biography' (1995); Stephen Cole, 'Noël Coward: A Bio-Bibliography' (1993)]. (Cole B-101).

First edition, first printing. The dedication copy. Original grey cloth with gilt lettering to the spine, in the dustwrapper designed by Brian Russell. A near fine copy, the binding square and firm, the contents clean throughout. A little pushed to spine tips. In the bright dustwrapper, rubbed to corners, folds and spine tips. Not price-clipped (35s net to the front flap). A notable association copy of Coward's late trilogy.

Inscribed by the author in blue ink to the dedication page. Beneath the printed dedication 'For Binkie', Coward has added "With, love as always / Noël". The dedicatee (of the book and of this particular copy) was theatre impresario, Hugh "Binkie" Beaumont (1908-1973), one of the most important figures in the London theatre world during the twentieth century. He worked with just about every great dramatist and actor during in his long career, perhaps most closely of all with Noël Coward. They had met in 1924, and following Coward's split with C. B. Cochran in the late 1930s, Beaumont effectively became the author's manager, producer, and advisor for the remainder of both men's lives (both died in 1973). 'Suite in Three Keys' comprises three plays, each with a cast of four characters, and all set in the same suite of a Swiss hotel. Coward thought of the plays as a kind of swan song, and the opening run at the Queen's Theatre, beginning in April 1966, were to be his final appearances on stage. [Philip Hoare, 'Noël Coward: A Biography' (1995); Stephen Cole, 'Noël Coward: A Bio-Bibliography' (1993)]. (Cole B-107).

First edition, first printing. Presentation copy inscribed to Dennis Wheatley. Original pale green cloth with gilt lettering and ruling to spine, in dustwrapper. A very near fine copy, the binding square and firm, the cloth and gilt bright, the contents clean throughout. Wheatley's elaborate 1928 bookplate designed by Frank C. Pape affixed to front pastedown. Lower and fore-edges untrimmed, the latter showing a handful of light spots. Light offsetting to endpapers and a few light spots to endpapers and prelims. Spine tips a little softened. In the remarkably bright and clean original dustwrapper, showing a few nicks and very minor loss to spine tips and corners, and three short closed tears to the lower edges. Unclipped and correctly priced 10s. 6d. net to the spine. A superb example.

Inscribed by the author in blue ink to the front free endpaper, "For D. Yates Wheatley / from / Noël Coward / 18.2.1928". The first published collection of Noel Coward's plays, the three works included all notable (and all adversely criticised at the time) for their frank sexual content. In the 'Reply to his Critics' introducing the volume (and first appearing here), Coward addresses issues of prudishness and censorship, referring to "those worthy British qualities most detrimental to the progress of true art, hypocrisy, sex-repression, lack of education, religious mania, respectability, and above all moral cowardice." [Stephen Cole, 'Noël Coward: A Bio-Bibliography' (1993)]. (Cole B-72).

First edition, first issue. Two volumes. 8vo. pp. viii, 423, (1), 16 (ads); viii, [2]. 475. (1), 16 (ads). First word on p.297 of volume one is "transmitted", verso of title page of volume two is errata, "Postscript" tipped in before B1 of volume two. Publisher's original green cloth with titles in gilt to the spines. Page edges untrimmed. Dark blue endpapers. Illustrated throughout with black and white wood-engravings. Clements R. Markham's copy, with his ink signature to the head of each title page. A very good copy, the bindings square and firm with a touch of bumping and wear to the corners and an expert repair to the lower joint and head of the spine of volume one. The contents with light scattered foxing to the endpapers are otherwise excellent throughout.

A most attractive example of the work in which Darwin first used the term 'evolution'. "The Descent, understood by Darwin as a sequel to the Origin, was written with a maturity and depth of learning that marked Darwin's status as an élite gentleman of science" (ODNB). In the work, he fully established the importance of sexual selection, and "set out a definite family tree for humans, tracing their affinity with the Old World monkeys" (ibid), "comparing a man's physical and psychological characteristics to similar traits in apes and other animals, [he showed] how even man's mind and moral sense could have developed through evolutionary processes." Indeed, The Descent was of such importance to the development and advancement of Darwin's evolutionary theories that it was subsequently incorporated into the Sixth edition of his seminal The Origin of the Species. The present copy belonged to Sir Clements R. Markham (1830-1916), the geographer, explorer, naturalist, naval officer and civil servant. He combined a number of these roles in his creation of the geographical department of the India Office where he was responsible for the cataloguing of the maps, reports and surveys of India. Markham was also a polar explorer and responsible for organising the National Antarctic Expedition of 1901-4, which launched the career of Robert Falcon Scott. Perhaps his most useful and important undertaking, however, was in 1854 when he transported from Peru to India the seeds of the cinchona tree, the source of quinine, used to cure malaria, and at that time only found in Peru, thus ensuring adequate supplies in India. Markham also served as secretary of the Royal Geographical Society (1863-1888) and later as President (1893-1905). It seems most likely that he would have known Darwin and he would certainly have known Darwin's son, Leonard Darwin, who was himself president of the RGS shortly after Markham retired. An appealing association copy. (Freeman, 937).

Limited edition, number 69 of 1,000 copies printed for subscribers only. Large 8vo. Beautifully bound by Bennett of New York in full purple morocco, the boards with elaborate gilt borders incorporating decorative devices, the spine with four raised bands, ruled and decorated in gilt, and with titles in gilt. Top edge gilt, the others untrimmed. Handmade-paper endpapers. Printed on Japanese vellum paper. Illustrated with a hand-coloured frontispiece and two sets of ten black and white etchings in different states by Eugene Abot and Albert Duvivier after drawings by Stanislas Rejchan, with captioned tissue-guards. A very good copy, the binding square and tight with a few small scuffs to the foot of the upper and lower boards and a little rubbing to the corners and spine ends. The contents with a little creasing to some of the tissue-guards and a small nick to the fore-edge of the front endpaper are otherwise in very good order, clean and bright throughout and remain free from any previous owners' inscriptions or stamps. An attractive copy.

A handsome edition of Daudet's novel Sapho, which three years later was adapted for a New York stage production which became the centre of a sensational indecency trial, itself an event that came to form a notable step in the transformation of American society's attitudes regarding gender roles and public depictions of sex in the early twentieth century.

First edition, first printing. Publisher's blue cloth with gilt titles to the upper board and spine, in dustwrapper. Illustrated with a colour frontispiece, black and white photographs and diagrams. A very good or better copy, the binding square and firm, the contents, with the cancel leaf "Note" dated December 1941 on a stub as pages three and four and two small stamps of the New Light Christian Association, Chicago are otherwise clean throughout. Complete with the lightly rubbed and nicked dustwrapper that is darkened at the extremities and has as few pieces of tape to the underside. An attractive example.

The Dutch spiritualist medium, healer and world renowned tarot card scholar's best known work. The printed notice tipped in at page three reads in part "This book was written before the author realized that the attainment of self-conscious immortality is something one cannot develop but is a gift of God; that all occult teachings of an anti-Christ nature easily lend themselves to subversive purposes, including revolutionary propaganda, having for its object the overthrow of western civilization, as well as the faith of our fathers, of which this civilization is the shell".

First edition, first printing. Signed by the author. Original green cloth with silver lettering to the spine, in the dustwrapper illustrated by Abigail Edgar. A near fine copy, the binding square and firm, the contents clean throughout. Spine tips a little pushed and rubbed. There are a few light spots to the upper page block edge and a slim vertical stain (c. 3.5 x 0.5 cm) to the fore-edge. In the near fine dustwrapper, faded to the spine and a little rubbed to the upper spine tip; otherwise bright and clean. Not price-clipped (£14.99 to the front flap). A scarce, signed first edition of the author's first novel.

Signed by the author in black ink to the title page. Dunmore's first novel won The McKitterick Prize for 1994. "It is spring 1917 in the Cornish coastal village of Zennor, and the young artist Clare Coyne is waking up to the world. Ignoring the whispers from her neighbours, she has struck a rare friendship with D. H. Lawrence and his German wife, who are hoping to escape the war-fever of London" (from the publisher). "A beautiful and inspired novel" (John Le Carré).

First edition, first printing. Original cream textured paper covers with titles and design in black to the upper panel. Illustrated with black and white paintings, drawings, and photographs of sculptures to the rear. A very good copy, the binding firm, the extremities a little rubbed, creased and toned, showing some light staining and with a short closed tear to the top of the spine. The contents, lightly spotted to the text block edges and prelims and with small oblong tape marks to the corners of the first and last page, are otherwise clean.

The second and last issue of Wyndham Lewis' short lived arts publication, containing essays on art by Wyndham and his friends.

First edition, first printing. Publisher's original green cloth with titles in gilt to the spine and blind stamped to the upper board, without dustwrapper. A very good copy, the binding square and firm with a little bumping at the spine tips and some dulling and flaking of the gilt on the spine. The cloth with a couple of minor marks. The contents with the previous owner's [author Alison Lurie] tiny pencil note to the outer margin of one page are otherwise clean throughout. An attractive example.

With all of the first issue points within the text as called for. Although unmarked as such (other bearing her small inscription in pencil to the margin of page 10), this example was formally from the collection of the American Pulitzer prize winning author Alison Lurie. (Bruccoli & Pittsburgh A11.1.a.; Connolly, The Modern Movement 48).

First edition, first printing. Signed by the author. Publisher's original black cloth with gilt titles to the spine, in dustwrapper. Top edge purple. Illustrated with maps, line drawings and black and white photographs throughout. An excellent better than very good copy, the binding square and firm and the cloth and gilt fresh. The contents are clean throughout and without previous owner's inscriptions or stamps. Complete with the rubbed and nicked, price-clipped dustwrapper that has a couple of short closed tears and some toning to the extremities.

Inscribed by the author in blue ink on the front endpaper "Peter Fleming / (scripsit) / April 1957". Scarce thus. Peter Fleming's account of "Operation Sea Lion", the planned invasion of Britain by Nazi Germany shortly after Dunkirk. The author, brother of Ian Fleming, was involved with the government in planning for the expected invasion and provides an insiders look at the year 1940 when things were looking bleak for Great Britain.

Illustrated manuscript comprising 43pp. (+ 7pp. blank) of neat calligraphic text wonderfully embellished throughout with original illustrations and decorative borders in watercolour and ink. Original handmade pictorial cloth binding decorated in fabric collage and ink by the artist/author over stiff boards. Oblong folio. Condition is very good, the binding slightly skewed with a little dust-soiling to the covers and minor shelf wear to the extremities. The contents with a couple of small nicks and some toning to the endpapers are otherwise excellent, remaining clean and bright throughout, the colours fresh.

An imaginative and beautifully executed original composition of both text and artwork, paying homage to the life of London's Kew Gardens, celebrating with affection and good humour the experiences of the diverse range of visitors that have past through its gates over the previous two centuries (although focussing particularly on the present day). Beginning with an excerpt from the poem 'Spring' by Philip Larkin (and with other quotations from authors including Lewis Carroll and Ezra Pound scattered throughout), Ford takes the reader on a meandering tour through the garden's history, before dwelling on its famous features, structures and idiosyncrasies, in addition to his own personal experiences and observations. The contents include everything from "An Interview with the Turnstile Man" and "The Gardens in Summer", together forming a marvellous, understated testament to the garden's diversity ("Fathers with splayed out limbs... Babies waddle towards stationary and dignified ducks... Americans in dark silk shirts with expensive cameras bouncing on their stomachs; blonde Scandinavian girls, sinister behind sun-glasses; students with long, dank 'Lady Macbeth' hair styles... gesticulating, laughing Indian girls and hosts more people who do not suggest any labels"); to "Verbatum", a record of overheard comments by the public (ending "Let's go home. I'm fed up with plants"); the tongue-in-cheek poem "O you Glass-houses of Kew" ("Dogging the dreams of the worthy window-cleaners, / Quickening the pulse of the rabid stone throwers"); and "Miss Marianne North - Victorian flower painter", an account of the pioneering botanical artist, amongst others. Peter Ford RE RWA was born in 1937 and studied at the Hereford College of Arts, Brighton College of Art, and finally the University of London. Ultimately coming to work predominantly within the medium of printmaking, Ford has exhibited widely over a long career, with work held in major public collections around the world, including the Tate Gallery, the Victoria and Albert Museum, the Ashmolean Museum, the Yale Centre for British Art, the Musée de la Publicité, Paris, Barcelona Museum of Contemporary Art, the Kaliningrad Art Gallery, Russia, and the Taipei Fine Arts Museum, Taiwan. The present work, created early in Ford's career whilst studying at St. Mary's College, Strawberry Hill, Twickenham in the early 1960s, exhibits a lively, playful, light-hearted line, reminiscent of other illustrators of the period, most notably Edward Ardizzone and Edward Bawden. According to the artist, he created only two unique books of this nature, the other being on the theme of medieval bestiaries, made during his time at Brighton College of Art. A splendid celebration of one of London's best loved sites, and a superb example of mid-century British illustrative art.

First edition, first printing. Publisher's original red cloth with gilt titles to the spine, in dustwrapper. A very good or better copy, the binding square and firm with some rubbing to the extremities and a little softening at the spine tips. The cloth and gilt is bright and fresh. The contents with a little offsetting to the endpapers and the very occasional finger mark are otherwise clean throughout and without previous owner's inscriptions or stamps. Complete with the lightly rubbed and nicked correct first state dustwrapper which remains bright, without fading or loss. Not price-clipped (£2.00 net / 40s to the front flap).

The author's first book and a classic of the genre. Winner of the 1972 Edgar Award for Best Novel.

First edition. Two volumes. Inscribed by the author. Publisher's original dark green cloth decorated in blind and with titles in gilt to the spines. Page edges untrimmed, with many gatherings unopened. Frontispiece portrait to volume one. A near fine set, the bindings square and firm with just a little rubbing to the extremities. The contents with the very occasional tear or chip to blank page margins where some gatherings have been roughly opened are otherwise in very good order and clean throughout. An attractive set.

Inscribed by Charles B. Gibson in black ink to the front free endpaper of volume one "For the Rev. Geo. Rt. Gleig / with the Author's / compliments." A lively, in-depth account of life in English and Irish prisons in the mid nineteenth-century. The author began his prison career as chaplain to Presbyterian convicts at Spike Island Prison in Ireland and ended it at Shoreditch workhouse in London. His work, which leans heavily on richly-described personally experienced anecdotes, contrasts the reformative Irish penal system to that of England, discussing everything from methods of punishment to prison poetry. Notably, it also contains much material, not found elsewhere, regarding the problems of the British government in settling convicts abroad, including in Bermuda, Cape Town, and – most prominently – Australia. The present copy is inscribed to Rev. George Robert Gleig (1796-1888), a chaplain-general of the British forces, who had earlier been thrice wounded in America in the War of 1812. A surprisingly scarce title, not often seen in commerce.

First edition, first printing. Publisher's original black cloth with silver titles to the spine, in the photo-illustrated dustwrapper. An excellent, fine copy, the binding square and firm, the contents clean throughout and without previous owner's inscriptions or stamps. A little toning to the margins of the free endpapers and half title. Complete with the very near fine dustwrapper, a little rubbed to upper spine tip and corners, minimally so to lower corners. Not price-clipped (6s net to the front flap). An unusually sharp, fine copy.

The first appearance in print of Greene's novelisation of his screenplay The Third Man, the basis for the multi-award winning 1949 film noir starring Orson Welles and Joseph Cotten. (Wobbe A23).

First edition, first printing. Original dark blue cloth with gilt titles to the spine, in dustwrapper. A lovely fine copy, the binding square and tight, the contents clean throughout and without previous owner's inscriptions or stamps. Complete with the lightly rubbed and slightly spine faded price-clipped dustwrapper.

Winner of the 1999 Whitbread Poetry Prize.

First UK edition, first printing. Publisher's original blue cloth with red titles and illustration to the upper board and spine, in dustwrapper. A lovely fine copy, the binding square and firm, the cloth fresh. The contents are clean throughout and without previous owner's inscriptions or stamps. Complete with the better than very good lightly rubbed and nicked price-clipped dustwrapper, that has a some toning to the spine and a couple of short closed tears to the upper edge. An attractive example in the correct first state dustwrapper (without reviews to the underside).

The author's last major work of fiction published in his lifetime. The novella was awarded the Pulitzer Prize for Fiction in 1953, and it was cited by the Nobel Committee as contributing to their awarding of the Nobel Prize in Literature to Hemingway in 1954.

Eighteen chapbooks bound in two volumes. 24mo. Near contemporary half morocco over marbled boards, ruled in gilt and with titles in gilt to the spine. Top edge gilt. Marbled endpapers. All titles bound with original printed coloured paper wrappers as issued and illustrated throughout with charming woodcuts. Each title pp.32 (including integral wrappers) except one (The House that Jack Built, 24pp.) A near fine set, the bindings square and tight with a little rubbing to the extremities. The contents with a couple of books slightly trimmed (not affecting the text), a contemporary bookseller's stamp to the title page of one (The Sister's Gift) and some occasional very light foxing are otherwise in very good order and clean throughout.

A splendid early nineteenth-century collection of juvenile chapbooks published by James Kendrew of York, including many well-loved characters from children's literature such as Little Red Riding Hood, Puss in Boots and Cinderella, as well as books of street cries, alphabets, and strange adventures, all wonderfully illustrated with numerous woodcuts, and incorporating several relatively rare titles. The titles included are as follow: Volume One: 1) The Cries of York, for the Amusement of Young Children. 2) The Entertaining Story of Little Red Riding Hood, to which is added, Tom Thumb's Toy. 3) The Surprising Adventures of Puss in Boots; the History of a Little Dog; and the History of a Little Boy found under a Haycock. 4) Tom Thumb's Folio; or, a New Penny Play-Thing, for Little Giants: To which is prefixed An Abstract of the Life of Mr. Thumb, and an historical account of the Wonderful Deed he Performed. 5) The Sister's Gift; or, The Bad Boy Reformed. Published for the Advantage of the Rising Generation. (York: 1826). 6) The Foundling; or, The History of Lucius Stanhope. 7) The Parent's Best Gift. Containing the Church Catechism; together with Divine Questions and Answers out of the Holy Scriptures: also Proper Directions for the behaviour of Children towards God, their Parents, etc. 8) The Silver Penny. For the Amusement and Instruction of Good Children. 9) The House that Jack Built, to which is added some Account of Jack Jingle showing by what Means he acquired his Learning and in Consequence thereof got Rich, and built himself [a] house. Volume Two: 10) The Cries of London. For the Amusement of Young Children. 11) Adventures of the Beautiful Little Maid Cinderilla [sic]; or, the History of a Glass Slipper. To Which is Added, an Historical Description of the Cat. 12) The History of Giles Gingerbread. A Little Boy, Who lived upon Learning. By Tom Trip. 13) The World Turned Upside Down; or, No News and Strange News. 14) The History of Whittington and his Cat: how from a poor country boy, destitute of parents or relations, he attained great riches, and was promoted to the high and honourable dignity of Lord Mayor of London. 15) Mrs. Lovechild's Golden Present for all Good Little Boys and Girls. 16) The Death and Burial of Cock Robin; To Which is Added, Pizarro and Alonzo; or, Industry better than Gold. 17) A Collection of Fables, for the instruction and amusement of little misses and masters. 18) The History of Tommy and Harry

First edition, first printing of the first Moomin book to be published in English. Publisher's original green cloth with red titles and illustration to the upper board and spine, in dustwrapper. Large folding map and illustrations by the author throughout. A near fine copy, the binding square and firm with a little bumping at the spine tips, the cloth is clean and fresh. The contents are clean throughout and without previous owner's inscriptions or stamps. Complete with the bright, rubbed and nicked dustwrapper that has several short tears, small chips at the spine tips and a larger one to the top left corner of the upper panel. Scarce.

Translated from the Swedish by Elizabeth Portch. The 1948 Swedish first edition was published in Helskini by Schildts under the title Trollkarlens Hatt. Whilst this was the third of Tove Jansson's Moomin books to be published in Scandinavia, it is the first to be published anywhere in English. This is example retains the first state dustwrapper (without reviews to the front flap).

First edition with these illustrations. Signed by Tove Jansson. Publisher's original brown cloth with gilt titles to the spine and a gilt design to the upper board, in dustwrapper. Illustrations in colour and black and white throughout the text by Tove Jansson. Text in Swedish. An excellent near fine copy, the binding square and firm, the cloth and gilt bright and fresh. The contents with a previous owner's initials to the top corner of the front endpaper are otherwise clean throughout. Complete with the very good, lightly rubbed and nicked dustwrapper that has several short closed tears and a small chip to the upper left corner of the front panel.

Signed by the illustrator Tove Jansson in black ink at the bottom of the front endpaper. Scarce thus. Moomin creator Tove Jansson brings her exquisitely unique style to the fantasy world of Alice in Wonderland. She had previously illustrated Swedish editions of Carroll's The Hunting of the Snark in 1959 and J. R. R. Tolkien's The Hobbit in 1962.

First edition, first printing. Signed by seven contributors. Publisher's original card covers (a paperback original). A good or better copy the binding a rubbed and creased at the extremities with small chips to the spine tips and corners. The contents are entirely complete, without loose or torn pages and other than the habitual toning of the paper stock, and a previous owner's inscription to the top margin of the first page, clean throughout.

A paperback anthology containing poems, essays and stories by a couple of dozen leading writers of the Beat Movement. It was edited by Seymour Krim. This example has been signed by Gregory Corso in black ink at the beginning of his contribution "Spontaneous Requiem for the American Indian" (p.44); signed by Diane Di Prima in black ink at the head of her contribution "13 Nightmares" (p.78); signed by William Burroughs in black ink underneath his printed name at the beginning of "Two Episodes from "The Naked Lunch"" (p.125); signed by Hubert Selby Jr in blue ink at the head of his contribution "Double Feature" (p.133); signed by Gary Snyder in black ink at the head of his contribution "Letter from Kyoto" (p.144); signed by Allen Ginsberg in black ink at the head of his contribution "Death to Van Gogh's Ear" (p.149); signed by Jack Micheline at the head of his contribution "Streetcall New Orleans" (p.165).

First edition. One of 200 copies printed on Flower paper. 8vo. Publisher's original stiff vellum with silk ties, yapp edges and titles in gilt to the spine. Page edges untrimmed, with numerous quires unopened. Printed in Golden type, the first chapter with woodcut foliate initial and border and each subsequent chapter opening with woodcut foliate initials by Hooper after Morris, woodcut press device after Morris on colophon leaf. A near fine copy, the binding square and tight with a just a very minor bump to the foot of the spine and a touch of dust-soiling to the vellum. The contents with a little toning to the preliminary pages and occasionally elsewhere are otherwise clean and bright throughout. An attractive copy.

Mackail was a classical scholar, translator of the Aeneid, literary critic and poet. His links with the Kelmscott Press were strong: he married the painter Edward Burne-Jones' daughter Margaret in 1888 and was commissioned by the Morris family to write the first biography of William Morris in 1899, which is described by MacCarthy as a "sensitive and generous" portrayal (William Morris: A Life for our Time, London: 1994, p.x). Biblia Innocentium was one of the last Kelmscott Press publications to be issued in stiff vellum and the first to be printed in an octavo format. Burne-Jones was originally to have designed 250 wood-engravings for this edition, however only 25 were ever completed and none appeared until 1902 in The Beginning of the World: Twenty-Five Pictures by Edward Burne-Jones. (Peterson A9).

First English edition, first printing. 34.5 x 24.5 cm. Publisher's original illustrated paper-covered boards with titles in red to the upper board and spine. With the original publisher's wrap-around band. Profusely illustrated throughout with black and white photographs. A better than very good copy, the binding square and firm with a little bumping to the corners and a couple of minor scuffs to the board edges. The contents are clean and crisp throughout and remain free from any previous owners' inscriptions or stamps.

The first English edition of this superbly illustrated account of the career of the legendary Belgian cyclist Eddy Merckx, originally published in Flemish in 2010.

First edition, first printing. Publisher's original white paper covers, printed in black. Publisher's adverts front and rear. A very good copy, the binding rubbed and nicked at the folds with small chips at the spine tips and corners. The contents with the occasional finger mark are otherwise clean throughout and without previous owner's inscriptions or stamps. An excellent example, entirely unsophisticated and rare thus.

A collection of 11 stories of crime and detection, later reprinted and expanded in various forms. This was one of the last titles published under The Hansom Cab Publishing Company imprint, created by the businessman Frederick Trischler after securing the copyright to the Fergus Hume's bestselling mystery novel of the same name. He continued to publish under the name Trischler & Company.

First edition, first printing. Four volumes. Publisher's original blue cloth with gilt titles to the spine, pale blue endpapers, in dustwrappers. Portrait and manuscript frontispieces to each volume. A very near fine set, the bindings square and firm. There are a few light spots to upper text block edge and prelims; the contents are otherwise clean and bright throughout without previous owner's inscriptions or stamps. Complete with the bright, clean dustwrappers, with uniform light fading of the spines. All volumes are unclipped and correctly priced (50s net) to front flaps. A very attractive set.

This collected edition of Orwell's Essays, Journalism and Letters was compiled and edited by the author's widow and Ian Angus, librarian and one of the founders of the Orwell Archive. As Ian Hamilton wrote in his review, the editorial task was "huge", but "the only way of getting on [...] really close, conclusive terms" with the author. The result was, "[f]our bulging volumes of essays, book reviews, weekly columns, letters, broadcasts, all arranged and edited with considerable care. And one's first, awed, response is simply to the 'amount' Orwell wrote. How did he manage it?" ('New Society' 3 October, 1968; Fenwick D12)

First edition, first printing. Publisher's original green ribbed cloth with titles in white to the upper board and spine. Illustrated with 32 black and white photographic plates. A very good copy, the binding square and firm with loss to the white of the spine titles, a couple of minor marks/indentations to the upper board and a little cracking to the front hinge. The contents with a contemporary owner's inscription in ink to the front free endpaper and some light scattered foxing to the preliminary pages and occasionally to page margins are otherwise in very good order throughout.

A detailed history of Suffragette militancy, largely focusing on the development and actions of the Women's Social and Political Union, by the prominent women's suffrage campaigner and socialist, Sylvia Pankhurst (1882-1960). This first US edition is the true first edition, preceding the British edition by several months, and with the British edition itself being composed of the American sheets.

First edition, first printing. Publisher's original burgundy cloth with black titles to the upper board and spine, in the C. Morse illustrated dustwrapper. A superb fine copy, the binding square and tight and the cloth bright an fresh. The contents with just a couple of foxing spots to the closed text block edge are otherwise clean throughout and without previous owner's inscriptions or stamps. Publisher's catalogue dated Autumn 1924 to the rear. Complete with the exceptionally bright dustwrapper that has a couple of short closed tears and very minor rubbing to the extremities. A lovely example, scarce in the correct first edition.

First edition, first printing. Publisher's original orange cloth with black titles to the upper board and spine, in dustwrapper. A superb very near fine copy, the binding square and tight with a little bumping at the spine tips. The cloth is bright and fresh. The contents with some offsetting to the front and rear endpapers are otherwise clean and bright throughout and without previous owner's inscriptions or stamps. Complete with the very near fine dustwrapper that remains fresh and without loss or tears, just a touch of fading to the spine. An exceptional example.

First combined edition, first printing. Publisher's original red cloth with gilt titles to the spine, in dustwrapper. A very good copy, the binding square and firm, the cloth and gilt bright and fresh. Lower edges untrimmed. The contents with a little spotting to the endpapers and a few light spots to the page block are otherwise clean throughout and without previous owner's inscriptions or stamps. Complete with the rubbed, lightly soiled dustwrapper showing a number of short closed tears and nicks to edges, corners and spine tips. Not price-clipped (8s 6d net to the front flap).

Published individually between 1928 and 1936, this is the first printing of the first combined edition of Sassoon's highly acclaimed fictionalised autobiography. A classic of First World War literature.

Pen, ink and watercolour on illustration board. The artwork measures 15 x 23cm, the illustration board 28 x 36cm. Inscribed by the artist lower left. In fine condition. With the Ronald Searle / Tessa Sayle Agency ownership label to the verso (dated 1993).

A fabulous original artwork produced to illustrate Lee Wardlaw's The Tales of Grandpa Cat (first published in America in 1994 and in the UK in 1996). This illustration is reproduced on page 3, the dedication page of the first edition.

Pen, ink, watercolour and colour pencil on illustration board. 31 x 22.5cm. Signed lower left in blue, with a presentation inscription "Hooray! Love & kisses from Mo & Ronald" in black ink, dated 22nd January 1982 in green pencil. In fine condition. Mounted framed and glazed.

A bold and beautiful example of one of Searle's inimitable cat drawings. Typically amusing and evocative, the present work was made for the artist's North American agent in celebration of his return home. John W. Locke established the New York based John Locke Agency (later John Locke Studio) in 1935 and in doing so helped transform the aesthetics of American illustration by introducing satiric European illustrators and cartoonists to magazines, book publishers and advertising agencies. A passion for Expressionism and Surrealism led him to represent some of the most astute satirists and visual storytellers in Europe, including Ronald Searle and Roland Topor from the UK, André François and Folon from France. Among American illustrators, Edward Gorey was perhaps his most renowned client. Together with his wife Margery ("Midge") he ran the John Locke Studio until 1997.

The first facsimile edition of the 1623 Shakespeare First Folio. Extra-illustrated copy. Handsomely bound in later nineteenth-century full blue morocco, ruled and decorated in gilt and blind, the spine with five raised bands, decorative fleur-de-lis devices to compartments, and titles in gilt. Gilt dentelles. All edges gilt. Folio. Binder's stamp for J. G. Wyly of Reading to the front endpaper verso. Marbled endpapers. Engraved portrait title page. Paper watermarked 'Whatman' or 'Shakespeare 1806'. Extra-illustrated with 3 late nineteenth-century colour chromolithographs, two depicting Shakespeare's house, the other a scene from As You Like It, 40 mid nineteenth-century black and white engravings by W. Probuda with titles in German depicting scenes from Shakespeare's plays, and 44 further nineteenth-century engravings depicting places, people and objects associated with the Bard. A very good copy indeed, the binding square and firm with a little rubbing, the odd minor scuff to the boards and spine and bumping to the corners. The hinges neatly strengthened with blue cloth. The contents with a little abrasion to an area of the paper of the front pastedown and some occasional light foxing, largely confined to the preliminary pages and illustrations by Probuda, are otherwise in very good order, clean throughout and remain free from any previous owners' inscriptions or stamps. An attractive copy of this scarce and significant edition

The first 'type-facsimile' edition (a line-for-line, letter-for-letter reprint) of the landmark first folio. Unlike modern methods of producing facsimiles, this edition was produced by painstakingly setting the type in such a way as to replicate the layout and appearance of the original. As in the original, the text appears in 2 columns, and includes only 36 plays (Pericles was not in the original First Folio). The portrait was printed from a newly engraved copy of the original engraving, and the paper used was specially made, bearing the watermark of 'Shakespeare 1806' (Blayney, 38-39; Jaggard, 510). Notably, the poet John Keats owned and annotated a copy of this edition.

First collected edition. Four volumes. Publisher's original red cloth decorated in blind to the boards and with titles and decoration in gilt to the spines. Page edges untrimmed. Engraved portrait frontispiece to volume one. A very good set, the bindings square and firm with a little cracking to the front hinge of volumes three and four, some wear and a little loss to the foot of the upper joint of volume four, minor wear to the spine ends (more so to the head of volume one), and bumping to the corners. The contents with foxing to the engraved frontispiece are otherwise in excellent order and wonderfully clean throughout, remaining free from any previous owner's inscriptions or stamps. A splendid set, particularly scarce in the publisher's original cloth.

The first complete edition of Percy Shelley's poetical works, complied and edited by his wife Mary Shelley. Previously, Shelley's poetry had largely been brought before the public in a multiplicity of either private and small-run editions (many of which had become increasingly scarce) or pirated editions. Percy's father, Sir Timothy Shelley, feared that a new collected edition would be likely to draw fresh attention to the radical writings of his son. Recognising, however, that obscurity was unlikely in any case, he relented and dropped his objections to Mary producing an official edition. After having attempted to do so since her husband's death in 1822, Mary thus brought Percy's work into the mainstream. Her notes, which added significantly to the fuller comprehension of Percy's poetic writings, have since become inseparable from the texts themselves and her endeavours ultimately served to secure his position as one of the foremost poets of the English language.

First edition. Publisher's original full red morocco with elaborate decoration in gilt and blind to the boards, gilt device to the lower board and titles in gilt to the upper board. Neatly rebacked, with new titles in gilt to the spine. All edges gilt. Marbled endpapers. A handful of pages with text printed in gilt on coloured paper. Illustrated throughout with woodcuts of animals, trees and plants, some hand-coloured. Decorative borders throughout. A very good copy, the binding square and firm with wear and a little chipping to the corners. The contents with some minor marks to the first few pages and a little occasional scattered foxing are otherwise in very good order and clean throughout.

A curious creation by the Hull publisher Edward Shillito, comprising a series of original poems describing the Garden of Eden and praising humanity's original state. The work appears designed to showcase a range of printing methods and is adorned with a number of charming woodcuts, many depicting domestic and exotic animals, with some in the style of Bewick. A visually pleasing and uncommon little work. Only two institutional copies recorded on Copac (BL and Bodleian).

First edition, first printing. Inscribed by the author to Hugo Manning. Publisher's dark blue cloth with gilt titles to the spine, in dustwrapper. A near fine copy, the binding square and firm with light rubbing at the extremities. The cloth is bright and fresh. The contents, with a few of tiny spots of foxing to the closed text block edge, are otherwise clean throughout and without previous owner's inscriptions or stamps. Complete with very good rubbed and nicked dustwrapper that has several closed tears with associated creasing and some darkening of the rear panel and flap folds. Not price-clipped (13s 6d net to the front flap). Scarce in presentation state.

Inscribed by Muriel Spark in blue ink to the front free endpaper "Love to dear / Hugo / from / Muriel". A superb association copy of the author's first novel. The recipient is the poet, journalist and occasional artist Hugo Manning (1913-1977), a great friend of Spark's. The character of Solly Mendelsohn in Spark's 1981 novel "Loitering with Intent" is based on Manning as an affectionate tribute to him [Stannard, 2009].

First edition with these illustrations. Limited edition. A fine set, handsomely bound for Asprey in full dark green morocco, the boards ruled in gilt, the spine lettered in gilt with five raised bands and gilt ruled compartments. Marbled endpapers with ruled morocco borders. All edges gilt. Medium 8vo. Illustrated with eight etchings by Damman after Harry Furniss which, for this limited edition, are printed on Whatman paper, each with its own tissue guard. Light offsetting to the title page from the frontispiece etching, with a few spots and light marks to the very early pages of the first volume; the contents otherwise very bright and clean. The bindings are square and firm. A beautiful set.

One of only 150 numbered copies printed on laid paper, with proof etchings on Whitman paper, this copy is numbered No. 86. Sterne's masterpiece was originally published in nine volumes between 1759 and 1767. Benjamin Damman (1835-1921), etcher and painter, was a pupil of Robert-Fleury and Desmet, learning etching from Charles Waltner. Harry Furniss (1854-1925) is perhaps best-known for his original illustrations for Lewis Carroll's 'Sylvie and Bruno' (1889).

First edition, first printing. Original beige cloth with gilt titles to the spine, in dustwrapper. With illustrations in colour and black and white by Gerald Wilde and Mervyn Peake. A very good copy, the binding square and firm, a little softening to the spine tips and board corners, the cloth with a few faint marks. The lightly toned contents, with a bookseller's label to the front pastedown and a small mark to the front free endpaper, are otherwise clean and without previous owners' stamps or inscriptions. Complete with the original Gerald Wilde illustrated rubbed and creased dustwrapper which has a few short closed tears to the edges and some chipping to the spine tips and rear panel. Not price clipped (15s. net to the front flap)

A collection of poems, essays, and art, drawing together some of the great writers and artists of the 20th century.

A set of more than 150 figures and various stage pieces painstakingly hand-cut from card and wood and skilfully painted in gouache, together forming a beautiful rendering of the ballet Swan Lake. Each piece is mounted on original hidden pins, designed so that the set may be constructed on a board, and measure between 2 cm and 5 cm. Also included is an original photograph depicting the set fully laid out as a performance, presumably by its creator. The set is contained within a later decorated paper-covered box. Aside from the very occasional touch of minor wear the set remains in excellent condition, with no obvious losses or faults.

A most unusual early twentieth-century theatrical diorama, undeniably created as a labour of love, quite possibly by someone involved in theatre design. Indeed, the subtle differences between the expressions, positions and movements of seemingly similar figures certainly demonstrate an intimate understanding of ballet technique, indicating professional eye. Alongside the numerous male and female ballet dancers performing the roles of white, gold, and black swans, there are pieces depicting hunters with bows and arrows, an elaborate court scene with king and queen sitting on golden thrones, and a dramatic white swan in mid-flight, held aloft by two delicate threads. Together, the set creates a vibrant, colourful and dynamic rendering of one of the most popular ballets of all time.

Second editions, first printings (the first revised edition). Three volumes. Bound in the publisher's original red cloth with gilt titles to spines and red top edges, in dustwrappers. A very good or better set, each of the three volumes bright and square, the extremities just slightly rubbed. The Fellowship of the Ring has a wrinkle to the front pastedown and a small section of pages (p43-92) have a tiny crease to the upper corner. The Return of the King has a tiny scuff to the top edge of the upper board with a touch of fraying, and very slight marking to the text block fore-edge. The contents are all otherwise clean throughout. All fold-out maps are complete and intact. Complete with the original dustwrappers, none of which are price-clipped. All dustwrappers are lightly rubbed, creased, and toned to the extremities with dustiness and light marking to the white rear panel. The Fellowship of the Ring's dustwrapper has three short closed tears to the spine tips and one to the rear panel, and The Return of the King has one to the bottom spine tip and three (one being only 2mm long) to the front panel. A lovely example of this important Lord of The Rings printing.

The first printing of the second edition with a new foreword by the author, a new dustwrapper design and the author's revisions to the first edition text throughout. (Bleiler; Hammond & Anderson A5e).

First trade edition (second edition overall). Publisher's original quarter green cloth over green and gold paper-covered boards with pictorial onlay and titles in red to the upper board. Illustrated with 25 colour plates depicting a wide of variety of fantastical birds. A very good copy, the binding square and firm with a little rubbing to the boards and wear to the corners. The contents with a contemporary previous owner's name in ink to the front pastedown, toning to the endpapers, a small abrasion to the paper on the half title page verso and the occasional finger mark to page margins are otherwise in very good order. The illustrations remain bold and bright. A surprisingly uncommon book, not often seen in commerce.

Vincent Cartwright Vickers (1879-1939), a prominent economist, created the highly imaginative world of the Google bird and its companions whilst a director at the Bank of England (of which he was also later Governor). A talented humourist and artist, his surreal drawings were originally intended for his children, nephews and nieces (although also perhaps as a form of relief from his day job!). A selection of these were later gathered together with some additional Lear-esque verse to create the present book, first published privately in a limited edition of 100 copies in 1913, followed by this first trade edition issued by the Medici Society in 1931. The work is set in the Land of Google, which can only be visited by children when they are "nearly - but not quite - asleep"; its focus is the eponymous Google, a magical bird creature which sleeps in a pool within a beautiful garden by day and preys upon the various other extravagant, remarkable birds that dwell therein by night. Notably, through the creation of this fantasy world, as well as producing some the most striking and whimsical imagery of the Golden Age of book illustration, Vickers also pioneered the use of the word 'Google', decades before it became the name of a well-known search engine.

First edition. The catalogue for Warhol's first major European retrospective. Illustrated card covers, with a design after Warhol's 'Flowers' silk-screen. 614 black-and-white reproductions, divided into three sections: black-and-white reproductions of Warhol's work, followed by two sections of photographs of Warhol and his associates by Billy Name and Stephen Shore. A better than very good copy, the covers with only light rubbing to the extremities and a small closed nick to the base of the spine. The contents are entirley complete, without loss or tears, or previous owner's inscriptions or stamps. Housed in a bespoke, felt lined, cloth solander case. A very attractive example of a notoriously fragile publication

(Parr & Badger: The Photobook II, p.144-145).

First edition. Hardcover issue. Inscribed association copy. Publisher's original grey cloth with silver titles to the upper board and spine, in dustwrapper. Illustrated in black and white and colour throughout. An excellent very near fine copy, the binding square and firm, the cloth bright and fresh. The contents are clean throughout. Complete with the very good lightly rubbed and nicked dustwrapper that has a few tiny chips at the spine tips. An attractive example of the very scarce hardcover issue of the catalogue for the 1971 Warhol Retrospective at London's Tate Gallery

Inscribed by Warhol in black ink on the half title "To Marguarite [sic] / Littman / Household Word / Andy Warhol" to which the artist adds squiggle sketches on pages 5 and 11 and further initials or signatures on pages 43, 59 and 63. A splendid association copy. New York socialite, Southern accent coach to Hollywood icons, and columnist for Glamour magazine, Marguerite Littman was rumoured to have been the model for Holly Golightly in Truman Capote's Breakfast at Tiffany's. Married to the British barrister Mark Littman, from 1965 they lived in a house on Chester Square in London, the scene of storied Champagne lunch parties. She posed for Andy Warhol repeatedly between 1976 and 1985, most notably for his Polaroid portraits. In 1986 at the peak of the AIDS epidemic, Littman founded the AIDS Crisis Trust which she started by writing to 300 of her socialite friends asking for a contribution of £100. The trust organised gala events and auctions to raise funds for treatment and research with items donated by her friends including Elizabeth Taylor and David Hockney. The trust went on to become one of Britain's most prominent AIDS awareness charity groups. During this period, Littman was introduced to Diana, Princess of Wales, who was already associated with AIDS related charities across the world and in 1997 donated her entire wardrobe to Littman to be auctioned by Christies to benefit the trust. In 1999, the trust was merged with the Elton John AIDS Foundation. Provenance: acquired from Marquerite Littman's Chester Square, London home.

First edition, first printings with the exception of The Golden Virgin which is a second impression. 17 volumes, three of which are inscribed presentation copies from the author to his proof reader. Comprising the full set of fifteen first editions in publisher's original cloth and James Broom-Lynne illustrated dustwrappers, a marked up proof copy of The Phoenix Generation and a revised edition of The Innocent Moon. The first editions are all in excellent better than very good condition, the bindings square and firm. The contents are generally clean and bright throughout. "A Fox Under My Coat" has a small paperclip mark resulting in minor rust spots to the top edge of a couple of pages, "Test To Destruction" has two tape marks to the corners of the rear endpaper in addition to penciled notes on the same page, both "The Innocent Moon" and "The Power of the Dead" have light proof reader's notes in pencil to the margins and rear endpaper, and there is a tiny ink inscription to the top left corner of the reverse of the front endpaper of "The Dark Lantern". The closed top edge of several text blocks are a little dusty and spotted. All retain the original dustwrappers which show only minor wear at the extremities and uniform light toning to the spine. Donkey Boy has a small chip with loss to the top left corner of the spine. None of the dustwrappers are price-clipped. A very attractive set of the author's magnum opus.

The Power of the Dead is inscribed by the author in black ink on the front endpaper "Arthur Oakey / in gratitude from Henry Williamson / 22 October 1963". Together with a proof copy of The Phoenix Generation, very good or better in the original publisher's green card covers printed in black. Corrections in red ink to the margins throughout, all of which appear to have been carried through to the first printing. Inscribed by the author on the title page "Arthur Oakey / Sept 1965 / from HW". Together with the first revised edition of The Innocent Man, a very good paperback published by Panther Books in 1965, with a Macdonald Publishers "compliments of the author" slip laid in, and inscribed by Henry Williamson in blue ink on the half title "with every good / wish to a / fellow author / from HW / 1965". Provenance: From the collection of Arthur Oakey; thence by descent.