London: Sands: 1942. Pink card covers. Originally intended to have a dust wrapper, so no titles on the card covers at all. Gift inscription to the front end paper. Frontis photograph and 7 further photographic plates. (Lacks one photograph) The pink card is clean and tidy, with just a touch of darkening to the edges. White mark to the rear panel. Inside, the book is clean and tidy, but on slightly darkened economy wartime paper. Gift inscription to the front end paper (Nov. 1942). 8 of 9 photographs present (lacks "Rags and tatters". An account of dogs that the author has known, and characters who have been involved with dogs. 102 pages.

London: Harrison and Co, 1780. First Thus (Harrison & Co. edition). Four volumes bound as one. In quarter leather with mottled brown card boards. Contemporary titles and gilt rules to the spine. The binding is in good, sound condition, with a little bumping and rubbing only. Frontispiece and a further four engraved plates (five in total). Internally clean and tidy throughout, in very good condition. iv, 299 pages. 230 x 140 mm (9 x 5½ inches).

San Francisco: Straight Arrow Books, 1974. First Edition. Bound in publisher's original full black cloth with the title stamped in white on the spine. In original illustrated dust jacket. Some wear and a small tear to top right of dust jacket, otherwise in quite a good condition and unclipped. Book is clean inside and in a good condition. 310 x 235 mm (12¼ x 9¼ inches).

London: Hamish Hamilton, 1960. Full-page caricature illustrations by Sokol. Unpaginated, text and then 60 b/w plates, printed on recto only. In original unclipped dust jacket. 300 x 235 mm (11¾ x 9¼ inches). The dust jacket is aged / toned, and has some edge wear / chipping - mainly to the top. Internally lightly toned to whole pages, commensurate with the age of the book. In his introduction's conclusion, Steve Allen says: I promise him (the reader) that once he meets Sokol's characters he will not easily forget them. He will go back to them again and again, in much the same way he goes back to pictures in a family album. And probably for the same reasons.

The Hague: Servire Press, 1932. First Edition. Hardback in dust jacket. Orangey yellow boards with grey cloth spine. Top edge with publisher's blue stain. Authors and poets included range from Ernest Hemingway to Ezra Pound, William Carlos Williams to Gertrude Stein, and many more. This would be the first appearance of Henry Miller in a book. The dust jacket is fragile and has some tears and small losses to the edges, and spine of dust jacket has a split, but now protected by a clear wrap. The book is very clean and tidy both inside and out with no markings. Prelims are age toned, but clean. Overall a good copy. xi, 475 pp. 235 x 165 mm (9¼ x 6½ inches).

London: John Murray, 1889. 1st Edition. Two coloured folding maps, 24 plates, frontis and four coloured lithographs. Complete. Recent green library buckram (but does not appear to be a library copy). Internally clean and tidy, but one plate is almost detached. Otherwise in very good condition. XX, 396 pp. 230 x 155 mm (9 x 6 inches).

London: Fire Dog Mothers, 1991. Fabulous collaborative work, produced in a limited edition of 200 numbered copies. In its original stapled colour illustrated soft covers.

London: T. & I. Egerton, 1790. Lovely sepia aquatint taken from 'A picturesque tour through Holland, Brabant and part of France; made in the autumn of 1789', published in 1790. In a lovely cream coloured mount. Ready to frame. Visible image size: 130 x 165 mm (5 x 6½ inches). Actual size in mount: 260 x 280 mm (10¼ x 11 inches).

London: Ric. Chiswell at the Rose and Crown, 1688. First edition. Pamphet. Disbound. Title, preface, a dedication to the Queen Regent (written by "the Maids of St Joseph") the text of the prerogatives. This is in fact an anti-catholic pamphlet from William Clagett. William Clagett (1646–1688) was an English clergyman and pamphleteer, particularly active during the reign of James II. As well as his own pamphlets, he would translate particularly colourful Continental Catholic material, with the aim of making the Catholics an object of ridicule. This is one of those pieces.
A nice copy of this pamphlet. Apart from a a few slight marks, the pamphlet is clean and crisp throughout and well bound together.[ii] i-xv, [i], [vi], 1-20. pp. WING A108.

London: James Bettenham, for George Hawkins, 1742. First edition. Hardback in full brown calf with raised band and gilt titles and raised bands to spine. Sarah Churchill Dowager Duchess of Marlborough was a close friend of Anne the first Queen of the newly formed sovereign state of Great Britain. Boards in very good condition, with just some light rubbing to spine. Inside the pages are lightly age toned, and some minor soiling / finger marking to the title page. Overall in very good shape. 213 x 137 mm (8½ x 5½ inches).

Spain: n/a, 1850. A nice example of a Spanish ambrotype photograph. The image is a 2.5 x 2 inches (quarter plate) glass plate held in a gold coloured soft metal frame (3 inches by 2.5 inches) This in turn is held in a leather backing (with some rubbing). some slight surface scratching to the protective glass and a slight darkening to the outside of the photograph. Came from a Spanish collection.
Ambrotype also known as a collodion positive in the UK, is a positive photograph on glass. Each is a unique original that could only be duplicated by using a camera to copy it. Developed circa 1850, by the mid 1860's Tintype and Albumen photographs had superseded the process

Spain: n/a, 1850. A nice example of a Spanish ambrotype photograph. The image is a 3.25 x 2.5 inches (quarter plate) glass plate held in a gold coloured soft metal frame. some slight surface scratching and a slight "halo effect" to the woman's head. Came from a Spanish collection.
Ambrotype also known as a collodion positive in the UK, is a positive photograph on glass. Each is a unique original that could only be duplicated by using a camera to copy it. Developed circa 1850, by the mid 1860's Tintype and Albumen photographs had superseded the process

Spain: n/a, 1850. An example of a Spanish ambrotype photograph. The image is a 2 x 1.75 inches (quarter plate) glass plate held in a gold coloured soft metal frame (2.5 inches by 2 inches) There is no backing plate, and the black is quite scratched and chipped. There is also a small burn to the woman's face. When held against a white or dark background it is still an attractive image though. Came from a Spanish collection.
Ambrotype also known as a collodion positive in the UK, is a positive photograph on glass. Each is a unique original that could only be duplicated by using a camera to copy it. Developed circa 1850, by the mid 1860's Tintype and Albumen photographs had superseded the process

Spain: n/a, 1850. An example of a Spanish ambrotype photograph. The image is a 2 x 1.5 inches (quarter plate) glass plate held in a gold coloured soft metal frame (2.5 inches by 2 inches) Some slight surface scratching to the image glass. The image is quite dark, and not very distinctive. Came from a Spanish collection.
Ambrotype also known as a collodion positive in the UK, is a positive photograph on glass. Each is a unique original that could only be duplicated by using a camera to copy it. Developed circa 1850, by the mid 1860's Tintype and Albumen photographs had superseded the process

Spain: n/a, 1850. An example of a Spanish ambrotype photograph. The image is a 2 x 1.5 inches (quarter plate) glass plate held in a gold coloured soft metal frame (2 inches by 1.75 inches) with a slightly scuffed leather backing. The image is quite dark, but shows clearly when a light is shone upon it. Came from a Spanish collection.
Ambrotype also known as a collodion positive in the UK, is a positive photograph on glass. Each is a unique original that could only be duplicated by using a camera to copy it. Developed circa 1850, by the mid 1860's Tintype and Albumen photographs had superseded the process