First edition, first printing. Publisher's original light blue cloth with illustration in gilt and titles in black to the upper board and spine, in dustwrapper. Illustrated with a colour frontispiece and 24 further plates in black and white by Sydney Cowell and others. A superb fine copy the binding bright and fresh, square and tight. The contents with mild offsetting to the endpapers are clean throughout and without previous owner's inscriptions or stamps. Complete with the lightly rubbed and nicked dustwrapper that has a few small chips at the spine tips and fold corners. Correctly priced six shillings at the base of the spine. An exceptional example of both the relatively common book and exceedingly rare dustwrapper.

Stories of fantasy, terror, crime and horror. (Reginald 00604; Hubin).

First UK edition, first printing. Inscribed presentation copy. Original yellow cloth with gilt lettering to the spine, in dustwrapper. A near fine copy, the binding square and firm, the cloth and gilt bright, the contents bright and clean throughout, without marks or spotting. The spine tips a little pushed and the outer upper corners have taken a knock. Complete with the lightly toned dustwrapper with a few nicks to corners and extremities and a small (c. 8 x 6 mm) area of loss at the head of the spine. There are number of closed tears along the folds either side of the spine panel, the upper fold in particular (though still attached) is delicate. Not price-clipped (8s 6d net to the front flap). A very nice copy, scarce inscribed.

Inscribed by the author in blue ink to the front free endpaper, "Wayne / with love / from Wystan. / Nov. 1948". The recipient was Wayne Cogswell (not to be confused with the Rockabilly artist with the same name), described by Auden's biographer, Richard Davenport-Hines as "a transient protegé of Auden's", and who was perceived as a rival by the poet's long-term partner, Chester Kallman, during a turbulent patch in their always volatile relationship. Kallman had seemingly threatened to leave Auden, and in February 1949 Auden wrote to him in Ischia (Auden was in New York at the time), "If I'm anxious for you to approve of Wayne it's not because you're the Beatrice for whom I cherish a grotesque passion, but because you are the one comrade my non-sexual life cannot do without. [...] Expressions like "bowing out" and "disappear" are thrusts of the knife which, as you know only too well, you beast, hurt. Still, l adore you and I suppose you must deserve it." Auden's 'Baroque Eclogue', the last of an extraordinary series of long poems that he composed during the 1940s, won the 1948 Pulitzer Prize for Poetry. Leonard Bernstein, who in 1949 based his second symphony on the poem, described it as "one of the most shattering examples of pure virtuosity in the history of English poetry". 3000 copies of the first UK edition were printed. The US edition had been published the previous year. (Richard Davenport-Hines, 'Auden' (1995); Bloomfield & Mendelson A29b).

Ten volumes. Publisher's original green cloth with gilt titles to the upper board and spine. Volume I with a frontispiece portrait of Jane Austen by Johann Zoffany and three illustrations to each of the ten volumes by William Cubitt Cooke. An excellent better than very good set, the bindings clean and firm with just light bumping at the spine tips. With a presentation inscription to the endpaper of the first, and the recipient's name to the front pastedown of each volume. Other than the occasional isolated foxing spot the contents are clean and bright throughout.

The text is based on the last edited edition published in the author's lifetime. The illustrations here by William Cubitt Cooke (1866-1951) are the first attempt at period-appropriate representation, with Regency dress and furnishings. A very attractive and uniform set of mixed editions published between 1895 and 1897. (Gilson E75).

Special edition de luxe, limited to 260 copies, this being number 232. Publisher's original orange cloth with brown leather title label lettered in gilt. Top edge gilt, the others untrimmed. Printed on thick laid paper. The endpapers decorated with colour miniature portraits of English monarchs after originals by Jane Austen's sister, Cassandra Austen. Illustrated with a black and white frontispiece reproducing a piece of manuscript text by Austen. A near fine copy, the binding square and firm with a touch of rubbing to the spine label. The contents are wonderfully clean and bright throughout and remain free from any previous owners' inscriptions or stamps. An excellent example.

A beautifully produced edition of Jane Austen's early works, including her satirical novel 'Love and Friendship', written in 1790 at the age of just fourteen, 'Lesley Castle', 'The History of England', and a collection of her letters and scraps. This superior de luxe edition was followed by a standard trade edition the same year.

First edition, first printing. Publisher's original red cloth with black titles to the spine, in dustwrapper. A better than very good copy, the binding square and firm with a little bumping at the corners. The cloth is bright and fresh. The contents are clean throughout and without previous owner's inscriptions or stamps. Complete with the original lightly rubbed and nicked dustwrapper that remains clean and bright. Not price-clipped (6/- net to the front flap). An attractive example.

The ninth adventure of The Famous Five.

Limited edition, number 150 of 200 copies printed. Signed by George Woolliscroft Rhead "for the brothers Rhead" to the limitation page. Folio. Handsomely bound in contemporary half brown morocco over marbled boards. The spine with five raised bands, titles in gilt and extensive Arts and Crafts style gilt floral decoration to the compartments. Top edge gilt, the others untrimmed. Marbled endpapers. Three green silk page markers bound in. Extensively decorated in black and white throughout with over 120 designs by the three Rhead brothers, including full page illustrations, smaller illustrations, head and tail-pieces and decorative borders to every page. A near fine copy, the binding square and firm. The contents with a small previous owner's ink inscription to the front free endpaper and a touch of foxing to the tissue-guard of the frontispiece are otherwise wonderfully clean and bright throughout. A superb copy.

An exquisitely produced edition of Bunyan's classic work, created collaboratively by Frederick, Louis and George Woolliscroft Rhead. The Rhead brothers - Frederick a potter, Louis an illustrator and graphic designer, and George a painter and designer - each contributed significantly to the development of the Art Nouveau and Arts and Crafts styles of the early twentieth century. The present work forms a wonderful showcase of their collective artistry, combining illustration, ornamentation and design. The beautiful Arts and Crafts movement binding compliments the volume perfectly, and is itself (although unsigned) a very high quality example of its type.

Early edition. 'A new edition, considerably enlarged'. Two volumes. Contemporary full tree calf with titles in gilt to the spine. Engraved portrait frontispiece of Burns to the first volume. Engraved armorial bookplate of Charles Lambert to the front pastedown of the first volume. A very good set, the bindings square and firm with a little wear to the corners and edges of the boards. Expertly rebacked, the corners neatly repaired. Endpapers renewed. The contents with some occasional light spotting are otherwise in very good order and clean throughout. An attractive set.

An early Edinburgh edition of Burns' Poems, published 14 years after the first edition of this celebrated collection of verse.

First edition, first printing. Publisher's original pink cloth with black titles to the spine, in the Crispin illustrated dustwrapper. An excellent near 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 rubbed and nicked dustwrapper that has a couple of short closed tears and a little creasing at the head of the spine. Not price-clipped (8/6 net to the front flap).

First edition, first printing. Signed by the author. Original laminated pictorial boards. In the dustwrapper. With large, colourful illustrations by the author throughout. An excellent fine copy, the binding square and tight, the contents clean throughout and without previous owners' stamps or inscriptions. Complete with the original fine dustwrapper, which has a 'signed by the author' sticker to the front panel. Not price clipped (£12.99 to the front flap).

Signed by the author in blue ink on a publisher's adhesive bookplate which has been stuck to the title page. A wonderful homage to Franz Marc and his blue horses.

First edition, first printing. Publisher's original pictorial glossy boards, in the dustwrapper. Illustrated generously throughout by Eric Carle in his instantly recognisable colourful, painterly style. A very good or better copy, the binding square and tight, with four long, thin indentations to the upper board and a small puncture to the spine hinge. The contents are entirely bright and clean throughout. Complete with the original lightly toned and rubbed dustwrapper. Not price clipped ($5.95 to the front flap). A lovely copy, uncommon in the dustwrapper.

The creator of The Very Hungry Caterpillar brings his unique style and atmosphere to a number of classic tales by the Brothers Grimm.

First edition, first issue. Inscribed by the author. publisher's original red cloth with decorative titles in gilt to the spine and upper board, upper and lower boards triple ruled in gilt, and a small gilt illustration to the lower board. All edges gilt. Black [first issue] endpapers. The author's handwritten text and thirty-seven illustrations printed in facsimile of the original manuscript throughout. A superb very near fine copy, the binding firm with only light bumping at the spine tips, the cloth bright and fresh. The contents with hinges sound, are clean throughout and without previous owner's inscriptions or stamps. Housed in a bespoke quarter red morocco solander case. A stellar example.

Inscribed by Lewis Carroll in black ink on the half title "Agnes Miller / from the author / Oct 23, 1897 [within a flourish]". A facsimile of the original manuscript hand written and illustrated by Lewis Carroll that was later developed into the beloved Alice's Adventures in Wonderland. Carroll's illustrations were used as a reference point by John Tenniel when creating his now iconic Alice in Wonderland illustrations, and many are indeed very similar to those in this book.

Promotional brochure for Verre Triplex. Offset lithograph. Three leaves, folded as issued, printed on both sides. 61 x 26 cm unfolded. Four leaves with designs by Cassandre and two with reproductions of letters from leading automobile companies endorsing Verre Triplex. Condition is very good with just some faint spotting, most prominent on the "A 2 doigts de la mort" leaf. An attractive example.

A brochure promoting Triplex glass incorporating bold, stylised graphics by the celebrated French commercial poster artist Adolphe Mouron (1901-1968), best known by the pseudonym Cassandre. Inspired by cubism as well as surrealism, Mouron found fame with his pioneering work as part of the flourishing of innovative, attention-grabbing poster design during the 1920s and 30s, which sat at the heart of the development of the Art Deco style. Indeed, his success ultimately enabled him to set up his own advertising agency, Alliance Graphique, who produced the present, typically eye-opening piece of commercial design for the glass/automobile industry.

'New edition'. First edition to be illustrated by Richard Westall. Four volumes. Handsomely bound by Root & Son, London in early twentieth-century full dark blue morocco. The boards double ruled in gilt and with decorative gilt devices to the corners. The spines with five raised bands, compartments decorated in gilt and with titles in gilt. Gilt dentelles. Top edges gilt. Plain blue endpapers. Additional pictorial steel-engraved title page to each volume. Illustrated with 20 tissue-guarded black and white steel-engravings by Charles Heath after drawings by Richard Westall. EXTRA ILLUSTRATED with a suite of 24 tissue-guarded hand-coloured aquatint plates by John Heaviside Clark from the 1819 Thomas McLean edition of the work, bound in at the appropriate points within the text. A near fine set, the bindings square, firm and bright with just the slightest hint of rubbing to the extremities. The contents with some light scattered foxing to the preliminary pages, a little spotting to the plates and toning to the tissue guards are otherwise clean throughout and remain free from any previous owners inscriptions or stamps. An excellent set.

A choice set of Cervantes' classic work, often labelled as the first modern novel, extra-illustrated with an additional suite of attractive hand-coloured aquatint plates and beautifully bound by Root & Son.

First Folio edition, and first edition with these illustrations, the text following the 1939 Thomas Nelson edition. Original navy cloth with gilt titles to the spine and a large colour illustration to the upper board. In the paper covered pictorial slipcase. Illustrated throughout with moody, atmospheric mixed-media digital collage illustrations by Grahame Baker-Smith. An excellent fine copy, the binding square and tight, the contents entirely clean and crisp throughout. The slipcase is also in fine condition, which a tiny rubbed spot to the bottom edge. A scarce title.

First edition, first printing. Original stiff card boards lettered in blue to the front panel, issued without dustwrapper. A better than very good copy, the sewn binding firm, the contents bright and clean. The card wraps are lightly toned, soiled and rubbed, with a little wear and bumping to corners and spine tips; the dink to the upper outer corner is (lightly) visible to the upper corner of the page block. Previous owner's name (dated 1939) neatly in ink to the front endpaper, and a small bookseller's label affixed to the lower inside edge of the rear board ('Gotham Book Mart. NY'). Printed price (Two Shillings) to the front panel. A very well-preserved copy of this early selection of the poet's work for a UK audience.

The first book of Cummings' poems to appear in the UK (his autobiographical novel, 'The Enormous Room', had been published by Jonathan Cape in 1928), 1/20 is the author's own selection of twenty poems drawn from volumes published in the US between 1923 and 1935. (Firmage A16).

First edition, first printing. Signed, numbered, limited edition of 391 copies, this copy numbered 279. Rough-woven burlap covered boards with facsimile of Cummings' signature stamped in silver to the front panel. A very good copy, the burlap covering the boards cracked and loose along the outer hinges (seemingly a common occurrence with this title), with a little rubbing and loss to the outer corners and spine tips. The binding itself remains, firm and square. The lightly toned contents are clean throughout. Loosely laid is the printed card of the Gotham Book Mart Gallery, New York, with the title and date of the book typed centrally.

Signed by the author in green watercolour across the title page (Firmage's bibliography notes variants signed in red and blue). Hand-numbered (279 of 391) on the limitation page to the verso of the title page. A lavishly produced edition of Cummings' visual art variously executed in Charcoal, Ink, Oil, Pencil and Watercolor, with a foreword by the author. All reproductions in black and white. Printed in New York by the Stratford Press. Typography by S.A. Jacobs. Reproductions by the Meriden Gravure Company, Connecticut. Richard Kennedy, in his biography of Cummings draws attention to the volume's "distinct autobiographical flavor, the subjects representing [Cummings'] personal world. There are drawings of acrobats, burlesque dancers, Jack Shargel, Chaplin, elephants, Coney Island, a merry-go-round; portraits of Anne, Diana, Werner, Joe Gould; cartoons of Seldes, Thayer, and Watson; and landscapes of the Tuileries, the River Seine, Joy Farm, and Mount Chocorua. He was especially pleased with the way Jacobs had managed to reproduce the watercolors." (Richard S. Kennedy, 'Dreams in the Mirror: A Biography of E. E. Cummings'; Firmage A10).

First edition, first printing. Complete with the author's calling card with holograph inscription to the rear. Original stapled binding with pale brown paper covers, with publication details and contents printed to the front panel and four advertisements printed to the rear panel. Housed in a fleece-lined custom made box with marbled boards, quarter-bound in tan leather with a burgundy label lettered in gilt to the spine. The calling card is encased within plastic and attached to the inside of the box. A bright, clean and very well-preserved copy of this issue of the Harvard University literary journal, the wrappers fine except for a small diagonal crease to the lower front corner and a small (c. 3 mm) diagonal patch of loss to the rear upper outer corner. Page 128, featuring the poem by Cummings, has been diagonally folded over (dog-eared) to the upper corner. A very attractive copy with an intriguing biographical association.

'The Harvard Monthly' was the in-house Harvard University literary journal between 1885 and 1917. The contents listed on the front cover include, on p. 128 (the pagination begins with p. 111), "Poem. E. E. Cummings". Cummings (1894-1962) was at the time a Harvard student and a regular contributor to 'The Harvard Monthly' (this was his ninth appearance, the first being in the November 1911 issue). The twelve-line poem printed on p. 128 begins with the lines, "Do you remember when the fluttering dusk, / Beating the west with faint wild wings, through space / Sank, with Night's arrow in her heart? [...]". In his biography of the poet, Richard Kennedy gives an intriguing account of the context in which the poem was written and published: "One of Estlin's [Estlin being the second 'E' of the Cummings pen name] first loves was Amy de Gozzaldi, a dark-haired, dark-eyed beauty, the daughter of a Cambridge teacher of foreign languages [and] an actress in the productions of the Cambridge Social Dramatic Club […]. Cummings met her when he played the part of Micah Dow in J.M. Barrie's play 'The Little Minister' in May 1910, and came to know her better when he played Ernest Bennet (the second footman) in Jerome K. Jerome's 'The New Lady Bantock' in May 1913. One part of the action called on Cummings to kiss Amy, who played the leading role of Lady Bantock, but she intimidated him by her sophistication. At rehearsals the director continually encouraged him to be more bold. At length, on the night of performance he outdid himself in a kiss that he remembered for months. During the course of production, Cummings felt somewhat outpaced for Amy's regard by the elegant young man who played Lord Bantock, T. S. Eliot. But in the end he achieved a subtle triumph. A custom prevailed in the Cambridge Social Dramatic Club that the men would present gifts to the leading lady on the night of performance. Eliot brought a gorgeous bouquet of roses, but Cummings brought the ultimate gift, a poem—which later appeared in the Harvard Monthly." That poem was "Do you remember [...]?", which appeared in print one month after that kiss. The intriguing inclusion with this copy of the author's calling card (his full name printed in upper case) with the poem's first words, "Do you remember?", written in the poet's hand and underlined to the verso (as well as the dog-eared page featuring the poem) might suggest that this copy was a gift to Amy Gozzaldi. According to Kennedy, the couple continued seeing each other until 1916 when they "drifted away from each other". (Richard S. Kennedy, 'Dreams in the Mirror: A Biography of E. E. Cummings'; Firmage B9).

Second printing. Signed by the author. Publisher's original blue cloth with gilt titles to the spine, in dustwrapper. Illustrated throughout by Quentin Blake. A lovely very near 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 very lightly creased dustwrapper that remains without fading, loss or tears. Not price-clipped (£7.95 to the front flap).

Signed by the author in black ink on the front endpaper, with a little offsetting of the author's signature to the front flap and pastedown.

First edition. 4to. Publisher's original burgundy cloth, border ruled in blind, titles in gilt to the spine. Edges speckled red. Blue coated endpapers, binder's ticket of Burn to the rear pastedown. A very good copy, the binding square and firm with some rubbing at the spine tips and corners with minor fraying at the upper spine fold. The contents with a previous owner's name to the reverse of the front endpaper and a little spotting to the prelims, are otherwise clean and bright throughout. Housed in a quarter red morocco slipcase and cloth chemise.

One of the key mathematical works by the author of Alice's Adventures in Wonderland. In addition to his celebrated, beloved books for children, Dodgson produced almost a dozen works in the fields of geometry, linear and matrix algebra, mathematical logic, and recreational mathematics, all published under his real name, whilst in his role as lecturer in mathematics at Christ Church, Oxford. The present work concerns determinants; these "are the sum of of the products of a square block of quantities. Their condensation, or reduction to simpler forms, facilitates the solution of simultaneous linear equations, and other similar problems" (Williams, The Lewis Carroll Handbook). Although seemingly far removed from his fictional fantasies, Dodgson's academic work and his children's novels exercised a mutual influence. As Professor Francine Abeles has written, "many of the ideas involving inversions and mirror images that are so prevalent in the Alice books found their way into Dodgson's more serious work as well," for example Alice's shrinking, which is something like the shrinkage - or condensation - of a set of numbers to a single number, as explored in the present work. Dodgson's paper on the subject was read to the Royal Society on 17th May 1866, with the production of the text itself the result of a great deal of time and intellectual exertion on the author's part: "this little book has given me more trouble than anything else I have ever written: it is such entirely new ground to explore". Only around 750 copies of this first edition were printed, although the exact number is unknown.

First edition, first impression. Publisher's original dark blue cloth with gilt titles to the spine, in dustwrapper. Illustrated with eight photographic portrait plates of the interviewees. A better than very copy, the binding square and tight. The contents are clean throughout and free of previous owners' inscriptions or stamps. In the very good dustwrapper, which is a little toned and slightly rubbed to the extremities, with a light scuff to the lower spine fold. Not price-clipped (21s net to the lower front flap).

This groundbreaking title comprises of informal, intimate interviews conducted by Dunn over a bottle of wine with nine of her friends, including Edna O'Brien, Pauline Boty, and Ann Quin. These young women discuss the varied and often conflicting experiences and demands of being a woman, not infrequently touching on the dark, controversial, and anarchic, such as suicidal thoughts (tragically, two of the women would be dead by their own hand within a decade) and personal experiences of abortion, which was not made legal until several years later. The interviews are linked by an overarching desire and struggle to have a voice - to talk - a subject which was raw, fraught, and barely breached in the 1960s and is still deeply relevant and poignant today. After more than forty years out of print it was reissued by the feminist publisher Silver Press in 2018.

First edition, first printing. Octavo. Publisher's original blue cloth by Burn & Co. (their ticket to the rear pastedown) with gilt device to the upper board and titles in gilt to the spine. Grey coated endpapers. Page edges untrimmed. 8pp. publisher's advertisements at the rear. A very good copy indeed, the binding square, firm and bright with a little bumping to the corners and a hint of wear to the extremities. The contents with a neat contemporary ownership inscription to the head of the title page, occasional pencil annotations to a few pages, the odd dot of foxing to page edges, and a minor stain to the gutter of pp.60-61 where a pressed flower has previously sat are otherwise clean and bright throughout. An attractive example.

The first edition of Eliot's novel based on the expulsion from Spain of the Moors and the Gypsies in the 1490s, inspired by the author's visit to Spain with George Henry Lewes in December 1866.

First edition with René Bull illustrations. Publisher's original light brown cloth decorated in blue, red and dark brown to the upper board, with title in gilt to the spine. Illustrated with 10 full page tipped in colour plates, 19 mounted colour vignettes and many further illustrations and decorative borders throughout by René Bull. Tissue guard to the frontispiece, as issued. A very good copy indeed, the binding square and firm with a little bumping and light rubbing at the extremities. The contents are entirely complete and all of the plates in fine condition, without creasing. There is some light spotting to the margins otherwise the pages are clean throughout and without previous owner's inscriptions or stamps.

A beautifully illustrated Rubáiyát. This copy in a presumed later state with an identical number of illustrations but the binding without gilt decoration to the upper board, and the contents with a captioned tissue guard to the frontispiece only.

First edition, first printing. Original green cloth with gilt lettering to the spine and front panel, in the dustwrapper designed by Alan Haemer. A very fine, sharp copy, the binding square and firm, the cloth and gilt bright and clean. The contents, except for small contemporary gift inscription to the front free endpaper, are bright and clean throughout. Complete with the fine, bright dustwrapper, showing the merest edgewear. Not price-clipped ($2.00 to the upper edge of the front flap). An unusually attractive and well-preserved copy.

The author's seventh volume and the fourth to be awarded the Pulitzer prize. (Lentricchia A15).

First edition, first printing. Original yellow cloth with black titles to the spine and a penguin illustration to the upper board, with illustrated endpapers, in the dustwrapper. Illustrated throughout with wonderful penguin paintings by Paul Galdone, mostly in colour with a few in black and white. A near fine copy, the binding firm, the contents, with some very faint, barely visible foxing to the top edge of some of the pages, are otherwise clean throughout. In the lightly rubbed and nicked dustwrapper which has a little light foxing and a faint mark to the front panel. Not price clipped ($3.00 to the front flap).

A wonderful story about a penguin dreaming of flying while playing games with his friends, filled with many, many penguin pictures! Paul Galdone was a prolific illustrator who was awarded the Kerlan Award for his contribution to children's literature. He illustrated the majority of Eve Titus's books, of which the Basil of Baker Street series was adapted into a film by Disney, and Anatole and Anatole and the Cat were named Caldecott Honor books.

First American edition, first printing. Pictorial card wrappers. Every double page spread features a beautiful full colour illustration by Héléne Geurtik and a dotted outline picture opposite intended for children to fill in. An artistically-minded introduction on the first page gives detailed instructions on how children can best imitate Geurtik's illustrations. A near fine copy, the binding firm, the wrappers toned and slightly scuffed in places. The contents are clean throughout and not filled in at all.

Paul Faucher was a Pioneer of 'New Education', a style of education in which students were instrumental in their own learning, and all fields, including art, manual work, and social skills, were given as much importance as more traditional subject. Faucher ran schools which implemented these methos, and also created Pére Castor books, of which is title is one, which aimed to encourage the New Education style of learning.

First edition, first printing. Signed by the author. Publisher's original green cloth with gilt titles to the spine, in dustwrapper. A lovely fine copy, the binding square and tight, the contents clean throught and without inscriptions or stamps. Complete with the fine dustwrapper that remains without fading, loss or tears. Not price-clipped (£9.95 to the front flap).

Signed and dated April 1987 by Michael Gilbert in black ink on the title page.

First edition, first printing. Signed and inscribed by the author to Gerald D. Adams, with additional signed typed letter presenting the book loosely laid in. Publisher's original red cloth with titles in gilt to the spine. Red top-stain. A very good copy, the binding square and firm with light rubbing to the boards and a touch of bumping to the corners. The contents with light scattered foxing to the preliminary pages and edges of the textblock are otherwise in very good order and clean throughout.

Signed and inscribed by Maurice Healy in black ink on the front free endpaper "Gerald D. Adams / with kind regards / from / Maurice Healy / 21.2.35". Maurice Healy (1887-1943) was an Irish lawyer and author best remembered for his legal memoir 'The Old Munster Circuit', as well as his celebrated books on wine, the present title being his first. The recipient of the present copy is likely Gerald Drayson Adams (1900-1988), the Oxford-educated literary agent who specialised in the production of action/adventure and western films during the 1940s and 50s.

First edition, first printing. Signed limited edition. Publisher's original quarter black cloth, with printed label to the spine, grey paper covered boards. Housed in the black cloth and grey paper slipcase. A fine copy, the binding square and tight, the contents clean and without previous owner's inscriptions or stamps. The slipcase is also in fine condition.

Limited to only 100 copies of which this is numbered 15 and signed by Seamus Heaney in black ink on the limitation page at the rear. A selection of poems from Death of a Naturalist (1966); Door into the Dark (1969); Wintering out (1972); Stations (1975); North (1975); Field Work (1979); Sweeney Astray (1983); Station Island (1984); The Haw Lantern (1987).

First edition. Signed, numbered, limited edition. Original dark brown boards, quarter-bound in blue cloth, with a white label lettered in blue affixed to the spine. Housed in the original stiff blue card slipcase with upper and lower edges in blue cloth. Dark blue endpapers. A very fine copy, the binding square and tight, the contents bright and clean throughout, without inscriptions or stamps; in the fine slipcase showing a few very light surface marks if held to the light. A lovely, sharp copy of this very limited edition.

Signed in black ink by the author, and numbered by hand, to the tipped in limitation page. One of 100 numbered copies, this copy numbered 57 (ten copies numbered I-X were reserved for the author). A decade after his Whitbread award-winning version of 'Beowulf', Heaney moved ahead a few centuries to the fifteenth-century and Robert Henryson's narrative poem set in the aftermath of the Trojan War, a work that completes the story told in Chaucer's great 'Troilus and Criseyde' a century earlier (Henryson explicitly acknowledges Chaucer and employs the earlier poet's stanza form). The volume is completed by Heaney's versions of seven of Henryson's verse fables. In the introduction, Heaney describes Henryson as "a poet whose knowledge of life is matched by the range of his art, whose constant awareness of the world's hardness and injustice is mitigated by his irony, tender-heartedness, and ever-ready sense of humour."

First edition. Signed, numbered, limited edition. Original cream boards, quarter-bound in red cloth, the spine lettered in gilt on a black background. Housed in the original stiff green card slipcase with upper and lower edges in red cloth. Dark green endpapers. Frontispiece colour reproduction of the opening of the only surviving manuscript of the original poem, now held at the British Library. A very fine copy, the binding square and tight, the contents bright and clean throughout, without inscriptions or stamps; in the equally fine slipcase. A lovely, sharp copy.

Signed in black ink by the author, and numbered by hand, to the limitation page. One of 300 numbered copies, this copy numbered 83 (twenty-five copies numbered I-XXV were reserved for the author). Bound by Smith Settle, Otley, West Yorkshire. Winner of the 1999 Whitbread Poetry Prize. (Brandes & Durkan A72b).

First UK edition, first printing. Publisher's original red cloth with gilt titles to the spine, in dustwrapper. A very near fine copy, the binding square and firm, the cloth bright. The contents, with slight offsetting to the endpapers, are otherwise clean throughout and without previous owners' stamps or inscriptions. Complete with the very lightly rubbed and spine faded, price-clipped dustwrapper. An exceptional example.

The first novel to feature the character Tom Ripley, about whom Highsmith wrote a further four novels. The Talented Mr. Ripley has been adapted for screen many times, including the 1999 film starring Matt Damon, Jude Law, and Gwyneth Paltrow, and the upcoming television series starring Andrew Scott. Highsmith, acclaimed for her psychological thrillers, wrote 22 novels and numerous short stories, many of which have also been adapted for screen.

First edition. Trade edition. Publisher's original pictorial boards, red cloth spine with titles in black. Illustrated in colour throughout, some plates are double page and fold out. A fine copy, the binding square and tight; the contents immaculate throughout. A superb copy.

David Hockney discusses with Marco Livingstone his wonderful landscape paintings of East Yorkshire. There was also an edition of 200 deluxe copies bound in full green cloth, and a super deluxe edition of 75 (plus 25 hors commerce) issued with a signed original print.

First edition, first printing. Extensive manuscript corrections and excisions by the author throughout. Octavo. Original grey cloth with titles in gilt to the upper board. Top edge gilt, the others untrimmed. Illustrated with a frontispiece map and one photographic plate. A very good copy, the binding square and firm with a little chipping to the head of the spine, wear to the corners and marking to the boards. The lightly-toned contents with a little cracking to the front hinge are otherwise in very good order.

Privately printed and distributed by the author, this first issue of 80 pages is heavily revised in manuscript by Hoppin. The first edition was notably error-filled, prompting a second issue of 83 pages, as well as a further second edition. A similar copy with Hoppin's own manuscript corrections is held by the Widener Library, Harvard, suggesting that Hoppin hand-corrected examples of the first issue prior to distribution. Hoppin served as Peary's mineralogist during the Arctic Expedition of 1896, the purpose of which was to search for minerals, fossils, a previously spotted meteorite, and to visit Greenland. The expedition set out in the 'Hope', sailing from St. John's under Commander Peary and Captain John Bartlett of Brigus, with several experts from different fields and a crew largely comprised of Newfoundlanders. Hoppin kept a day-to-day account of the voyage, including thorough scientific observations, as presented here, his engaging narrative - documenting the expedition's journey, activities and daily life, as well as the geography of the area and including much on the local Inuit population - forming one of the lesser known accounts of this important polar expedition. (Arctic Bib. 7401).

Publisher's dummy, preceding the first edition. Original green cloth with gilt titles and an illustration to the upper board, and a mock up of the spine for the finalised book with gilt titles affixed to the lower board. In the dustwrapper. Consisting of 10 leaves (not including plates), with illustrated endpapers, two colour illustration plates, and five black and white header and footer illustrations. A catalogue clipping announcing this title is tipped in on the front pastedown, with the statement that the book will be ready in August revised in pencil to September. A very good or better copy, the binding firm, the spine tips a little rubbed and the boards just slightly bowed. Complete with the original dustwrapper which has chipping to the spine tips and flap hinges, and a closed tear to the front flap hinge with associated creasing. A wonderful and scarce artefact of the publishing process.

First edition, first printing. Contemporary half purple pebble-grained cloth over marbled boards with titles in gilt to the spine. A very good copy, the binding square and firm with a little wear to the corners and slight fading to the spine. The contents with traces of a small removed bookseller's label to the front pastedown, a few previous owner's notations in pencil and a splash mark to the front free endpaper, and some light scattered foxing to the preliminary pages are otherwise in very good order and clean throughout. An uncommonly attractive copy of a scarce title.

The final, extended, edition of two novels originally published in 1847, forming an exploration of the spirit, character and ideas of François Rabelais - "The Wizard of Meudon" - by the influential esotericist, poet, and author of numerous important works on magic, Kabbalah, alchemical studies, and occultism, Éliphas Lévi (1810-1875).

First edition thus, first printing. Signed by the author. A limited anniversary edition in honour of Astrid Lindgren's 75th birthday, this being number 83 of 575 signed copies that also include a signed copper engraving by Ilon Wikland. In Swedish. Five volumes. Publisher's original pale blue calf with gilt titles and a gilt border to the spine and boards. Top edges gilt. Housed in a paper covered slipcase which matches the books' endpapers, and which has a plate to the front showing the same Wikland illustration as that of the signed print. Volume I contains Boken Om Pippi Långstrump (English title: The Book about Pippi Longstocking), containing Pippi Långstrum (Pippi Longstocking), Pippi Långstrump går ombord (Pippi on Board), and Pippi Långstrump i Söderhavet (Pippi in the South Sea), and is illustrated by Ingrid Vang Nyman in colour, and has the signed print by Wikland loosely laid in at the rear. Volume II contains Alla vi barn i Bullerbyn (The Children of Noisy Village), Lillebror och Karlsson på taket (Karlsson-on-the-Roof), and Madicken, and is illustrated by Ingrid Vang Nyman in colour and Ilon Wikland in black and white. Volume III contains Mio, min Mio (Mio, My Son), Bröderna Lejonhjärta (The Brothers Lionheart), and is illustrated by Ilon Wikland in black and white. Volume IV contains Boken om Emil (The Book about Emil), consisting of Emil i Lönneberga (Emil of Lönneberga), Nya hyss av Emil i Lönneberga (Emil's Pranks), and Än lever Emil i Lönneberga (Emil and Piggy Beast), and is illustrated by Björn Berg in black and red. Volume V contains Ronja Rövardotter (Ronia the Robber's Daughter) and Samuel August från Sevedstorp och Hanna i Hult (Samuel August from Sevedstorp and Hanna i Hult), and is illustrated by Ilon Wikland in black and white. All volumes are in fine condition, the bindings square and firm, volume I and V with two very tiny patches of shelf wear to the bottom edges of the upper boards, and volume III with a barely visible 1mm scuff to the spine. The contents are bright and clean throughout all volumes. The Wikland print and the slipcase are also in fine condition. An excellent, beautifully designed collection.

Signed by Astrid Lindgren in blue ink on the limitation page at the rear of volume I. A wonderful collection of some of Lindgren's most loved stories. Lindgren is the fourth most translated children's author, and her works have been adapted for screen in both live action and animation countless times. She was awarded the Right Livelihood award in 1994, and has a literary award named in her honour, which was established in 2002.

Limited edition, number 60 of 150 copies printed on vellum. Small octavo. Publisher's original full vellum with decorative rose device and the words "soul is form" in blind to the upper board and with titles in gilt to the spine. Hand-coloured woodblock frontispiece by Reginald Savage. Illuminated by hand with a large opening gilt initial and with other initials in red and gilt throughout by Florence Kingsford. Hand-coloured tailpiece on the colophon. The text printed in blue and black. Contained within a custom quarter vellum solander box by Asprey. A fine copy, the binding square and tight, the vellum clean. The contents with the very occasional spot of natural toning to the vellum are otherwise immaculate throughout. The solander box with a little marking and a minor stain to the head of the spine is otherwise in very good order. A splendid copy.

An elegant edition of Milton's masque in honour of chastity, first performed on Michaelmas in 1634, beautifully printed at C.R. Ashbee's Essex House Press and illuminated by Kate Florence Kingsford Cockerel (1871-1949), one of the leading illuminators of the Arts and Crafts movement. Kingsford learned the techniques of medieval manuscript illumination whilst studying at the Central School of Arts and Crafts, later developing her practice as a student of master calligrapher Edward Johnston. After producing her magnificent edition of The Song of Songs for the Ashendene Press, she began working for the Essex House Press, founded by Charles Robert Ashbee and Laurence Hodson following the closure of William Morris's Kelmscott Press in 1897, with the aim of continuing its Arts and Crafts ethos. Between 1901 and 1904, she contributed decorative initials in colours and gilt to a number of limited-edition books published by the press, each featuring a single long poem printed on vellum. The present work is the eighth in this 'great poems' series.

First edition, first printing. Publisher's original blue cloth with gilt titles to the spine, in the Youngman Carter illustrated dustwrapper. A lovely fine copy, the binding square and right, the contents clean throughout and without previous owner's inscriptions or stamps. Complete with the lightly rubbed dustwrapper that has a couple of small nicks at the head of the spine. Correctly priced 7/6 net to the spine. A very attractive example, scarce thus.

A crime fiction caper written between the two Cambridge University friends and colleagues, which Priestley regarded as "a frolic for sheer entertainment". Priestley's first novel "Adam in Moonshine" was dedicated to Gerald Bullet.

Uncorrected proof copies of the first edition, first printing. Two volumes. The first state (purple) signed by the author; the second state (green) inscribed by the author. Publisher's original card covers, printed in black. The purple volume is in fine condition, the binding square and firm, without fading, creasing or tears. The green volume is in very good or better condition, the binding a little marked rubbed and creased but without loss or tears. The contents with the occasional finger mark are otherwise clean throughout. An excellent set.

Signed by J. K. Rowling in blue ink on the dedication page of the purple volume. Inscribed by the author in blue ink on the dedication page of the green volume [circling the word '? dedication' and drawing an arrow] "to Sarah and / Tabbs / J. K. Rowling x". Prisoner of Azkaban is the last of the Harry Potter novels for which the publisher produced proofs for pre-publication distribution.Philip Errington in his bibliography notes for the green "an unconfirmed print-run of 250 copies is generally accepted. Bloomsbury, however, provides a figure of 150 copies". The print run for the purple proof, with the earlier state of text, has long been assumed to be only 50 copies, a figure that was also quoted by the author to the recipient on presenting this volume. Provenance: The recipient at the time of presentation, was employed by Waterstones and together with her Bloomsbury rep organised a J. K. Rowling reading [from Chamber of Secrets] at the Yorkshire Playhouse in Leeds. The proof copies were given to her by the author at the event, Rowling noting the rarity of the purple issue and suggesting that it be kept safe as it will make for a valuable pension contribution in the future (which it did!). The purple was duly tucked away as instructed and the green read by herself and her daughter (to whom it is inscribed). A note from the recipient is included with the books.

Limited edition, number 46 of 65 copies printed on Whatman paper (after 8 copies on vellum). Folio. Publisher's original quarter morocco over patterned paper-covered boards with five raised bands and titles in gilt to the spine. 15 leaves of letterpress in black and red, with title border, ornaments, and opening four-line initial in red. With a leaf from each of the first four folio editions of Shakespeare's works tipped within a red-ruled border and preceded by a facsimile of the respective edition's title page, reproduced from the Huntington Library copies. Bookseller label of Philip Duschnes to the rear pastedown. A very good copy, the binding square and firm with a little rubbing to the spine and bumping and chipping to the corners. The contents with a touch of offsetting from the facsimile title pages are otherwise in very good order, clean throughout and free from any previous owners' inscriptions or stamps.

An excellent example of one of the most distinguished leaf books ever published, beautifully printed by the Grabhorn Press. The present copy offers an exemplary collection of leaves from Shakespeare's first four folio editions, consisting of: - First Folio: All's Well That Ends Well, Act II, scene 3 (pp.237-8), including the lines where Helen selects Bertram as her husband. Notably, All's Well is one of eighteen plays that made its first print appearance in the First Folio. - Second Folio: Henry V, Act III, scene 6 (pp.81-2), where Henry, having taken Harfleur, refuses King Charles: "Yet God before, tell him we will come on, / Through France himselfe, and such another Neighbor / Stand in our way." - Third Folio: King Lear, Act IV, scene 6 (pp.781-2), where Edgar and Gloucester encounter a wandering, mad Lear, who proceeds to ramble, with sporadic lucidity, about human folly: "When we are born, we cry that we are come / To this great stage of fools." - Fourth Folio: As You Like It, Act II, the full text of scenes 2 through 5, including the song beginning "Under the greenhood [sic] tree..." with a conspicuous misprint. A superb relic of the most influential work of English literature.

First edition, first printing. Publisher's original brown cloth with gilt titles to the spine, in dustwrapper. An excellent near fine copy, the binding square and firm, the cloth and gilt bright and fresh. The contents with toning to the poor quality paper stock are otherwise clean throughout and without previous owner's inscriptions or stamps. Complete with the lightly rubbed and nicked price-clipped dustwrapper that has a small amount of loss to the head of the slightly darkened spine. An attractive example of a very scarce title in the first edition.

A crime novel from the author better known as Marjorie Bowen. The basis for the 1948 British film of the same title directed by Marc Allégret and starring Valerie Hobson and Stewart Granger. (Hubin).

First separate edition, first printing. Signed and inscribed by the illustrator to his mother. Publisher's original dark green cloth with pictorial gilt titles to the upper board and gilt titles to the spine, in dustwrapper. Top edge gilt, the others untrimmed. Illustrated throughout with black and white drawings by A. S. Boyd. A near fine copy, the binding square, firm and bright. The contents with light scattered foxing are otherwise in very good order and clean throughout. Complete with the very good or better dustwrapper which has a little chipping to the spine ends, rubbing to the joints, and a few short tears to the head and foot of the front and rear panels. Not price-clipped (6/- to the spine panel). WITH: An original sketchbook belonging to A. S. Boyd, inscribed in pencil to the front pastedown "AS Boyd / 1878 April". Oblong (19 x 11cm). Contemporary green patterned cloth. 110pp. with almost every page filled with pencil and watercolour drawings (only two or three sides remaining blank). Condition is very good with a little wear to the covers and spine ends; the contents with three pages apparently excised and the corner of one page clipped are otherwise excellent throughout.

The book signed and inscribed by A. S. Boyd in black ink to the front free endpaper "To My dear Old Mother / with loving memories / AS Boyd / London / 4th April 1898". The first separate edition of Stevenson's poem (first published in his 1887 collection 'Underwoods') charting a typical Sunday morning in a rural Scottish parish, wonderfully illustrated by A. S. Boyd and dedicated by the illustrator to the recently deceased author. A lovely association copy, and most uncommon in the dustwrapper. Alexander Stuart Boyd (1854-1930) was born in Glasgow and studied at the Glasgow Art Club and the Heatherly Art School in London. He began his career producing comic sketches for Glasgow periodicals, whilst also exhibiting his work at the Glasgow Institute of Fine Arts (every year between 1882 and 1889), the Royal Scottish Watercolour Society (of which he was elected a member in 1882), as well as the Royal Scottish Academy of Arts, the Kilmarnock Fine Art Institute, the Glasgow Society of Painters in Watercolours, and, in 1887 and 1896, at the Royal Academy of Arts in London. In addition to his work as a book illustrator, often focussing on publications with a Scottish theme or connection, a move to London resulted in him working more regularly as an illustrator for periodicals and magazines such as The Graphic and Punch. In 1919 he emigrated to New Zealand, settling in Auckland. He exhibited at the Auckland Society of Artists, serving as its president between 1926 and 1928, and was a founding member of the Auckland Sketch Club (1923). He spent his later years giving regular lectures on art and literature, his favourite subject being Robert Louis Stevenson, whom he greatly admired. The present sketchbook largely charts Boyd's travels through Lincolnshire and County Cork, Ireland, recording scenery, animals and architecture and providing many studies of town and country folk. Most notably, it contains an original, intimate and apparently unrecorded, portrait of Robert Louis Stevenson, reading a book whilst reclining on a chaise lounge. Although untitled, the striking facial characteristics of the sitter are unmistakably those of Stevenson, with Boyd, a keen Stevenson aficionado, having produced at least one other similar portrait drawing of the author (published in The Idler).

First edition, first printing. Publisher's original pale blue cloth with black titles to the spine, in the Denis McLoughlin illustrated dustwrapper. A near fine copy, the binding square and firm and the cloth fresh. The contents with a large rhyming gift inscription to the front endpaper are otherwise clean throughout. Complete with the very good or better lightly rubbed and nicked dustwrapper that is a little wrinkled at the lower edge. Not price-clipped (7s 6d net to the front flap).

The author's first book and the basis for the 1955 Alfred Hitchcock film starring Edmund Gwenn, John Forsythe and Shirley MacLaine. This scarce UK first edition precedes the US first printing by a year.

First edition, first printing. Publisher's original dark blue cloth with black titles to the spine, in the Aelwyn Williams illustrated dustwrapper. A very good or better copy, the binding square and firm, the contents spotted to the closed text block edge but otherwise clean throughout and without previous owner's inscriptions or stamps. Complete with the rubbed and nicked dustwrapper that is a little darkened or spotted to the spine and rear panel but otherwise without loss or large tears. There is a single small piece of tape to the underside at the bottom of the spine. Correctly priced 7s 6d net.

The author's only work of crime fiction. (Hubin).

First edition, first printing. Original grey paper covered boards with gilt titles and decorations to the spine and black titles to the upper board. No dustwrapper. With 48 colour illustration plates and calligraphic text both mounted on dark grey card throughout. A very good copy, the binding square and firm, the spine a little darkened and the paper cracked and frayed to a few spots on the board corners and edges. The contents, with offsetting to the endpaper and some toning and occasional chipping to the page edges (not effecting the illustration or text plates), are otherwise bright and clean throughout and without previous owners' stamps or inscriptions.

William M. Timlin (1892 – 1943) was born in Northumberland but spent most of his life in South Africa. Timlin was a highly skilled writer and illustrator and also earned a living as an architect, and his aptitude in that field are clear to see in the beautiful, detailed, fantasy buildings that are abound in this title. The Ship that Sailed to Mars is a wonderfully whimsical blend of science fiction and fantasy, the profusely illustrated interstellar adventure taking the reader to planets full of pirates, fairies, and dragons. Upon receiving the hand lettered manuscript, George Harrap liked it so much that they decided to publish it as it was instead of using typed text.

First edition, first printing. Publisher's original blue cloth with white titles and border to the upper board and titles in gilt to the spine, in dustwrapper. An excellent near fine copy, the binding square and firm, the cloth fresh. The contents with a touch of light spotting to the prelims are otherwise clean throughout and without previous owner's inscriptions or stamps. Complete with the rare original dustwrapper that is rubbed and split at the extremities with small chips at the spine tips. Correctly priced 6/- to the spine.

A comedy-drama of love, money, social climbing and fakes and forgeries set in the world of antique dealing. The main character Joseph Quinney is based on the real-life antique dealer Thomas Rohan (1860-1940). Vachell's novel formed the basis for the hit play of the same name, first staged in London in 1914. Twice adapted for silent film; in 1919 directed by Herbert Brenon and in 1927 directed by Maurice Elvey. In 1948 the BBC produced a 90 minute television adaptation. Recently re-staged and filmed as part of the Arts & Humanities Research Council (AHRC) funded project, "Sold! The Year of the Dealer".

First trade edition, first printing. Original red cloth with gilt titles to the spine, in dustwrapper. A better than very good copy, the binding firm, the extremities just a little rubbed and the cloth notably bright and fresh. The contents, with a previous owner's bookplate to the front pastedown, mostly hidden by the front flap, are otherwise clean throughout. Small closed tear to the top edge of several pages (a production fault) not affecting the text. Complete with the very good, lightly spine toned dustwrapper which has some chipping to the spine and flap fold corners, with a 1.5 x 1.5cm chip to the upper spine tip. Not price clipped (10s. 6d. net to the front flap).

This is the correct Chapman and Hall first trade edition and not the Book Society printing. It was preceded by fifty pre-publication "proof" copies for private distribution by the author. Evelyn Waugh's magnum opus and the subject of numerous television and film adaptations, most notably for television in 1981, starring Jeremy Irons and Anthony Andrews, and for film in 2008, starring Emma Thompson, Matthew Goode, and Ben Wishaw. A new television adaptation is currently in production.

First edition, first printing. Publisher's original green cloth with titles in gilt to the spine, in dustwrapper. An excellent near fine copy, the binding square and firm, the cloth bright and fresh. The contents are clean throughout and without previous owner's inscriptions or stamps. Publisher's adverts to the rear and with the Nelson's New Novels folded pamphlet loosely laid in. Complete with the very good rubbed and nicked dustwrapper that has multiple tiny chips to the edges and an old internal tape repair to a closed tear at the head of the mildly darkened spine. Correctly priced 2/- net to the upper panel and spine. An attractive example, very scarce in the dustwrapper.

Both the book and the dustwrapper are in the first state with mention of John Masefield's never published "Trepanned".

First edition, First printing. American issue. Publisher's original pictorial paper-covered boards in dustwrapper. Illustrated with 4 full page and 3 double page richly coloured lithographs by William Nicholson. A superb very near fine copy, the binding square and firm, without paper loss and with a little bumping at the lower edge. The contents are spotlessly clean throughout and without previous owner's inscriptions or stamps. Complete with the near fine very lightly rubbed and dusty dustwrapper that has a couple of tiny nicks at the folds without loss. Both the book and the dustwrapper are entirely without repair or restoration. Housed in a bespoke quarter morocco solander case.

This copy is the earliest state of the American issue, the printed paper covered boards a slightly different shade and a few millimetres taller than the UK issue. Correctly dated 1922 and with the addition of George H. Doran to the title page, "Printed in Great Britain" to the reverse. Identical dustwrappers (printed in three colours with William Heinemann logo at the base of the spine) were used in both the UK and US issues, as here. A beautiful example of a children's classic that has been reprinted many times, but never to the quality of this first edition.

First edition, first printing. Presentation copy, inscribed and dated by the author. Original tan cloth with brown lettering to the spine, in dustwrapper. A very near fine copy, the binding square and firm, the contents clean except for two underlined sentences in the introduction. In the good dustwrapper, rubbed to edges and extremities, which is broken at the rear fold between the spine and rear panel. There is a horizontal tear to the center of the spine panel, and a six centimeter tear along the (now quite delicate) fold between the front panel and flap. Moderate loss to upper and lower spine with nicks and loss to outer corners. Owner's note to the front flap explaining that the volume was "Given me by / J. Laughlin [the publisher and founder of New Directions] at / Norfolk --- / August 28, 1950".

Inscribed and dated by the author in black ink to the front free endpaper, "Bob Wilson / in memory of a / good jaw / mostly by me / (in memory of Socrates) / William Carlos Williams / 1/29/50". This collection was published March 1949 in an edition of 3591 copies. (Wallace A28).