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First Beardsley edition, one of 1,500 copies on ordinary paper, in the scarce original 12 monthly instalments published from June 1893 to mid-1894 and with a publisher's slip offering binding options tipped into part XII. This was Beardsley's first major commission and the book that launched the "Beardsley look" (Gillon, p. IV). "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory. Although his illustrations for the Morte established Beardsley as the voice of the 1890s, he was until that time largely an unknown young artist. La Morte Darthur proved to be an immediate sensation upon publication and the impact of Beardsley's Arthurian illustrations was tremendous. Today, Beardsley's illustrations for the Morte, which constituted almost half his lifetime's artistic output, survive as the first example of modern Arthurian book illustration, and they remain arguably the best experimental visual reinterpretation of the Arthurian world. With their bold lines, strong visual themes, and numerous memorable but unconventional details, the Morte 'pictures' (which is how Beardsley himself referred to them) created an important - although admittedly idiosyncratic - symbology and iconography. Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (Lupack, pp. 75-91). "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984; Barbara Tepa Lupack, Illustrating Camelot, 2008. 12 parts, large octavo. Original light blue wrappers printed in black, part XII largely uncut. Engraved frontispiece to each volume, 18 wood-engraved plates (including five double-page), numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Spines lightly toned, wrappers nicked at edges, subtle repair to front joint of part XI, a little foxing to edges, otherwise clean and fresh. An excellent set in the original wrappers.

'The Old Pretender' A Fine 'Extra-Illustrated' Cosway-Style Binding by Bayntun (Rivière) COSWAY-STYLE BINDING. BAYNTUN (RIVIÈRE), binders. HAILE, Martin. James Francis Edward - The Old Chevalier. With 11 photogravure illustrations. London: J.M. Dent & Co., 1907. First edition. Octavo (9 5/8 x 6 inches; 218 x 152 mm.). [i]-xii, [xiii, list of illustrations], [xiv, blank], 1-479, [1, printers imprint] pp. Title-page printed in black and red. Eleven (on ten) photogravure plates. Extra-illustrated by the insertion of twelve engraved plates, three of which are hand-colored. Bound ca. 1940 by Bayntun (Rivière), stamp-signed in gilt on front turn-in. Full brown crushed levant morocco, both covers with single gilt fillet around a double-ruled and gilt-dotted inner border. Front cover with a broad panel border of gilt-tooled thistles and gilt dots, portions of the background with leather dyed black. In the center a large gilt arabesque lozenge framing a fine oval portrait miniature set under glass (measuring 3 1/4 x 2 1/2 inches; 82 x 63 mm.) of Clementina Walkinshaw. Spine with five raised bands elaborately decorated in gilt in a repeated thistle and dot design, lettered in gilt in two compartments. Gilt-dotted board edges, decorative gilt turn-ins with thistle corner pieces, brown watered silk liners and endleaves. Housed in the original felt-lined brown cloth slipcase, spine with two black morocco labels lettered in gilt. A superb example of a Bayntun (Rivière) Cosway-Style binding. From the renowned collections of J.F.D. Tutt and Paul Edward Chevalier with their bookplates on verso of front endleaf. The extra illustrations: Thomas Osborne, First Duke of Leeds (hand-colored); Arthur Lord Balmering; James Butler, Second Duke of Ormond (hand-colored); Cardinal Dubois; John Erskine, Earl of Mar; Daniel Finch, Earl of Nottingham; James Earl of Derwentwater; Philip Duke of Wharton; Tsar Peter the Great; Thomas Pelham, Duke of Newcastle (hand-colored); Simon Fraser, Lord Lovat, Chief of the Clan Fraser; Charles XII. James Francis Edward Stuart (1688-1766), nicknamed The Old Pretender by Whigs, was the son of King James II and VII of England, Scotland and Ireland, and his second wife, Mary of Modena. He was Prince of Wales from July 1688 until, just months after his birth, his Catholic father was deposed and exiled in the Glorious Revolution of 1688. James II's Protestant elder daughter (the prince's half-sister), Mary II, and her husband, William III, became co-monarchs and the Bill of Rights 1689 and Act of Settlement 1701 excluded Catholics from the English throne and, subsequently, the British throne. James Francis Edward was raised in Continental Europe and known as the Chevalier de St. George. After his father's death in 1701, he claimed the English, Scottish and Irish crown as James III of England and Ireland and James VIII of Scotland, with the support of his Jacobite followers and his cousin Louis XIV of France. Fourteen years later, he unsuccessfully attempted to gain the throne of Britain during the Jacobite rising of 1715. A final attempt at rebellion, led by his son Charles Edward Stuart, was made in the Jacobite rising of 1745. Following his death in 1766, his elder son, Charles Edward Stuart aka Bonnie Prince Charlie, continued to claim the British crown as part of the Jacobite Succession. Clementina Maria Sophia Walkinshaw (1720-1802) was the Glaswegian mistress of Bonnie Prince Charlie. John Francis Donald Tutt (1893-1971) was a renowned veterinary surgeon and collector of fine bindings. His collection (including the present binding) was sold at Sotheby's London in October 1983. Paul Edward Chevalier (born 1939) collected fine bindings including jeweled bindings and Cosway bindings and always purchased only the very best. For twelve years he did exactly that until he assembled what was possibly America's finest private collection of British, American and European bindings from the late 19th and early 20th centuries. The collection was sold at Christie's New York, November 9th, 1990.

Pen, ink and watercolour on paper. The image measures 22 x 14.5 cms. Mounted, framed and glazed. With the artist's handwritten title label (and address) and the Royal Society of Painters in Water Colours exhibition label from July 1909 with the purchaser's details and price paid retained on the original backboard. In fine condition. This piece is illustrated as a full page colour plate opposite page 356 in the 1907 revised and enlarged edition of The Ingoldsby Legends, published by J. M. Dent (and re-issued by William Heinemann). Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

Hardcover. Condition: Good. Dust Jacket Condition: No Dustjacket. 1st Edition. Rare, collectible, antique copy; po signature top first blank page; front/rear cover boards soiled; pages intact; gilt top end papers; gilt lettering on spine.

Boswells' Life of Johnson Illustrated by Herbert Railton Extra-Illustrated by the Insertion of over Six Hundred Portraits and Scenes etc. Extended from Three to Seven Volumes Handsomely Bound by F.J.Pfister of New York BOSWELL, James. The Life of Samuel Johnson LL.D. Edited by Arnold Glover of the Inner Temple with an introduction by Austin Dobson. With one hundred illustrations by Herbert Railton and many portraits. London: J.M. Dent & Co., 1901. Three octavo volumes extended to seven (8 7/8 x 6 inches; 222 x 152 mm.). Extra-illustrated by the insertion of over six hundred plates including many portraits and scenes by various artists, at least one original letter (complete with envelope), pages from books and periodicals contemporary to the events being related by Boswell (including The Gentleman's Magazine), notices of marriages and deaths, bookseller catalogues, auction catalogues, etc., some items with hand-written captions, many mounted onto stiff paper with decorative borders. Bound by Pfister of New York ca. 1901. Full red morocco, covers elaborately stamped in gilt, spines with five raised bands, decorative gilt inside borders, mottled pink endleaves. With the bookplate of Robert Freeman Pick. "At the January dinner of the League, held at the rooms of the Aldine Association, on the evening of January 17, 1900, F.J. Pfister, a well-known New York bookbinder, delivered an interesting address on the art of decorating the covers of books by means of pyrography, or of "burning in" with a heated tool the design with which the cover of a book is to be decorated, instead of impressing it, either blind or gilded, with dies or the ordinary binders' tools. Mr. Pfister pointed out that pyrography is not a recent art, but an ancient process revived." (The Booksellers' League. A History of its formation and ten years of its work. New York, 1905. page 96). With the Ex-Libris in each volume of one "R.F. Pick", his name across an open book laying on two laurel branches and with a small beetle busily eating his way through the pages. Based on the name, the New York bindery, and the design of the Ex-Libris it seems highly likely that our Mr. Pick was the bookseller of that name who had an establishment at 136 E. 34th Street, New York City, and advertised his firm as "Bookseller and Importer" of "Rare and Choice Books". Interestingly, on the same page of the Literary Collector (dated October 1901 to March 1902) on which we find Mr. Pick's advertisement is one for the bindery, F.J. Pfister, directly beneath.

Signed limited edition, number 402 of 750 copies signed by the artist, this copy with an original ink drawing on the half-title, signed and dated "Arthur Rackham 7 May, 1931". The drawing measures approximately 150 x 85 mm and shows Gulliver in Lilliput with two Lilliputians mounted on horses at his feet. Rackham first illustrated Swift's satire in 1900 (published with a colour frontispiece and 11 black and white drawings). Rackham reworked the drawings for a new edition in 1909, adding colour. The signed limited edition included an additional colour plate, "The Lilliputian tailors measure Gulliver for a new suit of clothes", not included in the trade edition. The signed limited edition was published by Dent in the UK and Dutton in the US. This copy carries the Dutton imprint on the spine although the Dent device is present on the front cover. Copies of the American binding with an original ink drawing are rare. Latimore & Haskell, pp. 32-33; Riall, p. 91. Quarto. Original white cloth, lettering on spine and front cover in gilt, publisher's device on front cover in gilt, top edge gilt, others untrimmed, illustrated endpapers in gilt, original dark red ties. Housed in a custom folding black cloth box with paper spine. Colour frontispiece and 12 colour plates mounted on white paper, with tissue guards, black and white illustrations in the text, all by Arthur Rackham. Ownership signature to front pastedown. Some very light finger-soiling to binding but remarkably bright, some minor foxing and light browning, minor damp-staining to lower edge; a near-fine copy.

Deluxe edition, each one of 150 copies printed on handmade paper, comprising the complete "Haddon Hall Library" of sports and other country pursuits. The series was also published in a trade edition and, in 1907, a "popular edition". Featuring early illustrative work by Arthur Rackham, there are a number of tailpieces in which the artist's future style is easily detected. A chapter on cricket in Out-Door Games, for example, concludes with two Rackham insects, both showing hands with fingers, and one wearing a cloth cap. The individual volumes comprise: DEWAR, George A. B. Wild Life in Hampshire Highlands (1899), number 24 of 150 copies; GREY, Sir Edward. Fly Fishing (1899), number 24 of 150 copies; HOLE, S. Reynolds. Our Gardens (1899), signed by the author, number 24 of 150 copies; NISBET, John. Our Forests and Woodlands (1900), number 24 of 150 copies; PAGET, J. Otho. Hunting (1900), number 24 of 150 copies; SELOUS, Edward. Bird Watching (1901), number 24 of 150 copies; LYTTLETON, the Hon. R. H. Out-Door Games, Cricket & Golf (1901), number 24 of 150 copies; SHAND, Alexander Innes. Shooting (1902), number 24 of 150 copies; and TOD, W. M. Farming. With illustrations by Lucy Kemp-Welch (1903), number 111 of 150 copies. The first eight volumes carry the bookplate of Sir George White (1854-1916). He was influential in the construction of electric tramways and later founded a company for the commercial manufacture of aircraft. Latimore & Haskell, p. 96; Riall, p. 233. 9 separately issued works, octavo. Original vellum over bevelled boards, covers and spines decoratively blocked in gold, pictorial endpapers, red silk bookmarks, untrimmed edges. Frontispieces and plates with captioned tissue guards. Cover designs, pictorial endpapers, chapter heads and tailpieces by Arthur Rackham. Bookplates of Sir George White to front fixed endpapers of all but the final volume. Some light soiling to vellum, as usual, vellum of final volume toned, foxing to edges and endpapers, some internal hinges starting, minor worm hole to vol. 4, occasional offsetting and foxing; a very good set.

First edition thus, and third overall, one of 1,600 unnumbered copies, retaining the scarce jacket. This was Dent's final edition, entirely reset, and enlarged with two drawings (pp. xj and lvj) and one additional chapter heading (p. 530) never before printed. This edition also includes a new foreword by the Scottish newspaper editor Aymer Vallance (1892-1955). First published in two volumes in 1893, Morte Darthur was Beardsley's first major commission and the book that launched what has come to be known as the "Beardsley look" (Gillon, p. IV). In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the 20-year-old Beardsley to produce an edition of Le Morte D'Arthur. The 351 designs appearing in the first edition required 18 months for the artist to complete. Bored with the project, Beardsley at last refused to complete Dent's original commission of 500 drawings. Of this work, John Lewis states: "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984. Large quarto. Original green cloth over bevelled boards, spine lettered in gilt, spine and front cover stamped in gilt with floral patterns, top edge gilt, largely uncut. With dust jacket. Frontispiece, 21 plates, illustrations in text throughout. Cloth and gilt bright, a few spots of foxing to lower edge; the jacket with minor fading to spine panel, small chip and couple of short tears to edges, overall a remarkably clean and fresh example, unclipped; a near-fine copy in like jacket.

Leather Bound. Condition: Very good. Dust Jacket Condition: Very good. Arthur Rackham (illustrator). Large Paper Edition. Arthur Rackham. Large Paper Edition. Leather Bound. H: 11", D: 8 1/4", W: 2 1/4" 1 Volume. Jonathan Swift, Gulliver's Travels. Large Paper Edition. Bound in full navy morocco with ornate gilt-tooled depictions on the cover and raised band spine. All of the edges are gilt with marbled endpapers. Signed by the artist. This edition is limited to 750 copies, this being no. 419. Colored illustrations by Arthur Rackham. London & New York: J.M. Dent & Co. and E.P. Dutton & Co., 1909.

First Fairfax-Muckley edition, one of 100 large-paper copies on handmade paper, in a bright example of the original cloth. The edition was intended as a stylistic companion to Dent's edition of Le Morte d'Arthur (1894-95), illustrated by Aubrey Beardsley, and as a competitor to the George Allen edition of The Faerie Queene, illustrated by Walter Crane and published the same year. Fairfax-Muckley (1862-1926) was an influential leader of the arts and crafts "Birmingham School", having studied painting and drawing at the Birmingham School of Art in the early 1880s. A 1901 profile by the Society of Designers declares that he "has always had a strong bent towards the straightforward methods of the early painters. as witness the beautiful designs for his well-known edition of the 'Faerie Queene,' which fully express his natural admiration of the early Italian work" (p. 171). Dent commissioned Beardsley and Fairfax-Muckley to illustrate his deluxe arts and crafts publications in an effort to emulate the success of the Kelmscott Press. This edition also comprised a further 1,200 copies on ordinary paper. Society of Designers, 'A Designer of the Birmingham School', The Artist: An Illustrated Monthly Record of Arts, Crafts and Industries, 1901. 3 volumes, large octavo. Original red cloth over bevelled boards, covers lettered and decorated in gilt, top edges gilt, others uncut, largely unopened, red silk bookmarkers. Woodcut frontispieces and title pages, 22 woodcut illustrations (several double-page), woodcut initials, head- and tailpieces. Extremities rubbed, bookmarkers detached and loosely inserted in vols. I and III, lacking in vol. II, sporadic and mainly marginal faint toning to contents, occasional marks, but generally bright and clean. A very good set.

40 volumes octavo 8 1/2 x 5 1/2 inches - handsomely leather bound in contemporary half morocco by Blackwell, raised bands, gilt in compartments, marbled boards, top edges gilt. Uniformly faded to brown. Some general light spotting but a very good sound set. Illustrated with a frontispiece to each volume and 159 etched plates. Limited edition of 1200 copies this numbered 7. TEXT IN ENGLISH. This edition complete. Honoré de Balzac (1799 1850) was a French novelist and playwright. The novel sequence La Comédie humaine, which presents a panorama of post-Napoleonic French life, is generally viewed as his magnum opus. Bookplate of Alexander Stone.

Contemporary half blue calf, with publisher?s cloth. Gilt tooling on upper and lower board. Spine in six compartments of raised bands with gilt ruling and gilt decorative devices. Gilt title on red calf label on 2, gilt title on green calf label on 4. , A splendid series of Jane Austen?s most notable books. , Size : 8vo (189x124mm), Volume : Six volumes A stunning and handsome set. Text clean and crisp.

First Beardsley edition, one of 1,500 copies on ordinary paper, bound from the original twelve monthly instalments published from June 1893 to mid-1894, and with the original wrappers bound in. There were also 300 copies printed on Dutch handmade paper. This was Beardsley's first major commission and the book that launched the "Beardsley look" (Gillon, p. IV). "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory. Although his illustrations for the Morte established Beardsley as the voice of the 1890s, he was until that time largely an unknown young artist. La Morte Darthur proved to be an immediate sensation upon publication and the impact of Beardsley's Arthurian illustrations was tremendous. Today, Beardsley's illustrations for the Morte, which constituted almost half his lifetime's artistic output, survive as the first example of modern Arthurian book illustration, and they remain arguably the best experimental visual reinterpretation of the Arthurian world. With their bold lines, strong visual themes, and numerous memorable but unconventional details, the Morte 'pictures' (which is how Beardsley himself referred to them) created an important - although admittedly idiosyncratic - symbology and iconography. Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (Lupack, pp. 75-91). "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984; Barbara Tepa Lupack, Illustrating Camelot, 2008. 2 volumes, large quarto (239 x 190 mm). Contemporary brown half morocco, spines with gilt-tooled raised bands, gilt lettering in compartments, brown cloth sides ruled in gilt, marbled endpapers, top edges gilt, others untrimmed, red silk bookmarkers. Engraved frontispiece to each volume, 18 wood-engraved plates (including five double-page), some retaining tissue guards, numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Bookplate on front pastedowns of Robert Peel Sheldon, dated September 1893 and designed by himself (R.P.S. Fecit); Sheldon was an English collector, and perhaps the director of Cabrera Mines, Ltd. Spines faded, minor rubbing to extremities, bookmarkers detached and loosely inserted in each volume, occasional spot of foxing or small faint mark to contents, otherwise internally clean. A very good set.

A Fine Cedric Chivers Vellucent Binding LAMB, Charles. CHIVERS, Cedric, binder. BROCK, Charles E., illustrator. The Essays of Elia. [and] The Last Essays of Elia. With an Introduction by Augustine Birrell and Illustrations by Charles E. Brock. London: J.M. Dent & Co., 1900. Two volumes bound in one. Small octavo (6 15/16 x 4 1/16 inches; 177 x 103 mm.). xxii, 294, [1, imprint], [1, blank];, xii, 254, [1, imprint], [1, blank] pp. Two engraved frontispieces and one hundred and sixty-two black & white illustrations, including decorative head and tailpieces, all by Charles E. Brock. Bound ca. 1906 in a fine pastel "vellucent" binding by Cedric Chivers (stamp-signed in gilt on rear lower turn-in), with a delicately hand-painted 'Art Nouveau' floral design. The front cover with three red flowers and a green vine design enclosing the title "The Essays And The Last Essays of Elia. Charles Lamb". Lower cover with a similar design but with just one red flower. Smooth spine similarly decorated and lettered in watercolor and gilt, gilt ruled turn-ins, mottled pale-green liners and end-papers, all edges gilt. Neat ink inscription dated "Xmas 1906" on front blank. A very fine example housed in the original fleece-lined, green cloth slipcase (missing the movable spine panel). This binding is No. LXXXV on page 34 of the Cedric Chivers catalog "Books in Beautiful Bindings" "In his large bindery at Portway, Bath, Chivers employed about forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour vellum for book decoration, and to work on embossed leather. These five were Dorothy Carleton Smyth, Alice Shepherd, Miss J.D. Dunn, Muriel Taylor, and Agatha Gales. Most Vellucent bindings were designed by H. Granville Fell, but the woman most frequently employed for this kind of work was probably Dorothy Carleton Smyth" (Marianne Tidcombe, Women Bookbinders 1880-1920, p. 86). According to Bernard Middleton, the first vellucent binding dates to 1903. In these bindings the painting is on paper under the vellum, rather than on the underside of the vellum as in Edwards of Halifax bindings (History of English Craft Bookbinding Technique, pp. 146-147). Essays of Elia is a collection of essays written by Charles Lamb; it was first published in book form in 1823, with a second volume, Last Essays of Elia, issued in 1833 by the publisher Edward Moxon. The essays in the collection first began appearing in The London Magazine in 1820 and continued to 1825. Lamb's essays were very popular and were printed in many subsequent editions throughout the nineteenth century. The personal and conversational tone of the essays has charmed many readers; the essays "established Lamb in the title he now holds, that of the most delightful of English essayists." Lamb himself is the Elia of the collection, and his sister Mary is "Cousin Bridget." Charles first used the pseudonym Elia for an essay on the South Sea House, where he had worked decades earlier; Elia was the last name of an Italian man who worked there at the same time as Charles, and after that essay the name stuck. Critics have traced the influence of earlier writers in Lamb's style, notably Sir Thomas Browne and Robert Burton- writers who also influenced Lamb's contemporary and acquaintance, Thomas De Quincey. Some of Lamb's later pieces in the same style and spirit were collected into a body called Eliana. Charles Lamb (1775-1834) was born in London in 1775. He studied at Christ's Hospital where he formed a lifelong friendship with Samuel Taylor Coleridge. When Lamb was twenty years old he suffered a period of insanity and was confined to a psychiatric hospital. His sister, Mary Ann Lamb, had similar issues and in 1796 murdered her mother in a fit of madness. Mary was confined to an asylum but was eventually released into the care of her brother. Lamb became friends in London with a group of young writers who favored political reform including Percy Bysshe Shelley, William Hazlitt, Henry Brougham, Lord Byron, Thomas Barnes and Leigh Hunt. In 1796 Lamb contributed four sonnets to Coleridge's Poems on Various Subjects (1796). This was followed by Blank Verse (1798) and Pride's Cure (1802). Lamb worked for the East India Company in London but managed to contribute articles to several journals and newspapers including London Magazine, The Morning Chronicle, Morning Post and the The Quarterly Review. He is best known for his pseudonymous essays for London Magazine, collected and published as Essays of Elia (1823), and for the popular evergreen Tales From Shakespeare (1807), his collaboration with his sister.

xvii,379 pp. Large octavo. (258 X 190 mm.) Bound in the original vellum binding with beveled boards. Boards slightly bowed as usual. Spine and front board with black line illustrations and highlighted with gold stamping. Top edge gilt. Fore edge and bottom edge untrimmed. Original endpapers. A touch of foxing on the fore edge. Single attractive bookplate on the front free endpaper. Limitation leaf and half title. Frontispiece. Illustrated title page. 22 other full page illustrations printed in 2 colours on India paper and mounted to the page. All with original tissue guards. Original silk bookmark. The very odd touch of foxing otherwise a very clean copy. Copy 15/225. The spectacular illustrations by King are based on very fine and detailed pen and ink drawings. In addition there are 36 detailed ornamental head pieces and tail pieces. A beautiful book and certainly a masterpiece by King.

38 vols. 8vo. 38 vols. 8vo. Ursule Mirouet (1895), La Grande Breteche and Other Stories (1896), The Rise and Fall of Cesar Birotteau (1896), Beatrix (1896), The Chouans (1896), The Unknown Masterpiece and Other Stories (1896), A Harlot's Progress Volume I (1896), A Harlot's Progress Volume II (1896), The Peasantry (1896), The Country Parson (1896), Modeste Mignon (1896), Pierette and the Abbe Birotteau (1896), The Atheist's Mass and Other Stories (1896), A Distinguished Provincial at Paris (1897), The Unconscious Mummers and Other Stories (1897), (WITHOUT):About Catherine de Medici (1897), The Lily of the Valley (1897), A Daughter of Eve and Letters of Two Brides (1897), The Seamy Side of History (1897), Lost Illusions (1897), A Marriage Settlement and Other Stories (1897), Cousin Pons (1897), Seraphita (1897), The Thirteen (1897), Parisians in the Country (1897), At the Sign of the Cat and Racket (1897), The Jealousies of a Country Town (1898), The Middle Classes (1898), The Member for Arcis (1898), A Father's Curse (1898), A Gondreville Mystery (1898), A Princess's Secrets (1898), The Country Doctor (1900), The Quest of the Absolute (1901), Old Goriot (1903), The Wild Ass's Skin (1903), A Bachelor's Establishment (1904), Eugenie Grandet (1905), A Woman of Thirty (1907). Bookseller Inventory # 101962. Bound in three quarters red morocco, t.e.g. Bookplate. About fine.

Hardcover. Condition: Fine. Limited Edition. FIRST RACKHAM EDITION. 4to. (11.5 x 8.8 inches). LIMITED EDITION, SIGNED BY RACKHAM. One of only 750 numbered copies. Beautifully illustrated with 13 mounted colour plates, the frontis with a tissue guard, two full page black and white plates, and 31 line drawings as chapter headings and tail pieces. Publishers white cloth with gilt lettering and illustration to front board. Spine lettered in gilt. Two sets of rose coloured silk ties, still present. Top edge gilt, the others untrimmed. Decorative endpapers, printed on vellum style paper with a blue tint, with gold ink. Red silk book marker. A very small bump to the top outer corner of the front board otherwise a fine and bright copy. Uncommon in such nice condition. --- This deluxe edition includes one extra colour plate, an image of the Yahoos, that wasn't included in the regular trade edition. --- Riall. Bibliography of Arthur Rackham. Page 91 (incorrectly listing fewer line illustrations and the wrong title of the extra plate). --- More photos available on request. Signed by Illustrator(s).

200 x 158 mm. (8 x 6 1/4"). li, [iii], 128 pp., [1] leaf.Edited and with an introduction by Israel Gollancz. ELEGANT DARK NAVY BLUE MOROCCO, GILT, BY DE SAUTY (stamp-signed in gilt on front turn-in), WITH ELABORATE GILT FLORAL TOOLING AND VERY MANY ONLAID CITRON MOROCCO FLOWERS forming a quatrefoil design on lower cover, and a broad, encroaching frame on the upper cover, raised bands, spine gilt in compartments with gilt floral designs, gilt lettering, all edges gilt (expertly rejointed). With numerous black & white illustrations (including some full-page and a few double-page) throughout by Robert Anning Bell. â Spine slightly dulled, text a bit browned at edges because of paper quality, otherwise fine, the beautifully decorated covers lustrous and without signs of use. This charming illustrated edition of Shakespeare's fanciful comedy comes in a beautifully decorated binding that calls to mind the floral bower where the fairy Queen Titania entertains Bottom in "Dream's" unforgettable play-within-a-play. In this printing of the work, the great Shakespeare scholar Israel Gollancz (1863-1930) presents "this wonderful fairy-tale told three-hundred years ago by the greatest of story-tellers" without "those terrible Notes" added by Johnson, Theobald, and Steevens. A strong advocate for making Shakespeare accessible to a wider public, he offers in an introduction a brief synopsis of the action, including a diagram explaining the shifting affections between Hermia, Lysander, Demetrius, and Helena, and provides a glossary of unfamiliar or antiquated words at the end. The reader is free to enjoy the beauty of the poetry, accented by Bell's delightful illustrations. The enjoyment of our copy is particularly enhanced by its wonderfully decorated binding. One of the most accomplished binders at work in the first third of the 20th century, Alfred de Sauty (1870-1949) was the son of an engineer who had studied that discipline himself before taking up bookbinding, and he brings an engineer's precision to his handiwork. He not only possessed enormous technical skill (he made his own tools), but also had a refined imagination for design. He began his career as a finisher for the renowned Riviere bindery, and after leaving their employ in the late 1890s, he worked as a designer at the Hampstead bindery; in her essay "The Mysterious Mr. De Sauty," binding authority Marianne Tidcombe observes, "De Sauty was responsible for some of the best designs of the two binderies, and carried out all the stages of the craft himself, from sewing to the designing and exceptionally delicate tooling of the covers." Nixon and Prideaux both praise the brilliance of his finishing skills. In 1922, De Sauty left England for America: he had been recruited to become the manager of the Extra Bindery at RR Donnelly Co. in Chicago, where he did much to raise the standards of hand bookbinding in the United States.

Hardcover. Condition: Fair. No Jacket. Beardsley, Aubrey (illustrator). Limited/Numbered. Beardsley's first illustration commission. Two volume set; #40 of 1800; both volumes similar condition & protected in card wraps; Decorative boards are darkening; gilt design sharp & clear; rubbed at edges; no longer attached to textboxes. Initial 1/2 p are loose from binding. All illustrations present; pages sharp & clean throughout.Additional details upon serious inquiry. May require additional postage.

Three Quarters Leather. Condition: Very Good binding. Ten 16mo. volumes; in three quarter blue morocco double ruled at the edges, over marbled paper boards with matching endpaper; top edges gilt; the spines with raised bands, lettered in gilt with ornaments in the Egyptian style; the several illustrations by C. E. Brock in each volume, with their soft pastel colors, seem particularly well suited to Jane Austen's writings. Very Good binding.

Cloth. Condition: Very Good. C. E. Brock; H. M. Brock (illustrator). A complete ten volume set of the novels of beloved Regency era author Jane Austen. Illustrated throughout in colour. A complete ten volume, mixed edition, set of the novels of Jane Austen. With six novels bound in ten volumes, illustrated in colour by C. E. and H. M. Brock.A mixed fifth and sixth edition set, present here are:'Sense and Sensibility' complete in two volumes, in the 1906 fifth edition. Six colour plates to volume I, seven to volume II. Collated, complete.'Pride and Prejudice', complete in two volumes, in the 1905 sixth edition. Six colour plates to volume I, six to volume II. Collated, complete.'Mansfield Park', complete in two volumes, in the 1909 fifth edition. Six colour plates to volume I, six to volume II. Collated, complete.'Emma', complete in two volumes, in the 1907 sixth edition. Six colour plates to volume I, six to volume II. Collated, complete.'Northanger Abbey', complete in one volume, in the 1904 fifth edition. Illustrated with six colour plates. Collated, complete.'Persuasion', complete in one volume, in the 1909 sixth edition. Illustrated with six plates, collated, complete.Contemporary inscriptions to front free endpapers.Edited by Reginald Brimley Johnson, this set was first published in 1892. In the publisher's original cloth binding. Light bumping to back strip head and tail, with some discolouration. Light marks to front board of Pride and Prejudice volume I, with significant discolouration and tide mark to fore edge of front board of Emma volume II. Otherwise, externally smart. Light spotting to fore edge of text block. Contemporary inscriptions to front free endpapers. Internally, firmly bound. Pages generally clean and bright, with only the odd light spot. Very Good. book.

Hardcover. Condition: Near Fine. Brock, C. E. (Charles Edmund) (illustrator). First Edition, Thus. A near fine, bright volume in the publisher's highly decorative vellum binding, extravagent gilt-decoration to front board and spine (to Brock's design), the boards are a little bowed as is often the case with vellum. Tissue-guarded, colour frontispiece plate, a total of 24 colour plates, no foxing, internal hinges all good, endpapers toned and cracking to the paper only on the front hinge, but to no detriment to the casing strength. A near fine copy in a particularly attractive binding of this very rare edition. Size: 8vo. Book.

Hardcover. Condition: Good. Limited Edition. London: J. M. Dent and Co., 1893, Numbered, Limited Edition. Twelve volume set, complete, in a distinctive binding for Henry Arthur Johnstone, with gilt titles and gilt crossed swords centre piece to the front boards, floral gilt decoration to the spine and the front board, spine ties visible to the top and bottom corners of the joints. Pig skin blind tooled end papers and gilt top edges. Numbered, limited edition set, Only 150 Copies Of This Edition Have Been Printed For Sale In England, and 100 In America (acquired by Messrs. Macmillan & Co.), This is Number 45 of 150 . Vol. I The Adventures of Joseph Andrews and His Friend Mr. Adrian Adams xlvi, 168pp, frontispiece and three illustrations. Vol. II The Adventures of Joseph Andrews and His Friend Mr. Adrian Adams viii, [vi], 220pp, frontispiece and two illustrations, with a double page Reduced Facsimile of the Assignment of Copyright in Joseph Andrews to the front of this volume. Vol. III The History of Tom Jones a Foundling xxi, 266pp, frontispiece and two illustrations. Vol. IV - The History of Tom Jones a Foundling x, [ii], 272pp, frontispiece and two illustrations. Vol. V - The History of Tom Jones a Foundling x, [ii], 286pp, frontispiece and two illustrations. Vol. VI The History of Tom Jones a Foundling x, [ii], 283pp, frontispiece and two illustrations. Vol. VII Amelia xxi, 225pp, frontispiece and three illustrations. Vol. VIII Amelia ix, [iii], 225pp, frontispiece and two illustrations. Vol. IX Amelia viii, [iii], 235pp, frontispiece and two illustrations. Vol. X The History Of The Life Of The Late Jonathan Wild xx, 227pp, frontispiece and two illustrations. Vol. XI A Journey From This World To The Next and a Voyage Lisbon (entitled Miscellanies to the spine) xvi, 278pp, frontispiece and two illustrations. Vol. XII The Life And Death of Tom Thumb The Great and Some Miscellaneous Writings [iv], 142pp, frontispiece and two illustrations. Provenance from the Library of Henry Arthur Johnstone. Approximately 8 inches tall. Condition Report Externally Spine good condition variation in colour throughout with some darkening to Vol V and rubbing to the rear hinge, gilt titles, volume numbers and year of publication to all volumes, very small chip to the top with loss to the top of Vol. IV. Joints good condition strong and sound, some wear and rubbing with a typical spine ties visible to the top and bottom corners of the joints, minor wear and loss of colour to Vol. V. Corners good condition minor wear. Boards good condition with the typical crossed swords crest and Johnstone s initials to the front boards, the year at the base with floral decoration to the top, gentle variation in colour to both boards of all volumes, minor marks. Page edges good condition top edges gilt, others gently tanned. See above and photos. Internally Hinges good condition all intact and secure. Paste downs good condition pig skin paste downs. End papers good condition blind stamped Ex Libris decoration for Henry Arthur Johnstone, subsequent end papers tanned. Title good condition gently tanned with tissue guarded frontispiece to each volume. Pages good condition gently tanned throughout with minor foxing, tissue guarded illustrations. Binding good condition attractive, unique Henry Arthur Johnstone binding. See photos. Publisher: see above. Publication Date: 1893 Binding: Hardback.

Cloth. Condition: Very Good. William C Cooke, F C Tilney (illustrator). Limited Edition. A very good to near fine set of the limited large paper edition of Austen's novels illustrated by William C Cooke. 150 sets were printed, of which 100 were for England and 50 for America. This set is no 66. This edition, edited by Reginald Brimley Johnson is the first Austen edition with commentary, and the first volume of Sense and Sensibility contains a biography of the author. The set originally belonged to Andrew Pears of Spring Grove in Isleworth and has his armorial bookplate with some shelf notes to front pastedown endpaper of each volume. Andrew Pears was a member of the Pears soap family, being a great grandson of the inventor of the transparent soap, and was a Liberal politician. He was responsible for the renovation and enlargement of Spring Grove. The set is bound in a light brown buckram cloth with gilt titles to spines. The spines and board edges have darkened and the boards have some colour variation. All are sound, clean and bright with slight cocking of the spines to the front. Corners with relatively little wear and slight turning. The paper used is high quality and watermarked 'Spalding'. Side and bottom page edges are untrimmed. All have a tissue-guarded frontispiece ( in the first volume - Sense and Sensibility part I, this is a portrait of Jane Austen by Johann Zoffany - and in the remainder the frontispieces are illustrations by Cooke) and a decorative title. All have 2 further Cooke illustrations with tissue-guards bar Sense and Sensibility part I which has 3. Each novel has half title to the set; title; note of publication and limited edition number; and a preface by Brimley Johnson. All the books are in very good to near fine condition. In detail - Vol I, Sense and Sensibility Part I: pp xxxii; text 1-163; 4 plates. Vol II, S&S Pt 2: pp 1-218; 3 plates. Vol III, Pride and Prejudice Pt 1: vii; text 1-191; 3 plates. Vol IV, P&P Pt 2: pp 210; 3 plates. Vol V, Mansfield Park Pt I: vi; text 1-245; 3 plates. Vol VI, MP Pt 2: text 1-249; 3 plates. Vol VII, Emma Pt I: vi; text 1-245; 3 plates. Vol VIII, Emma pt 2: text 1-258; 3 plates. Vol IX, Northanger Abbey: v; text 1-245; 3 plates. Vol X, Persuasion: iv; text 1-261; 3 plates. Contents exceptionally clean with the occasional small mark and there is light toning to free endpapers. There is some spotting at the uncut page edges - generally the side edge. All the plates are tissue guarded - some with guard attached at the top, but not the bottom. Persuasion has a couple of pinprick indentations at the bottom of the back board and a small bump at the top spine end at the joint with the back board. Board size: 20.7 cm x 13 cm. Please enquire if you would like to see additional images.

Cloth. Condition: Good. xi, 233 pages, with one leaf of adverts at rear. Considerable soiling to cloth. Top edge gilt. Personal bookplate to front pastedown. Offsetting to front and rear free endpaper and light foxing to adjacent leaves. binding is sound. Overseas shipping at cost: please inquire.

Octavo, pp. [i-vii] viii 1-251 [252: blank], title page printed in orange and black, original pictorial red buckram over bevel-edged boards, front and spine panels stamped in gold, t.e.g., fore and bottom edges untrimmed. First edition, variant binding (possibly later) with gilt angel (designed by Arthur Rackham) on front panel. Presentation copy with inscription in Wells's hand on the half title page: "With the Author's kind regards." Bookplate of Richard Le Gallienne (1866-1947), English literary critic, novelist, and man of letters, affixed to front paste-down. Wells reviewed Le Gallienne's first novel, THE QUEST OF THE GOLDEN GIRL: A ROMANCE (1896), which he called "a pretty piece of work." THE WONDERFUL VISIT is a dark satire based on a remark attributed to John Ruskin, that if an angel came to earth someone would be sure to shoot it. ". an underrated work that deserves to be more widely read." - Survey of Modern Fantasy Literature V, pp. 2162-4. Barron (ed), Fantasy Literature 2-155. Bleiler, The Guide to Supernatural Fiction 1675. Locke, A Spectrum of Fantasy, p. 228. Schlobin, The Literature of Fantasy 1096. Bleiler (1978), p. 205. Reginald 15116. Currey (2002), p. 426 (binding B). Hammond B2. Wells 5. Wells Society 5. Wells and Hammond have the binding information reversed: copies of this book with the angel on the front cover are not advance copies and are far more common than those without the figure. Binding leaned, a nearly fine, bright copy. (#142816).

Octavo, pp. [i-vii] viii 1-251 [252: blank], title page printed in orange and black, original pictorial red buckram over bevel-edged boards, front and spine panels stamped in gold, t.e.g., fore and bottom edges untrimmed. First edition, variant binding (possibly later) with gilt angel (designed by Arthur Rackham) on front panel. A dark satire based on a remark attributed to John Ruskin, that if an angel came to earth someone would be sure to shoot it. ". an underrated work that deserves to be more widely read." - Survey of Modern Fantasy Literature V, pp. 2162-4. Barron (ed), Fantasy Literature 2-155. Bleiler, The Guide to Supernatural Fiction 1675. Locke, A Spectrum of Fantasy, p. 228. Schlobin, The Literature of Fantasy 1096. Bleiler (1978), p. 205. Reginald 15116. Currey (2002), p. 426 (binding B). Hammond B2. Wells 5. Wells Society 5. Wells and Hammond have the binding information reversed: copies of this book with the angel on the front cover are not advance copies and are far more common than those without the figure. A fine "like new" copy. Accompanied by an important autograph letter signed (ALs) from Wells to his publisher, J. M. Dent, dated 24 September 1895, 4 pages on folded octavo sheet embossed "Lynton, / Maybury Road, / Working." A detailed discussion of Wells's financial arrangements with Dent for THE WONDERFUL VISIT. Wells discusses Dent's discount agreement with a retail bookseller and how is affects his royalty. "I'm afraid I can't accept 15% on what Smith's pay you, as you suggest, anxious as I am for the advertisement in their stalls . Publication at a nett price is entirely to their advantage (saving them the competition of the discount bookseller) & I certainly think it an unfair abuse of their monopoly for them to insist on terms that will not give you a profit & enable you to pay my royalty ." In the letter Wells mentions his financial arrangement with Heinemann for THE TIME MACHINE, and his "next" book, THE ISLAND OF DOCTOR MOREAU. Throughout his writing career Wells pestered his publishers over contract terms and commissions. This letter is a fine example of the sharp watch Wells kept over his financial arrangements with publishers. Approximately 240 words. The letter has two pin holes at top left corner; it is otherwise in fine condition. Book and letter enclosed in fleece lined cloth folder and quarter maroon pebbled morocco and red cloth slipcase, spine panel lettered and tooled in gold. (#80389).

First Brock editions; 10 volumes, small 8vo (180 x 120 mm); illustrated with numerous colour plates by the Brock brothers, edited by R.B. Johnson, some minor spotting and offsetting, mostly to some endpapers and the usual slight age-toning to paper but otherwise very good plus; publisher's grey cloth decorated in blue and gilt, top edges gilt, others uncut, even toning to spines, some very minor soiling, the only one of note is a small stain to the rear board of vol. I of Emma, otherwise, near-fine A most handsome set of this very desirable edition, in exceptionally good condition. C.E. Brock originally illustrated Pride and Prejudice for Macmillan in 1895, with black and white line drawings. He then collaborated with his brother H.M. Brock on this set for Dent in 1898.

6 vols, 8vo (195 x 135 mm); half-titles, colour frontispieces and plates by Charles E. Brock, decorative title-pages in red & blue; some very minor spotting to a fear leaves but in the main, very clean and bright; modern half crimson morocco gilt, over cockerel paper covered boards, matching endpapers and all edges gilt, fine. A very attractively illustrated and bound set of the major works of Jane Austen (comprising Emma, Mansfield Park, Persuasion, Pride & Prejudice, Northanger Abbey, Sense & Sensibility).

Hardcover. Condition: Near Fine. No Jacket. 1st Edition. 1st edition. Near fine copy. No DJ. Minor staining to grey cloth boards. Tight square binding. Previous owner's stamp to free endpaper. Gilt fore-edge. Gilt title to spine. Decorated front board in red.