Bristol: Joseph Lansdown & John Mills, 1808. A lovely example of an English Emblem book. Second Lansdown and Mills edition, following the first of 1806. Two works bound as one. Simple half blue leather with dark cloth boards and gilt titles to the spine. The binding is neat, and clean with a couple of marks only. Owner's name and date to the end paper of each title. Emblems moral and divine has a frontis portrait of Quarles, an engraved title, and 79 engraved emblems. Following this (and still part of the the first book) the Heiroglyphics contains 14 plates. Book two - The School of the Heart, has a frontis (the same portrait) engraved title, and 48 plates. Both books are complete. A total of 143 engraved plates + 2 engraved titles. The binding is slightly weak in parts (holding well, but with slight cracking). The first frontis is slightly separating, and the front end paper has been supported with archival tape. A few light marks to pages, and general darkening of the pages, but overall a very attractive example. Pagination: [x], 278., [iv], 154, [viii]. pp. The the end are the translations of the Latin mottos from the School of the Heart. 155 x 105 mm (6 x 4¼ inches). Francis Quarles (1592-1644) was an English poet. He is best known for the Emblems.

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London: Frank Cass and Co. Limited, 1970. A modern reprint of the entire run of this magazine, originally published between 1939 and 1951, and comprising 23 issues bound within five volumes. Poetry London contains poetry and artwork from lots of the avant-garde poets of the day. In a very good. Almost looks unread, but has some finger marks to closed page edges.
Poems by Dylan Thomas, Paul Potts, Laurence Whistler, Louis Macniece, George Barker, Herbert Read, Rayner Heppenstall, Stephen Spender, Walter De La Mare, Dorian Cooke, Lawrence Durrell, Nicolas Moore, D.S Savage, Heinrich Rhys, Charles Madge, David Gascoyne, Clifford Dyment, Ruthven Todd, Idris Davies, Glyn Jones, Lynd Nathan, Maurice Carpenter, and H. G. Porteus, and many others.
Bound in publisher's green cloth with black to spines. Gilt stamped titles to front boards and spines.

London: Macmillan, 1987. First edition. A very nice copy of this book, Holt's third novel, and his first comic work. It is based on the mythology of Wagner's Der Ring des Nibelungen. Clean and neat unclipped pictorial dust wrapper. Fractional handling to the bottom edge. The blue boards of the book itself are in good, clean condition, although there is a little rubbing to the bottom edge of the boards, and slight bumping to top and bottom of spine. Book block is in excellent, clean condition. 218 pages. 21.5cm x 15 cm

. Première édition. Très bel exemplaire de ce livre, le troisième roman de Holt et son premier ouvrage de bande dessinée. Il est basé sur la mythologie de Der Ring des Nibelungen de Wagner. La jaquette picturale est propre et soignée. Une petite manipulation sur le bord inférieur. Les planches bleues du livre sont en bon état, bien qu'il y ait un peu de frottement sur le bord inférieur des planches, et de légères bosses en haut et en bas de la colonne vertébrale. Le corps du livre est en excellent état. 218 pages. 21,5 cm x 15 cm

Londres: Guill. Darres and Claude Du Bosc, 1743. With engraved frontispiece (Frontispiece showing Aesop surrounded by the animals of his fables engraved on copper by Claude Du Bosc) and 100 engraved vignettes in the text by Claude du Bosc. (complete). [19], 45, 238, (2) pp. 4to. 19th Century half calf over marbled boards. Marbled endpapers. Some poem / section numbers are printed incorrectly, but all are present, and all engravings are present. Slight rubbing to the edges of the spine, and a touch of bumping to the boards. The text block is spotless, with the engravings beautifully clean and bright. 260 by 210mm (10¼ by 8¼ inches). This is a scarce London edition. First Latin-French edition of Faerno'’s collection, an English-French edition was published two years before. Gabriele Faerno (d. 1561) was commissioned to compile a selection of Aesopian fables by his protector Pope Pius IV in c. 1550. The collection of 100 fables was published in 1563 only, after Faerno'’s death. Charles Perrault’'s French translation in verses was first published in 1699. His aim was to achieve an ideal combination of closeness to the Latin text with La Fontaine’'s subtle poetry. The present Latin-French edition was in use as a text book at the time. – Bodemann 119.2; Cohen/de Ricci 371; Brunet II, 1160 Avec frontispice gravé et 100 vignettes gravées dans le texte par Claude du Bosc. (Achevée). [19], 45, 238, (2) p. 4 à. Demi veau XIXème sur plats marbrés. Pages de garde marbrées. Certains numéros de poèmes / sections sont imprimés de manière incorrecte, mais tous sont présents et toutes les gravures sont présentes. Légers frottements sur les bords du dos, et une touche de chocs sur les plats. Le bloc de texte est impeccable, avec des gravures magnifiquement propres et lumineuses. 260 par 210 mm (10¼ par 8¼ pouces).
Première édition latino-française de la collection de Faerno, une édition anglais-français avait été publiée deux ans auparavant. Gabriele Faerno (d. 1561) a été chargé de compiler une sélection de fables ésopiennes par son protecteur le pape Pie IV en c. 1550. Le recueil de 100 fables fut publié en 1563 seulement, après la mort de Faerno. La traduction française en vers de Charles Perrault a été publiée pour la première fois en 1699. Son objectif était de parvenir à une combinaison idéale de proximité du texte latin avec la poésie subtile de La Fontaine. La présente édition latino-française était utilisée comme manuel à l'époque. – Bodemann 119,2 ; Cohen/de Ricci 371 ; Brunet II, 1160

London: Sophistocles Press and T. Werner Laurie Ltd, 1920. Limited numbered and signed edition (of 500) for subscribers only. Signed by Beresford Egan to the limitation. Deep green patterned felt covered boards. A little bumping to the corners only. Clean and tidy boards. A touch of nicking to the head of the spine. Internally a fine copy, with no significant defects. Colour imaginary portrait of Baudelaire. Black and green vignette to the title page and similar to 135. The 15 beautiful full page illustrations, vignettes and historiated initials are in black and white. A lovely copy. Text in English. Fabulous layout / space and evocative Art Deco stylised illustrations. 142 [2] pages.

Les Fleurs du Mal includes nearly all of Baudelaire's poetry, written in 1840 and ending with his death in August 1867. "Born in England, Egan was educated in South Africa. After working as a bank clerk, he became sports cartoonist on the Rand Daily Mail in Johannesburg. By the time he returned to England in 1926, his satirical bent was well established. In London, he first became known as a draughtsman and also made his name as a writer. He used many media including oil, watercolour, chalk, scraperboard, gouache and pencil, but mostly he used brush or pen. As his skill increased, he used solid blacks instead of cross-hatching - he wrote in Epitaph (1943) that he used "Black and white with no linear half-tones to confuse the issue, no photographic realism to frustrate the design." Egan's work has often been compared to that of Aubrey Beardsley, but in Egan's case, the feeling of decadence is a reflection of his disgust - he wrote that "What I do is in revulsion - to shock by the power of satire!"". (Alan Horne, The Dictionary of 20th Century British Book Illustrators, pp.175-176).

Paris: Baudry, Librairie Europeenne, 1844. First edition. Green buckram with with gilt titles and decoration to the spine. Some rubbing to the edges, but still an attractive work. Contains Frontis, two engraved title pages (one in English), and 79 further plates (so 80 plates and complete. Pages are mainly in good, clean condition, with a little foxing to some pages and plates. Slight cracking to one gather, but holding well. Many of the engraved plates are clearly English in origin, and are made by artists including Harvey & Blanchard; Geoffrey; Laisne; Gouttiere; Gautier etc.
Interesting volume; besides giving a series of pictures illustrating the various plays, it contains a chapter on the Portraits of Shakespeare, the Contemporaries of Shakespeare, the Commentators of Shakespeare, and the celebrated Actors who have played in Shakespearian roles (occupying 32 pp. in all). Each page has a border containing a large number of thumb-nail sketches of Shakespearean scenes. The analysis of each play, by Pichot, is also of great importance. 127 pages. 260 x 130 mm (10¼ x 5 inches).

. Première édition. Percaline verte avec titres dorés et décoration au dos. Quelques frottements sur les bords, mais toujours un travail attrayant. Contient Frontis, deux pages de titre gravées (une en anglais) et 79 autres planches (donc 80 planches et complètes. Les pages sont pour l'essentiel en bon état, propres, avec quelques rousseurs sur certaines pages et planches. De nombreuses planches gravées sont clairement d'origine anglaise et ont été réalisées par des artistes tels que Harvey & Blanchard ; Geoffrey ; Laisne ; Gouttière ; Gautier, etc.
Volume intéressant; en plus de donner une série d'images illustrant les différentes pièces, il contient un chapitre sur les portraits de Shakespeare, les contemporains de Shakespeare, les commentateurs de Shakespeare et les célèbres acteurs qui ont joué dans des rôles shakespeariens (occupant 32 pages en tout). Chaque page a une bordure contenant un grand nombre de croquis miniatures de scènes shakespeariennes. L'analyse de chaque pièce, par Pichot, est également d'une grande importance. 127 pages. 260 × 130 mm

Leipzig: Ernst Fleischer, 1847. A lovely copy of this work, complete with 101 engraved plates, including Frontis. (Complete). Lovely contemporary half leather binding with green leather to spine and gilt decoration. A little rubbing and edgewear to the spine. Black cloth to boards. There is light to moderate foxing throughout the book. The work contains: Frontis. Title page (In English - dated 1849 and stating that this issue is for the American Market); (1) Hamlet decorated title & plates (16); Macbeth (12); Romeo & Juliet (12); King Lear (12); The Tempest (12); Othello (12); The Merry Wives of Windsor (12); Henry IV part I & II (12). There is then a title page in German and a Title in English (both dated 1847). Then XCV pages in two columns giving the explanation of the plates in both English and German. The preface to the explanation, states that this Complete edition, has used the plate "Shakspeare's Apotheosis" as a Frontis. This was previously Plate one to each of the separate parts. As a result, the plates are numbered starting with plate 2 for each work. This copy is clearly the 1847 first complete edition, with an additional English title for the American market.
240 x 315 mm (9½ x 12½ inches).

Dublin: A. Reilly, 1744. In two volumes. Presumably the Irish pirated version of Bentham's Cambridge edition of the same year. Bound in original full calf. With wood-engraved portrait frontispiece (by Vertue after Soest), and 16 fine wood-engraved plates (by Mynde after Hogarth), five of which are folding. Full index at the end of each volume. The first edition to include Zachary Grey's extensive notes. Volume I - xxxvi, 399, [xv] pp. Volume II - 414, [vxiii] pp. The binding has been skillfully restored, with red morocco labels, lettered, numbered and ruled in gilt. Boards are in good condition with only a little rubbing to edges and corners. New end papers. Small pen squiggle to end paper in volume one. Small neat signatures to title pages. Lacks the list of subscribers (often missing) at end of the first volume.
The work is directed against religious sectarianism. The first part of Hudibras was written in 1658, and the other two in 1664 and 1678 respectively. Very popular in its time, the poem was sufficiently popular to spawn imitators.
One early purchaser of the first two parts was Samuel Pepys. Whilst Pepys acknowledged that the book was the "greatest fashion" he could not see why it was deemed so witty. Hudibras was reprinted many times in the centuries following Butler's death.

Paris: Chez Ant. Aug. Renouard. A beautiful copy of this First Edition. Bound in an Arts & Crafts style in 1903 by AR. In full leather with decoration and titles in gilt. The binding is in a good, strong condition. To the front end paper, is a large ink ownership inscription. This shows the owner was one Fanny Crozier. She was of Westhill, in the Isle of Wight, and married to a prominent Justice of the Peace in the county. The books contains a frontis engraving and 39 beautiful engravings. Complete. Text in French. A number of poems. Curiously, the final poem is in English - The Hermit by Oliver Goldsmith. 215 pages. 140 x 85 mm (5½ x 3¼ inches). Bel exemplaire de cette Première Edition. Relié dans un style Arts & Crafts en 1903 par AR. En plein cuir avec décor et titres dorés. La reliure est en bon état solide. Sur le papier frontal se trouve une grande inscription de propriété à l'encre. Cela montre que le propriétaire était une Fanny Crozier. Elle était de Westhill, dans l'île de Wight, et mariée à un éminent juge de paix du comté. Le livre contient une gravure frontis et 39 belles gravures. Compléter. Texte en français. Un certain nombre de poèmes. Curieusement, le poème final est en anglais - The Hermit d'Oliver Goldsmith. 215 pages. 140 x 85 mm

New York: Pyramid Books, 1976. Three volumes in the "Illustrated Fiction" series published by Pyramid books. All are first editions Softback. Full colour adult graphic novels. Byron Preiss wrote Schlomo Raven Public Detective with art by Tom Sutton. "Smarter than Marlow! Shorter than Spade!" Schlomo is described as being in the footsteps of the Maltese Falcon. Byron Preiss also wrote Starfawn, with illustrations by Stephen Fabian. (An adventure in the Star Trek tradition with a fantastic multinational crew on the Starship Destiny). Red Tide was illustrated by Steranko and is an illustrated Chandler novel.
All three are in good clean condition, with just a touch of edgewear / handling. Vol 1 unpaginated but approximately 128 pages. Volume 2 is approximately 128 pages. Volume 3 is 128 numbered pages. 170 by 125mm (6¾ by 5 inches).