First editions, first printings. Nine volumes. Each volume is signed by the author. Original cloth, in the Stephen Walter illustrated dustwrappers. A fine set, the bindings square and firm, the contents clean and bright and without previous owners' stamps or inscriptions. 'Moon Over Soho' has some light rubbing at the fore-edges of the boards and 'Amongst Our Weapons' has a slight lean to the spine. Complete with the fine, unclipped dustwrappers, 'Amongst Our Weapons' is lightly rubbed and creased at the edges and has a 'Waterstones Signed Special Edition' label on the front panel and 'False Value' has a 'Limited First Edition Glow in the Dark Cover' label on the front panel. All dustwrappers remain bright and without tears or loss.

Each volume is signed by Ben Aaronovitch, and all but 'False Values' and 'Amongst Our Weapons' are numbered. A complete set of the novels in the 'Rivers of London' series (as of 2024). An urban fantasy about Peter Grant who, as well as being a Detective Constable with the Metropolitan Police, happens to be a wizard. Aaronovitch has also written novellas, short stories and graphic novels as part of the series.

First illustrated edition. Signed by the author. Original blue cloth with bronze foil titles to the spine, in the Alexander Preuss illustrated dustwrapper. Illustrated with three colour plates by Alexander Preuss. A fine copy, the binding square and tight, the contents clean throughout and without previous owner's inscriptions or stamps. Complete with the fine original dustwrapper that is without fading, loss or tears. Not price-clipped ($75 on the front flap).

Issued in a limited edition of 500 copies, this example is numbered 280 and signed by Joe Abercrombie in black ink on the limitation page. The third and last book in the Locus Award winning author's epic dark fantasy trilogy 'The First Law', which was later expanded to include a number of standalone novels, short stories and a second trilogy.

First paperback edition, first printing. Signed by the author. Pictorial softcover. A better than very good copy, the binding square and firm, the extremities of the covers lightly rubbed. There is a previous owner's name to the front free endpaper, the contents are otherwise clean and bright throughout.

Signed by John Ashbery in blue ink on the title page. Published simultaneously in hardback by Viking and paperback by Penguin.

Complete in five Volumes. Octavo (19.5 x 14cm). Contemporary half brown morocco by Bumpus, Oxford. Five raised bands and titles in gilt to the spines. Top edge gilt, fore-edge untrimmed. Illustrated with a total of 44 plates throughout the five volumes. A very near fine set, the bindings square and tight with a touch of uniform fading to the spines. The contents are clean throughout and without inscriptions or stamps.

Third impression of the 1933 third edition, 'The text is the most authoritive yet published, and is never likely to be improved. Each volume contains type facsimiles of the original title-pages, notes, and various appendixes giving chronologies, indexes of characters' - Keynes. An attractively bound edition of Jane Austen's works. (Keynes 40; Gilson E150).

First UK edition, first printing. Original ochre cloth lettered in red to the spine, in the dustwrapper showing Peter Bull and Paul Daneman (respectively the first Pozzo and Vladimir) on the front panel and a photograph of the author in profile to the rear. A near fine copy, the cloth clean and lettering sharp, the contents, except for a handful of light marks to pp. 20-1, clean and bright throughout. Faint spotting to the fore-edge and a small mark to the upper edge of the page block; offsetting and toning to front and rear free endpapers; a handful of light stains to pp. 20-1. Complete with the neatly price-clipped, dustwrapper, a little rubbed to the upper spine tip and corners, with a couple of short closed tears and nicks to upper edges. An attractive copy.

'En attendant Godot', composed between 9 October 1948 and 29 January 1949, was first published by Les Éditions de Minuit in 1952, the premiere, directed by Roger Blin, appearing at the Théâtre de Babylone, Paris on 5 January 1953. The first performance of Beckett's own English version of the play (subtitled "a tragicomedy in two acts") would take place at the Arts Theatre Club, London, on 3 August 1955, with Peter Woodthorpe as Estragon, Paul Daneman as Vladimir, Timothy Bateson as Lucky, Peter Bull as Pozzo, and Michael Walker as the Boy. The production, directed by Peter Hall, designed by Peter Snow, later transferred to the Criterion Theatre, for which a small number of textual deletions were made "to satisfy the requirements of the Lord Chamberlain". This first UK edition is of that expurgated text, with the small publisher's note loosely laid in following the copyright page. The complete and unexpurgated English text wasn't performed until December 1964 at the Royal Court Theatre, London, and published by Faber in 1965. (Federman and Fletcher 373.1).

Complete in twelve volumes. The 'Thornton Edition'. Octavo (21 x 15cm). Bound by J. May, London in half blue morocco ruled in gilt over grey cloth boards. Five raised bands, gilt ruled compartments and titles in gilt to the spines. Top edge gilt, others uncut. Titles pages printed in black and red. With a frontispiece illustration, and numerous black and white photographic plates of places associated with the authors throughout each volume. An excellent near fine set, the bindings square and firm with uniform fading to the spines. The contents are clean throughout and without inscriptions or stamps. A very attractively produced edition and handsomely bound set.

First edition, first printing. Paperback original. Signed by the author. Original card wrappers with integral flaps. Burgundy endpapers. A very near fine copy, the binding square and firm, the contents clean throughout. Some fading to the spine spreading a little to front and rear panels. Priced £8.00 to the inner flap.

The poems of Burnside's seventh collection are described on the jacket as "hymns to the tension between the sanctuary of home and the lure of escape", of domestic refuge and "the siren call from the world beyond". Dedicated to the poet Robin Robertson, Burnside's editor at Cape, 'The Asylum Dance' was winner of the 2000 Whitbread Prize for Poetry and shortlisted for both the Forward and T. S. Eliot Prizes. "Burnside's vision is of another, sacred, fragile world that coexists with our own dailiness: his gift is the ability, through poems of a rare and exquisite precision of language, to let his reader glimpse it." (Elizabeth Burns, The Scotsman).

First edition, first printing. Paperback original. Signed by the author. Original card wrappers with integral flaps, the front panel showing William Henry Fox Talbot's photograph 'The Open Door'. Grey endpapers. A fine copy, the binding square and firm, the contents clean throughout. Priced £9.00 to the inner flap.

Signed by John Burnside (with an added hand-drawn star) in black ink on the title page. The poet's ninth collection, 'The Good Neighbour' was shortlisted for the 2005 Forward Prize. "His writing is imbued with a sense of mystery and gentle searching, a kind of trusting stubbornness in recovering the recalcitrant magic underneath the ordinary and the everyday." (Charles Bainbridge, The Guardian).

First edition, first printing. Publisher's original light brown cloth with dark blue titles to the upper board and spine, in the Hans J. Barschel illustrated dustwrapper. Top edge blue. A very good or better copy, the binding square and firm with light bumping at the spine tips and corners, the cloth bright and fresh. The contents, with mild toning to the endpapwer are otherwise clean throughout and without inscriptions or stamps. Complete with the near very good rubbed and nicked price-clipped dustwrapper that has small chips at the corners and a couple of tiny holes to the toned and dusty rear panel. Housed in a cloth folding solander box.

The second Philip Marlowe novel and author's favourite of his own work. A Haycraft-Queen Cornerstone. 7500 copies of the first edition were printed. The basis for several film, television and stage adaptations. (Hubin; Bruccoli A2.1.a)

First edition, first printing. Publisher's original light brown cloth with dark brown titles to the upper board and spine, in the Hans J. Barschel illustrated dustwrapper. A better than very good copy, the binding square and firm with a little bumping to the spine tips, the cloth bright and fresh. The contents, with the usually binder's glue toning to the pastedowns, are otherwise clean throughout and without inscriptions or stamps. Complete with the rubbed, nicked and creased dustwrapper that has a closed tear to the upper left of the front panel (with a single piece of tape to the underside) and some toning to the spine. Not price-clipped ($2.00 to the upper front flap).

Chandler's third novel featuring the Los Angeles private detective Philip Marlowe, and his first book publication not to re-use previously issued short stories. The basis for two film adaptations: in 1942 under the title 'Time To Kill' and in 1947 (with George Montgomery in the lead role) as 'The Brasher Dubloon'. (Hubin; Bruccoli A3.1.a; Johnson: The Dark Page).

First UK edition, first printing. Publisher's original yellow cloth with red titles to the spine, in the Norman Reeves illustrated dustwrapper. A superb fine copy, the binding square and firm, the cloth bright and fresh. The contents are clean throughout and without inscriptions or stamps. Complete with the very good or better rubbed and nicked dustwrapper that has tiny chips to the spine tips and fold corners and a short closed tear to the upper panel. Not price-clipped (8s 6d net to the front flap). An attractive example, somewhat scarcer than the preceding American edition.

The basis for the 1947 film noir starring Robert Montgomery (who also directed), Audrey Totter, Lloyd Nolan, Tom Tully, Leon Ames and Jayne Meadows. (Bruccoli A4.2a; Hubin).

First edition, early issue. Contemporary full green morocco, possibly a presentation or publisher's 'super deluxe' binding, decorated in gilt to the upper and lower boards. Four wide gilt ruled raised bands, gilt decorated compartments and titles in gilt to the spine. Gilt decorated board edges and inner dentelles. All edges gilt. Bound from the parts. Engraved frontispiece, vignette title and 41 plates [43 in total, as called for]. First state of engraved title page (Veller) and the two suppressed plates by R. W. Buss present (facing pages 69 and 74). All 7 Seymour plates are present as called for and the Phiz plates are in the earliest state (page numbers, without publisher's imprint). A very good copy indeed, the binding square and firm with minor wear to the extremities, small nick (without loss) to the upper left corner of the front board. Tiny retailer's label 'G. Simms, Manchester' to the upper left corner of the front pastedown, the ownership name of 'L. Garnett' in ink to the front endpaper and a pencilled name 'C. Garnett Esq' to the head of the title page. The plates are spotted and darkened at the edges to various degrees; the text pages with just the odd spot of foxing to the margins are otherwise clean throughout.

An attractive, entirely unsophisticated example of Dickens' first novel, in the earliest state, containing the suppressed Buss plates and six of the seven Hatton and Cleaver first issue points within the text (that of p.25, noted as present in only one copy). First published in 19 monthly parts over 20 months between March 1836 and October 1837. (Smith: Dickens in Original Cloth Vol. I, 3; Hatton and Cleaver: A Bibliography of the Periodical Works of Charles Dickens).

First edition, first printing. Quarter red cloth over grey paper-covered boards, lettered in gilt to the spine, in dustwrapper. A very good copy, the binding square and firm, the contents clean. Uniform toning to pages owing to the poor quality paper stock. The red cloth on the spine is faded to the upper and lower edges, the gilt a little darkened / tarnished. The mildly toned and spotted dustwrapper is darkened to the spine (spreading to the rear panel), rubbed to folds, with an area of loss to the lower and upper edges of the spine (c. 1.5 cm and 0.5 cm, respectively), and some minor loss (c. 0.5 cm) and associated tearing to the upper edge of the front panel. Not price-clipped, the original 10/6 price covered with the publisher's 8/6 net label. A very presentable copy of the scarce first edition in the famously fragile wrapper.

"Just before the battle of El Alamein in 1942", the jacket copy explains, "Keith Douglas ran away from a safe staff job to rejoin his old regiment in the Western desert. This book is the record, with a few names changed, of his battle experience as a junior tank officer up to the fall of Tunis". Desmond Graham, in his biography of the poet (Oxford, 1974), notes how Douglas, "[a]waiting his return to the regiment in Cairo at the beginning of May [1942] had bought a desk diary from Boileau and Caloghiris' bookshop". 'Alamein to Zem Zem' was written in this diary (not, however, in the form of a diary; Douglas wrote to his mother that "keeping a diary [...] is something I could never do"). In addition to its vivid prose, the volume contains Douglas' Middle East poems as well as a number of his drawings and paintings (including three colour plates). The Spectator review described it as "throughout the work of a poet, and the only book of the late war comparable in descriptive power and intelligence to the books of Remarque, Sassoon and Blunden". The book was reissued by Faber and Faber in 1966, with an introduction by Lawrence Durrell.

First edition, first printing. Signed by the author. Inscribed presentation copy. Publisher's original red cloth lettered in gilt to the spine, in dustwrapper. A near fine copy, the binding square and firm, the cloth and gilt bright. The contents, with some foxing to the prelims and closed text block edge are otherwise clean throughout. Complete with the very good rubbed and nicked dustwrapper that has several short closed tears and small chips to the extremities and a tear with loss to the middle of the spine. The colour illustration to the front panel and spine (credited to 'MSE') remains bright and clean. Not price-clipped (priced 7/6 net to the spine).

Inscribed by the author in black ink to the half title, "To Mr H. G. Brown / with sincere regards from the author / John Easton / January 1930". An uncommon science fiction, murder mystery surrounding a huge isolated monastery in Tibet and a drug that enables the user to see into the future. (Hubin; Locke: A Spectrum of Fantasy).

First trade edition, first printing [first state with the error 280 for 208 on the contents leaf]. Publisher's original blue and grey cloth with red titles to the spine in the Arthur Hawkins designed dustwrapper. Top edge dark blue. A lovely very near fine copy, the binding square and tight, the cloth with ghosting to the spine is otherwise bright and fresh. The contents are clean throughout. Complete with the lightly rubbed and nicked dustwrapper that has a small tear to the lower rear panel and some fading of the spine. Not price-clipped ($2.50 to the lower front flap).

The author's first collection of short stories, seven of which appear in print for the first time (the other six previously published in magazine form). Titles include 'Victory'; 'Ad Astra'; 'All the Dead Pilots'; 'Crevasse'; 'Red Leaves'; 'A Rose for Emily'; 'A Justice'; 'Hair'; 'That Evening Sun'; 'Dry September'; 'Mistral'; 'Divorce in Naples'; 'Carcassonne'.

An original shooting script, written by Philip Ridley, for the award winning 1990 British biographical crime drama film 'The Krays', directed by Peter Medak. Signed by the lead actors. c.118 pages including top sheet and pink amendment sheets. A very good copy, with some wear and finger marks as expected from a working document. With the ownership name of Elaine Thomas to the top right corner who was first assistant editor on the production.

Signed and inscribed on the title page by the lead actors Gary Kemp (Ron Kray); Martin Kemp (Reg Kray); Billie Whitelaw (Violet Kray); Kate Hardie (Frances Kray); Tom Bell (Jack 'The Hat' McVitie); Gary Love (Steve). On release in 1990 the film spent a couple of weeks at the top of the UK box office, earning Billie Whitelaw a BAFTA nomination for best supporting actress as well as scooping two Evening Standard British Film Awards (best film and most promising newcomer).

First edition, first printing. Original blue cloth lettered in gilt to the spine, in dustwrapper. A very near fine copy, the binding square and firm, the cloth and gilt sharp, the contents clean throughout. In the very good dustwrapper, nicked to spine tips and corners, the spine and folds toned. Not price-clipped (£9.50 net to the front flap). A nice copy.

An invaluable insight into the origins and composition Eliot's wartime sequence, one of the great poetic works of the twentieth century, Helen Gardner was given full access to the manuscript material and correspondence held in two Cambridge colleges: John Hayward's bequest to King's College and Eliot's own gifts to Magdalene College. The first of the book's two parts contains Gardner's extended study into the background of the sequence, with sections on the manuscript material, the growth of the sequence, and of its sources. The second part prints the published poems in full with textual introductions and in continuous dialogue with extensive footnotes detailing the variants and emendations found in the draft materials, and often calling upon Eliot's correspondence with John Hayward, Geoffrey Faber (and others) during the period of composition.

First edition, first printing. Signed by the author. Hardcover issue. Publisher's original black cloth with gilt titles to the spine, in dustwrapper. An excellent near fine copy, the binding square and firm with just a little bumping to the extremities, the cloth bright and fresh. The contents, toned to the cheap paper stock, are otherwise clean throughout and without previous owner's inscriptions or stamps. Complete with the lightly rubbed dustwrapper that has some production creasing to the laminate on rear panel and has been clipped and re-priced (£10.95) by the publisher to the lower front flap.

Signed by the David Gemmell in black ink on the title page. The second book in the Drenai series, following 'Legend'. The first edition was issued simultaneously in paperback and hardcover. Signed copies of the hardback are scarce.

First edition, first printing. Publisher's original blue cloth with silver titles to the spine, in dustwrapper and wraparound band. Top edge red. A better than very good copy, the binding clean and square, the cloth bright and fresh. The contents, toned to the half title and text block edges (as always), and with a previous owner's bookplate to the front pastedown, are otherwise clean and without inscriptions or stamps. The closed text block edge is spotted. Complete with the lightly rubbed and nicked dustwrapper that remains clean and entirely without fading of the spine. Not price-clipped (9s 6d net to the lower front flap). The ''Book Society Choice / Evening Standard / Book of the Month' wraparound band is a little toned to the spine and is otherwise without loss or tears. A very nice copy, seldom encountered thus. Housed in a red cloth solander case.

Winner of the 1948 James Tait Black Memorial Prize for fiction, the novel is based on the author's own experience as an intelligence officer in British Sierra Leone.

First edition, first printing. Original blue cloth with gilt lettering to the spine, in dustwrapper. A near fine copy, the binding square and firm, the cloth with is a small area of fading at the head of the spine (c. 2 cm), spreading to the upper edge (c. 0.5 cm) of the front panel. The contents, with light spotting to the lower edge of the closed text block are otherwise clean throughout and without inscriptions or stamps. Complete with the bright, near fine dustwrapper with a little rubbing and nicks to spine tips and corners and toninf to folds and flap edges. The spine remains without fading. Correctly priced 13s 6d net to the front flap. An attractive example.

One of Greene's best known novels, twice adapted for film; the first in 1958 directed by Joseph L. Mankiewicz, and starring Audie Murphy, Michael Redgrave and Giorgia Moll; the second, a more faithful adaptation in 2002 directed by Phillip Noyce and starring Michael Caine, Brendan Fraser and Do Thi Hai Yen.

First Subterranean Press edition. Signed by the illustrator. Original blue cloth with gilt titles to the spine, in the Marshall Arisman illustrated dustwrapper. Housed in a red cloth slipcase with titles and a motif in black. Illustrated with three colour plates by Marshall Arisman. A fine copy, the binding square and tight, the contents clean and without previous owners' stamps or inscriptions. Complete with the fine dustwrapper. Not price clipped ($150 on the front flap). The slipcase is also in fine condition.

Issued in a limited edition of 200 copies, this example is numbered 19 and signed by Marshall Arisman in blue ink on the limitation page. Arisman's wonderfully unsettling paintings pair seamlessly with Thomas Harris's classic psychological horror in this beautifully produced edition of the best known 'Hannibal Lecter' title. 'The Silence of the Lambs' is the second novel in the series, and formed the basis for the hugely popular 1991 film of the same name starring Anthony Hopkins and Jodie Foster, and which won five academy awards. The books have inspired four other films adaptations as well a television series starring Hugh Dancy and Mads Mikkelsen.

First edition. Signed by the author. Publisher's original kumquat-orange-coloured laminated and stapled card covers. A near fine copy, a touch faded around the spine, where there are also a few light creases. The contents are clean throughout. Priced £0.75 net to the rear panel.

Signed and dated (11 /5 /83) in blue ink by Tony Harrison on the title page. The front panel of this elegantly produced pamphlet shows a painting of a kumquat tree from the Reeves Collection of botanical drawings (commissioned and supervised by John Reeves [1774-1856] and painted by native Chinese artists). Further images from the collection are reproduced in orange or, more correctly, kumquat-coloured ink to each facing verso page beside the text. Harrison's poem is both an intimate tribute to Keats (who died aged twenty-five) and the poet's own personal stocktaking ("a man of doubt at life's mid-way"; Harrison was forty-four). "[N]o incongruous citrus ever seen / at greengrocers' in Newcastle or Leeds", the titular kumquat is "a fruit an older poet might substitute / for the grape John Keats thought fit to be Joy's fruit [...] I'd offer Keats some kumquats and I'd say: / You'll find that one part's sweet and one part's tart: / say where the sweetness or the sourness start." This is a signed copy of the standard trade edition; the volume was also issued in a numbered, signed edition of 25 copies.

First edition, first printing. Hardcover issue. Original black cloth lettered in gilt to the spine, in the dustwrapper illustatrated with Graham Sykes' photographs which also accompany the text of the poem. A fine copy, the binding square and firm, the contents clean throughout. In the near fine, unclipped dustwrapper, a little faded to the upper edge of front and rear panels (c. 1 cm). An attractive copy of the uncommon cloth edition.

Deftly weaving the personal and the political, Harrison's long poem in rhymed quatrains recounts a visit to his parents' graves in Holbeck Cemetery, Beeston, Leeds. "Harrison's v." the jacket tells us "stands for 'versus'. These verses capture the angry, desolate mood of Britain in the mid-1980s." Written at the time of the miners' strikes (to which the poem refers), the poem's epigraph is a quotation from Arthur Scargill concerning language, power and privilege ("My father still reads the dictionary every day. He says your life depends on your power to master words"). Like Thomas Gray's canonical 'Elegy Written in a Country Churchyard' (1751), whose enigmatic, closing Epitaph seems be the poet's own, Harrison's latter-day elegy concludes with "the chiselled epitaph" he has prepared for himself. First published in the London Review of Books (24 January 1985) 'V.' was greeted in some quarters with disapproval owing to its frank transcription of West Yorkshire demotic (mostly of graffiti sprayed on gravestones). The disapproval was later rekindled in advance of a filmed version of the poem broadcast by Channel 4 on 4 November 1987, but not before an early day motion entitled "Television Obscenity" was tabled by a group of Conservative MPs and put to parliament on 27 October 1987. The book is illustrated throughout with Graham Sykes' remarkable photographs.

First edition, first printing. Signed by the author. Publisher's original burgundy paper covered boards with gilt titles to the spine, in dustwrapper. A fine copy, the binding square and tight, the boards bright and fresh. The contents are clean and fresh throughout and free from previous owner's marks. Complete with the fine original dustwrapper that remains without fading, loss or tears. Not price-clipped (£12.99 to the front flap).

Signed by Heaney in black ink underneath his printed name on the title page. Loosely laid in is a ticket to the poet's reading at the Edinburgh International Book Festival 2010, where this volume was signed. The last collection of poetry by this Nobel Laureate to be published in his lifetime.

First edition, first printing. Signed by the author. Hardcover issue. Publisher's original textured white and grey cloth with black illustration to the upper board and titles to the spine, in the Colin Middleton illustrated dustwrapper. A fine copy, the binding square and tight, the cloth bright and fresh. The contents are clean throughout and without previous owner's inscriptions or stamps. Complete with the fine original dustwrapper that remains without fading, loss or tears.

Signed by Seamus Heaney in blue ink on the title page. 1,000 copies of the hardcover were issued. Heaney's translation of the medieval Irish epic Buile Shuibhne won the 1985 PEN Translation Prize for verse. (

First edition, first printing. Signed by the author. Publisher's original brown cloth with gilt titles to the spine, in dustwrapper featuring an illustration from a fifteenth century edition of Aesop. A very good copy, the binding square and firm, the cloth bright and fresh. The contents, toned and with some spotting to margins and closed text block edge, are otherwise clean and without previous owner's inscriptions or stamps. Complete with the very lightly rubbed and creased dustwrapper that is faded to the spine and lightly spotted to the rear panel. Not price-clipped (21s to the lower front flap).

Signed and dated 15.11.68 by Geoffrey Hill in blue ink on the front free endpaper. A collection of 18 poems and a short essay.

First edition, first printing. Signed by the author. Publisher's original orange and black card covers. A very good or better copy, the binding square and firm, the extremities lightly rubbed and toned. The contents, with a little spotting to the text block edges, are otherwise clean throughout and without previous owner's inscriptions or stamps.

Signed and inscribed by the author in black ink on the half title "Geoffrey Hill / 25 August 1971". Scarce thus. A collection of prose poems combining memories of Hill's childhood in 1930s Worcestershire with tales of the eighth-century Mercian king, Offa.

First edition, first printing. Publisher's original green cloth with gilt titles to the spine, in dustwrapper and wraparound band. Top edge green. An excellent near fine copy, the binding square and firm, the cloth and gilt bright and fresh. The contents, with minor spotting to the prelims, heavier to the closed text block edge, are otherwise clean throughout and without inscriptions or stamps. complete with the lightly rubbed and creased dustwrapper and publisher's Book Society wraparound band that is very slightly toned to the spine and otherwise without loss or tears. Not price-clipped (7s 6d net to the lower front flap).

The Welsh author's bestselling debut novel. Awarded the the Prix Femina Vie-Heureuse in 1932, in 1998, it was included as number 71 in the Modern Library's 100 Best Novels (editor's list of the best English-language novels of the 20th century). The basis for the 1965 Alexander Mackendrick directed film starring Anthony Quinn and James Coburn (and a teenage future novelist, Martin Amis).

First edition, first printing. Publisher's original black cloth with gilt titles to the spine, in the Leonard Baskin illustrated dustwrapper. A near fine copy, the binding square and firm, with a bump to the bottom edge of the lower oard. The contents, with a previous owner's name on the front endpaper and some spotting to the endpapers and closed text block edge are otherwise clean throughout. Complete with the mildly spine toned dustwrapper, that is otherwise bright and without loss or tears. Not price-clipped (£1.00 net to the front flap).

The poems collected in 'Crow' were mostly written between 1966 and 1969, following a fallow period after the death of Sylvia Plath. In a letter to Leonard Baskin, whose drawing graces the (now iconic) jacket, Hughes described the book as his masterpiece, and it was Baskin's drawings of crows that first prompted Hughes to write the sequence (centred around the central character/symbol of Crow). The book was reissued with seven extra poems in 1972, with a further three being added to the limited edition published in 1973. The poet Peter Porter wrote at the time that "English poetry has found a new hero and nobody will be able to read or write verse now without the black shape of Crow falling across the page". Published 12 October 1970 in an edition of 4000 copies. (Sagar A 25).

First edition, first printing. Publisher's burgundy coloured cloth with gilt titles to the spine, in dustwrapper. A better than very good copy, the binding square and firm, the cloth clean and fresh. The contents with some offsetting to the endpapers and light foxing to the prelims are otherwise clean throughout and without inscriptions or stamps. Complete with the lightly toned dustwrapper which has a few tiny nicks at the head of the spine. Not price-clipped (12s 6d net to the front flap).

The author's second collection for Faber or which 2,250 copies of the first edition were printed. (Sagar & Tabor A3a1).

The 40th Anniversary edition which reprints the 1953 text with the addition of a preface by Lord Hunt, and a postscript by Sir Edmund Hillary. Signed by the author and another the nine remaining members of the British 1953 Expedition to Mount Everest. Publisher's blue half leather with silver titles to the spine, over blue cloth boards. Top edge gilt. Marbled endpapers. With a colour frontispiece, 14 black and white photographic plates, seven colour photographic plates, four sketch maps and several further illustrations throughout the text. Housed in the blue cloth slipcase, as issued. A fine copy, the binding square and tight, bright and fresh. The contents, with a single spot of discolouration at the top of the limitation page are otherwise clean throughout. A lovely copy.

Issued in a limited edition of 500 copies on the 40th Anniversary of the first ascent of Everest, this example is numbered 413 and signed by John Hunt, Charles Evans, Griffith Pugh, Alfred Gregory, Sir Edmund Hillary, Mike Westmacott, George Band, Charles Wylie, George Lowe and Michael Ward on the limitation page.

First edition in book form, first printing. Publisher's original blue cloth with dark blue titles to the spine, in dustwrapper. An excellent near fine copy, the binding square and firm, the cloth bright and fresh. The contents, with the faint evidence of an erased name on the front free endpaper are otherwise fine, clean and bright throughout. Complete with the original lightly rubbed, nicked and creased pictorial dustwrapper that remains bright and with only minor loss to the corners. Not price-clipped ($2.00 to the lower front flap). A tough title to find in attractive original condition.

A Haycraft-Queen Cornerstone. This was Woolrich's first book under the William Irish pseudonym. The basis for the 1944 Robert Siodmak directed film noir starring Franchot Tone, Ella Raines and Alan Curtis. (Hubin)

First edition, first printing. Signed by the author. Original dark blue cloth lettered in white to the spine, in the dustwrapper designed by the Senate. A very near fine copy, the binding square and firm, the contents clean throughout, the top edge of the page block a little dusty. In the very near fine dustwrapper, the gilt lettering on the spine a little worn, the red pigment there also a touch faded. Not price-clipped (£16.99 to the front flap). Loosely laid in to this copy is a beautifully printed flyer for Ian Shipley's now defunct, and much missed, Art bookshop on Charing Cross Rd. Shipley (briefly mentioned in the book on p. 208) was a friend of Jarman, who would often pop in to sign copies of his books. An attractive copy. Uncommon signed.

Signed by Derek Jarman in blue ink on the front free endpaper. In 1987, shortly after discovering he was HIV positive, Jarman bought a cottage (in the shadow of a nuclear power station) on the Dungeness coast. Moving between Kent and London, where Jarman had kept his small Charing Cross Road flat, these beautifully written journals, beginning in January 1989 and ending in September the following year, document his life at the cottage: among much else, the creation of his extraordinary garden in the shingle around the cottage, the filming of 'The Garden' (1990) and early stages of the adaptation of Marlowe's 'Edward II', as well as a remarkable section recording a stay at St Mary's Hospital, Paddington after having contracted tuberculosis. Early in the diary, Jarman writes of "describing the [Dungeness] garden to Maggi Hambling at a gallery opening. [I] said I intended to write a book about it. She said: 'Oh, you've finally discovered nature, Derek.' 'I don't think it's really quite like that,' I said, thinking of Constable and Samuel Palmer's Kent'. 'Ah, I understand completely. You've discovered modern nature'". An heir to the great tradition of published English diaries and nature writing (Dorothy Wordsworth, Gerard Manley Hopkins, Gilbert White, Denton Welch) and now a modern classic, 'Modern Nature' offers a unique insight into the precarious life of a gay, HIV positive man and artist living in England during the late, dark days of Margaret Thatcher's tenure as prime minister. Provenance: From the library of Richard Salmon, gallerist, friend, and sole dealer of Jarman's paintings and sculptures.

First edition, first printing. Signed by the author. Inscribed by Derek Jarman to his friend and gallerist Richard Salmon. Original black cloth lettered in silver to the spine, in the dustwrapper illustrated with two photographs by Mike Laye taken on location during the filming of Jarman's film, 'The Last of England'. A very near fine copy, the binding square and firm, the contents clean throughout. There are a few small light marks and a minor dink to the fore-edge of the page block. In the dustwrapper, fine except for the merest wear to the upper spine tip and corners and a few light surface marks. Not price-clipped (£10.95 net to the front flap). On p. 28, Jarman has drawn, in red ink, an elegant Dali-esque moustache onto a photograph of himself taken in New York in 1985 (in black clerical garb, complete with a cappello romano), adding a handwritten caption along the right edge, "auto interference". Loosely laid in is a flyer for the launch of Jarman's first book, 'Dancing Ledge', held at The Diorama, 14 Peto Place, London NW1 on 28 February 1984 (Dancing 10pm-4am, Elizabeth Welch sings 11.30pm) and what appears to be a sketch, in red ink, in Jarman's hand, for a flyer for a forthcoming exhibition of his paintings at Richard Salmon's gallery. A lovely association copy with intriguing additions and inserts.

Inscribed by Derek Jarman in red ink to the first blank page, "Richard's Book / from Derek." The recipient is Richard Salmon, gallerist, friend, and sole dealer of Jarman's paintings and sculptures. 'The Last of England' was written during the making of the 1987 film of the same name (the title borrowed from Ford Madox Brown's great 1855 painting depicting emigrants leaving England to start a new life in Australia). Unfolding with something of the film's impressionistic, intuitive, and deeply personal manner, the book begins, Jarman writes, "with my original ending for the film – 'The Ship Sails' – and takes us on a journey back in time and forward into an uncertain future." A fragmented autobiography covering childhood, family, sexuality, work as a painter, set designer and later filmmaker, the book, like the film, is both angry and melancholy (politically and personally), plangently documenting the dismal (for many) middle years of Margaret Thatcher's eleven-year tenure as Prime Minister.

Advanced proof copy of the first US trade edition. Publisher's original pictorial laminated card covers, loosely folded around the glued text block, presumably as issued. 671pp. A fine copy, the binding square and firm and contents clean throughout and free from inscriptions or stamps. The card covers, with a publisher's information sticker to the front panel, are bright and free from fading, loss or tears. Scarce in this form.

The fourth volume in King's 'The Dark Tower' series. Previously issued in a limited hardback edition of 1250 copies, the Plume trade paperback, which would feature 12 full colour illustrations by Dave McKean (not present in the proof copy), was the first publication made available to the general public.

Advance proof copy of the first UK edition. Limited edition. Publisher's original pictorial laminated card covers. 686pp. With ten full page black and white chapter illustrations by Michael Whelan. A near fine copy, the binding square and firm, with light creasing to the spine head and bottom corner of the rear panel and a small closed tear to the upper spine fold. The contents, with some light scuffing to the closed text block edge, are otherwise clean throughout and free from inscriptions or stamps.

Issued in a limited edition of 100 copies, of which this example is numbered 28. The final volume in King's 'The Dark Tower' series and the winner of the 2005 British Fantasy Award in the 'novel' category.

First edition, first printing. Publisher's original purple cloth with gilt titles to the spine, in dustwrapper. A better than very good copy, the binding square and firm, the cloth bright and fresh. The contents, with a previous owner's name on the front endpaper and foxing to the prelims and closed text block edge, are otherwise clean throughout. Complete with the lightly rubbed and creased dustwrapper that is toned to the spine and rear panel edge and otherwise without loss or tears. Not price-clipped (12s 6d net to the front flap).

One of the great works of post-war British poetry and the first volume of Larkin's poetry to be published by Faber and Faber (his second novel, 'A Girl in Winter', had been published by the firm in 1947). A year later, the author was awarded the Queen's Gold Medal for Poetry and an Arts Council prize for "the best book of original English verse by a living poet published from July 1962 to June 1965". Published on 28 February 1964, 3910 copies of the first impression were issued. (Bloomfield A7)

First hardcover edition, first printing. One of 52 lettered copies, signed by the author. Publisher's original white faux leather with metallic blue lettering to the spine, in the Lauren Saint-Onge illustrated dustwrapper. A fine copy, the binding square and tight, the boards bright and fresh. The contents are clean throughout and without previous owner's marks. Complete with the fine original dustwrapper than remains without fading, loss or tears. Housed in the publisher's black cloth solander case with titles in blue to the upper lid and backstrip. Scarce in this form.

One of 52 lettered copies, this example lettered 'CC' and signed by Ann Leckie to the limitation page. The author's first book and first volume in the "Imperial Radch" series. First published as a paperback original in October 2013, the novel won all of the principle English language science fiction awards including both the Hugo and Nebula Awards, the Arthur C. Clarke Award, BSFA Award and the Locus Award (for best first novel).

First hardcover edition, first printing. One of 52 lettered copies, signed by the author. Publisher's original black faux leather with bronze foil lettering to the spine, in the Lauren Saint-Onge illustrated dustwrapper. A fine copy, the binding square and tight, the boards bright and fresh. The contents are clean throughout and without previous owner's marks. Complete with the fine original dustwrapper than remains without fading, loss or tears. Housed in the publisher's black cloth solander case with titles in orange to the upper lid and backstrip. Scarce in this form.

One of 52 lettered copies, this example lettered 'Q' and signed by Ann Leckie to the limitation page. The second volume in the multi-award winning "Imperial Radch" series, originally published as a paperback original in 2015.

Uncorrected proof of the first UK edition, the front cover bearing the name of Peter Du Sautoy, chairman of Faber and Faber. Original blank pale blue card wraps. A near fine copy, the binding square and firm, the card covers are toned to the spine and margins. The contents are clean and bright throughout.

Lowell's translation of Jean Racine's 1677 play, 'Phèdre', was first published in the US in 1961. Parts of Lowell's text were, in 1975, used by Benjamin Britten for his late cantata of the same title. The front cover of this copy of the uncorrected proof of the 1973 Faber edition bears the name 'Mr du Sautoy' in blue ink. Peter Du Sautoy (1912–1995) joined Faber and Faber in 1946, becoming vice-chairman of the firm in 1960, and chairman in 1971. Fellow publisher, John Calder, in his ODNB entry for Du Sautoy, notes that he "was trusted by both writers and publishers, and faithfully carried out his instructions where he was given posthumous responsibility. He destroyed T. S. Eliot's private correspondence after the poet's death, as he had been asked to do, to the great chagrin of Eliot's biographers. He also administered the estates of Ezra Pound and James Joyce". He retired in 1975, but remained chairman of the firm until 1977. He retired to Aldeburgh in Suffolk where he became an active member of the Aldeburgh Festival committee. It was at the 1976 festival that Britten's 'Phaedra' was first performed.

First UK edition, first printing, and first hardcover edition. Publisher's original dark grey boards with green titles and silver logo to the spine, in dustwrapper. A better than very good copy, the binding square and firm with a little bumping at the spine tips, the cloth bright and fresh. The contents, with some spotting to the closed text block edge, and a bookseller's paper label to the bottom edge of the front pastedown, are otherwise clean throughout and without inscriptions or stamps. Complete with the lightly rubbed and nicked dustwrapper that has small chips to the spine folds and three small pieces of tape to the underside but is otherwise remarkably clean and bright. Not price clipped (10/6 to the lower front flap). An attractive example of a scarce title.

First published in America by Dell in 1959 as a paperback original, this UK first edition is the first publication of the novel in hardcover.

First UK edition, first printing, and first hardcover edition. Publisher's original dark brown cloth with silver titles to the spine in the Barbara Walton illustrated dustwrapper. A near fine copy, the binding square and firm with a little bumping at the spine tips, the cloth bright and fresh. The contents are clean throughout and free of foxing, inscriptions or stamps. Complete with the very good lightly rubbed, creased and spine faded dustwrapper, that remains without loss or tears. Not price clipped (18/- net to the lower front flap). Scarce.

The first publication in hardcover of the author's first short story collection (issued in America as a paperback original in 1966). The fifteen stories, written between 1947 and 1966 include 'Hangover'; 'The Big Blue'; 'The Trouble with Erica'; 'Long Shot'; 'Looie Follows Me'; 'Blurred View'; 'The Loveliest Girl in the World'; 'Triangle'; 'The Bear Trap'; 'A Romantic Courtesy'; 'The Fast Loose Money'; 'The Straw Witch'; 'End of the Tiger'; 'The Trap of Solid Gold'; 'Afternoon of the Hero'.

First edition, first printing. Original black cloth lettered in silver to the spine, in the dustwrapper with a wraparound photograph by Doug Houghton. A very near fine copy, the binding square and firm, the contents clean throughout. A touch of spotting and toning to the upper edge of the page block. In the near fine dustwrapper, a little faded to the spine with a touch of light shelf wear to the upper edges and corners. A nice copy of this important, and quite uncommon, collection.

In their preface to this long awaited Collected Mackay Brown, Archie Bevan and Brian Murray note that the four Selected volumes issued during the poet's lifetime (in 1971, 1977, 1991 and 1996) offered only "an inadequate representation of his work's quantity, range and quality". This magisterial volume – containing 421 poems as against the 86 in the 1996 Selected Poems – prints all the poet's collections intact, as well as selections from work published posthumously. "George Mackay Brown has added uniquely and steadfastly to the riches of poetry in English: his sense of the world and his way with words are powerfully at one with each other." (Seamus Heaney).

First edition, first printing. Signed by the author, inscribed presentation copy. Original black cloth lettered in gilt to the spine, in the Stephen Raw designed dustwrapper. A very near fine copy, the binding square and firm, the contents clean throughout. A touch of pushing to tips and corners, a light bump to the upper edge of the front panel, faint offsetting to free endpapers. In the dustwrapper, fine except for a touch of rubbing to tips and corners. Loosely laid in publisher's compliments slip with the typed name of Carcanet founder (and poet), Michael Schmidt. Not price-clipped (£18.95 to the front flap). An attractive copy.

Inscribed in Gaelic by Sorley Maclean in black ink to the front free endpaper, "do / Audrey MacNeacail / Somhairle MacGill-Eain / 6.3.90"; the recipient may be related to the Scots-Gaelic poet, Aonghas MacNeacail (1942-2022). 'O Choille gu Bearradh / From Wood to Ridge' was the only 'Collected' volume MacLean (1911-1996) published during his lifetime. With a preface by the author and brief notes at the end of the book, the poems are presented throughout in parallel text, the original Gaelic and the poet's own English translations printed on facing pages. MacLean is now recognised as the most significant writer in Scottish Gaelic of the twentieth century, but the richness of the poems exceeds the bounds of nation or first language. "It is often late, by chance, and with sudden delight, that we find those poets who later become vital to us [...] I knew Sorley MacLean by reputation before I felt his authoriity [...] what was unlooked for has grown indispensable" (Seamus Heaney); "One of the very greatest of the Gaelic poets [...] and one of the great love poets of the world" (Iain Crichton Smith).

First edition, first printing. Signed by the author. Quarter blue cloth over cream marbled boards, lettered in gilt to the spine. Complete with matching slipcase. A very near fine copy, the binding square and firm, the boards bright and fresh. The contents are clean throughout and without previous owner's marks. There is a tiny nick / mark to the outer edge of two pages, visible to the fore-edge of the page block. The slipcase is in fine condition. Signed Limited Edition.

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

First edition, first printing. Original black cloth lettered in gilt to the spine, in the dustwrapper the front panel showing William Crozier's painting, 'Winter Flood' (c.1995). A fine copy, the binding square and firm, the cloth and gilt sharp, the contents clean throughout. In the unclipped dustwrapper, fine except for the merest fading to the spine. A lovely copy of the uncommon hardback edition.

Published simultaneously in paperback and cloth editions on 9 October 2008, 'Life on Earth' includes, among much else, Mahon's poetic responses to Coleridge, Chekhov, and Brian Moore; a series of 'Art Notes' on Hopper, Magritte, de Staël and others; and 'Homage to Gaia', a sequence on environmental themes. The book was shortlisted for the International Griffin Poetry Prize, and was winner of the 2009 Irish Times Poetry Now Award.

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

Signed by Derek Mahon in black ink to the limitation page at the front of the book. One hundred and forty copies of the edition were specially bound and signed: fifteen copies, numbered I-XV, reserved for the author and publisher, and one hundred and twenty-five copies, numbered 1-125, for trade, of which this copy is numbered 17. Like Yeats, Auden, Marianne Moore, and Robert Lowell before him, Mahon was an inveterate reviser of his poems. Like the earlier 'Collected Poems' (1999), this updated edition, which includes poems published subsequently (but also changes the ordering of the 1999 volume), brings together, as the jacket copy of the standard trade edition stated, "in new form", the work the author wished to preserve from the work of fifty years. As Hugh Haughton notes in his fine study of the poet (Oxford, 2010), such wording suggests that for Mahon revision was "not only a question of his critical conscience, but a desire to re-situate [...] past work in the cultural present." As such, the volume boldly and unapologetically prints the poems without any indication of publishing history, provenance, or chronology (the contents, however, are given in roughly chronological order).

First edition. Signed by the author. Publisher's original yellow cloth with silver titles to the spine, in the Ken Laager illustrated dustwrapper. With a header illustration for each story, colour plates and full page black and white drawings by Ken Laager throughout. A fine copy, the binding square and tight, the contents clean throughout and without previous owner's marks. Complete with the fine original dustwrapper that is free from fading, loss or tears. Housed in the publisher's purple cloth slipcase illustrated and with titles in silver.

Issued in a limited edition of 500 copies, this example is numbered 293 and signed by every story contributor and editor across six pages at the front of the volume. George R. R. Martin in addition to contributing the final story (a 'Song of Ice and Fire' novella) also provides the introduction 'Everybody Loves a Rogue'. The anthology comprises 'Tough Times All Over' by Joe Abercrombie; 'What Do You Do' by Gillian Flynn; 'The Inn of the Seven Blessings' by Matthew Hughes; 'Bent Twig (a Hap and Leonard story)' by Joe R. Lansdale; 'Tawny Petticoats' by Michael Swanwick; 'Provenance' by David W. Ball; 'Roaring Twenties' by Carrie Vaughn; 'A Year and a Day in Old Theradine' by Scott Lynch; 'Bad Brass' by Bradley Denton; 'Heavy Metal' by Cherie Priest; 'The Meaning of Love' by Daniel Abraham; 'A Better Way to Die' by Paul Cornell; 'Ill Seen in Tyre' by Steven Saylor; 'A Cargo of Ivories' by Garth Nix; 'Diamonds from Tequila' by Walter Jon Williams; 'The Caravan to Nowhere' by Phyllis Eisenstein; 'The Curious Affair of the Dead Wives' by Lisa Tuttle; 'How the Marquis Got His Coat Back' by Neil Gaiman; 'Now Showing' by Connie Willis; 'The Lightning Tree' by Patrick Rothfuss; 'The Rogue Prince, or, A King's Brother' by George R. R. Martin.

First Subterranean Press edition, first printing. Signed by the author and illustrator. Original yellow cloth with gilt titles to the spine, in dustwrapper. Housed in the original yellow cloth slipcase with gilt titles and motifs. Illustrated throughout with colour plates and black and white drawings by Gary Gianni. A fine copy, the binding square and tight, the contents clean and bright throughout. Complete with the original dustwrapper which has a little very minor creasing at the edges. Not price-clipped ($295 on the front flap). The slipcase is in fine condition.

Issued in a limited edition of 750 copies of which this is number 567, signed by George R. R. Martin and Gary Gianni on the limitation page. A collection of three novellas in George R. R. Martin's 'Tales of Dunk and Egg' series set in the universe of the hugely popular and award winning 'A Song of Ice and Fire' (or 'Game of Thrones'). The tales follow the adventures of the the future Lord Commander of the Kingsguard, Ser Duncan the Tall, the future King Aegon V Targaryen, 90 years before the events of 'A Game of Thrones'. Gary Gianni's beautiful illustrations were created specially for the collected edition and the colour plates are exclusive to this Subterranean Press edition (they were printed in black and white in the first trade edition).

First edition, first printing. Signed by the author. Publisher's original pink patterned cloth with a paper title label to the spine. Housed in the original brown card slipcase. Illustrated with black and white drawings by E. H. Shepard. A fine copy, the binding square and firm, the boards bright and fresh. The contents are clean throughout and without previous owner's marks. Complete with the the lightly rubbed and marked slipcase that has some loss to the top edge and short splits to the bottom edge. The title label on the spine is toned and faded.

Signed by the A. A. Milne on the limitation page. Issued in a limited edition of 842 copies, this example is numbered 169. A short, engaging memoir of the author's childhood, written with his usual humour and flair.

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

One of a limited edition of 125 copies specially bound and signed by the author; 15 copies, numbered I-XV being reserved for author and publisher, 110 copies numbered 1-110 available for sale. This example is number 43. Based on the 1995 'Collected Poems', John Montague's 'New Collected Poems', edited by Peter Fallon, incorporates revisions, additional poems, and the contents of three further collections, 'Smashing the Piano' (1999), 'Drunken Sailor' (2004) and 'Speech Lessons' (2011). As Fallon writes in his note at the back of the book, the volume's arrangement "reflects the pattern of a lifetime's dedication: [and] has more than ever the look of a masterpiece." Montague (1929 2016) was born in Brooklyn, New York, moving to Ireland at the age of four and growing up in Ulster. Although a quintessentially Irish poet, Montague was very much a European figure, spending many years living in Paris, where he was a regular drinking companion of Samuel Beckett. In his 'Irish Times' review of this generous volume, Harry Clifton remarks upon this cultural breadth, describing Montague "less as an Ulster precursor and more, like [...] Beckett, [...] an Irish universalist", the poems, however, "circling and returning, in word and act, to Ireland" and "a Tyrone landscape endlessly invoked, like Beckett's Dublin hinterland." In 1998, Montague became the first occupant of the Ireland Chair of Poetry, and in 2010 was made a Chevalier de la Legion d'honneur, France's highest civil award.

First edition, first printing. Signed by the author. Hardcover issue. Original black cloth lettered in gilt to the spine, in dustwrapper. A fine copy, the binding square and firm, the cloth and gilt sharp, the contents clean throughout. Top edge coloured yellow. In the fine, bright and clean dustwrapper, just a touch faded to the spine, complete with the Carcanet liveried 'Poetry Book Society Choice' wraparound band. Not price-clipped (£2.25 to the front flap). A particularly bright copy of Morgan's landmark volume, uncommon in this condition, especially so signed.

Signed by Edwin Morgan in blue ink to the title page. 10/40 is neatly written in pencil to the upper corner of the front free endpaper, suggesting this to be number 10 of 40 signed copies. 'From Glasgow to Saturn' was Morgan's first collection to be published by Carcanet Press (at the time based in suburban Cheadle). Following 'The Second Life' (1968), it confirmed and consolidated the arrival of a uniquely energetic, inventive, and often very funny, voice: at once learnedly far-reaching – Morgan was a fine translator – while remaining rooted in the poet's native Glasgow and its own linguistic riches. The volume's title (since taken up by the house literary journal of the University of Glasgow) encapsulates and extends this range, reaching beyond the global to the interplanetary, and Morgan's characteristically idiosyncratic brand of science-fiction. As Frederick Grubb wrote in the Tribune (October 26, 1973), "His language is that force which disturbs, renews and orders actuality. If you suspect 'science-fiction' writing is a sellout to capitalist follies, Morgan convinces you that imagination can beat technology at its own game: the poet rehumanises what dehumanises."

First edition, first printing. Publisher's original limp vellum with titles in gilt to the spine, green silk ties. Printed in black and red in Chaucer type on flower paper. Wood-engraved frontispiece after a design by Edward Burne-Jones, facing page with full woodcut page-border, numerous three-quarter and smaller woodcut page-borders, 10-line and smaller initial capitals. A near fine copy, the binding square and tight, the vellum with a little natural patina and a touch of darkening to the spine. Three of the four tie ends have perished. The contents, with the armorial bookplate of Robert Russell Needham Baron to the front pastedown, a previous owner's name to the front endpaper and a couple of isolated foxing spots to the rear blank are otherwise clean throughout. Housed in a bespoke olive green cloth, ribbon pull slipcase.

Published on 16 October 1894 in a limited edition of 350 copies on paper, (there was also an edition of eight copies printed on vellum). A source of inspiration for the modern fantasy genre, 'The Wood Beyond the World' is one of only two texts William Morris wrote specifically for the Kelmscott Press. The novel was a major influence on many writers of fantasy fiction, including C. S. Lewis and J. R. R. Tolkein. (Peterson A27).

First Kelmscott edition. Publisher's original cloth backed hollande paper covered boards, title in black to the upper board. Printed in black and red in Chaucer type on flower paper. Wood-engraved frontispiece after Edward Burne-Jones, wood-engraved borders and initials. A fine copy, the binding square and tight, the cloth and boards bright and fresh. The contents are clean throughout and without foxing, inscriptions or stamps. Housed in an early to mid-twentieth century quarter morocco slipcase and green cloth chemise which remains structurally sound although somewhat rubbed and faded.

Published on 11 November 1897 in a limited edition of 350 copies on paper, (there was also an edition of eight copies printed on vellum). (Peterson A48).

First edition, first printing. Signed limited edition. One of two hundred signed case bound first editions produced for the Poetry Book Society. Original blue cloth lettered and ruled in gilt to the spine and front panel. A near fine copy, the binding square and firm, the contents – the pages toned owing to poor quality paper stock – clean throughout. With the merest wear to spine tips and corners. Scarce.

Signed by the author in black ink on the title page. 'Nil Nil' was one of the most critically acclaimed debut collections to appear during the closing decades of the last century, much of the praise notable for coming from distinguished fellow poets. Robert Crawford described the book as "very special [...] the most assured poetic debut of 1993", while Paul Muldoon, in his choice of the year's books in the TLS, singled it out as 'One of the finest first books of poems I've read for ages'.

First edition, first printing. Publisher's original black cloth with gilt titles to the spine, in the Francis Howlett Warren illustrated dustwrapper. A near fine copy, the binding square and firm with some bumping at the spine tips, the cloth and gilt bright and fresh. The contents are clean throughout and without inscriptions or stamps. Publisher's catalogue dated Spring 1936 to the rear. Complete with the lightly rubbed and nicked dustwrapper that has a single short closed tear to the bottom edge of the rear panel and a little creasing to the extremities. An attractive example of a scarce dustwrapper.

A science-fiction story of threatening international disaster involving mankind being attacked by giant crabs. (Bleiler; Locke: A Spectrum of Fantasy).

First edition, first printing. Signed by the author. Inscribed presentation copy. Publisher's original dark red cloth decorated and with titles in black and gilt to the upper board and spine. A very good copy, the binding firm with some rubbing at the corners and tips of the slightly rolled spine. The cloth is generally clean with just a few light marks and mild fading to the spine. The contents, with a little spotting to the prelims and mild rippling to the bottom edge of the rear 20 pages or so, are otherwise clean throughout. Scarce.

Inscribed by Charlotte Riddell in black ink at the head of the title page "Mrs. Laurie / with the author's love / Nov 6th 1891". Charlotte Elizabeth Lawson Riddell [née Cowan] (1832-1906) was a prolific novelist, in her time best known for stories of commercial London City life, however, her modern reputation rests on the revival of interest in her ghost stories and weird fiction. The present volume is lightly fictionalised travelogue based upon a European tour taken with a family friend (and lodger) Arthur Hamilton Norway, at a time when the author was badly over-worked and worried following the death of her husband. Their adventures abroad, bolstered by copious amounts of laudanum, (and in which Mr. Norway figures as "Bobby") are fully and amusingly described. Inscribed copies of Riddell's works are rarely encountered in commerce.

First UK edition, first printing. Publisher's original blue cloth with gilt titles to the spine, in dustwrapper. A very good copy, the binding square and firm with aittle bumping to the spine tips, the cloth toned to the spine and board edges. The contents, with a small name to the front endpaper and spotting to the prelims and closed text block edge, are otherwise clean throughout. Complete with the rubbed, nicked and creased dustwrapper that is toned to the spine and panel edges and has a 4cm closed tear (without loss) to the top right of the upper panel. Not price clipped (21s net to the front flap).

A posthumous collection of essays and speeches by Wallace Stevens, on the art of poetry and the relationship between imagination and reality.

First printing of the third edition. Publisher's original green cloth with wraparound illustration and dark blue titles to the spine and upper board, in dustwrapper. Map endpapers, four colour plates and eight black and white illustrations after drawings by the author. A near fine copy, the binding square and firm with tiny bumps to the extremities, the cloth with some ghosting to the spine is otherwise bright and fresh. The contents, with a small previous owner's ink inscription (Pembroke College, Oxford) to the half title are otherwise clean throughout. Complete with the lightly rubbed and nicked dustwrapper that has thin strips of toning to the top edge of the flaps. Not price-clipped (20s net to the front flap). An excellent example, scarce thus.

The true first printing of the last edition to carry significant revisions by the author. The revisions were made to align the narrative more closely to The Lord of the Rings and to cosmological developments from his still unpublished Quenta Silmarillion (as it stood at that time). The third edition also introduced a new version of the history of Erebor. In the original story, Erebor was founded by Thorin's grandfather Thror, and the Arkenstone discovered by his father Thrain. However, to correct a note on the map saying that Thrain had been King Under the Mountain, Tolkien introduced a distant ancestor Thrain I in this text, who both founded the kingdom and discovered the Arkenstone. The printers publishing information on the copyright page to the first printing of this third edition is misleading due to an error in the publication chronology. What should have read as: 'Fifteenth Impression 1965' followed by 'Third Edition (Sixteenth Impression) 1966' was actually set down as: 'Third Edition (Fifteenth Impression) 1966' followed by 'Sixteenth Impression 1966'. The Third Edition (Fifteenth Impression) 1966 does not exist and the error was never corrected. [Hammond A3i].