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Hardcover. Etat : Fine. Etat de la jaquette : Fine. Edition Not Stated. Text in Finnish; fine hardcover in fine dustjacket; a solid copy; For their protection I cover all dustjackets with a new clear mylar protector; SATISFACTION GUARANTEED; ALL ORDERS SHIPPED WITH DELIVERY CONFIRMATION; Size: 6 x 8".

First edition, first printing of the rarest book in the Harry Potter series, a cornerstone of young adult literature, and one of the best-selling books of all time. First printing with "First published in Great Britain in 1997", the full number line "10 9 8 7 6 5 4 3 2 1", "Joanne Rowling" for "J.K. Rowling", and "Thomas Taylor1997" (lacking the space) on the copyright page and "1 wand" listed twice (as the first item and last item) on the "Other Equipment" list on page 53. Octavo, original laminated pictorial boards, without a dust jacket as issued. Association copy, inscribed by the author on the dedication page, "to Bryony - who is the most important person I've ever met in a signing queue & the first person ever to see merit in Harry Potter. With huge [underlined 4 times] thanks. J.K. Rowling." Additionally signed and with a large original drawing by cover illustrator Thomas Taylor. The recipient, Bryony Evens was one of the first people to read the opening chapters of Harry Potter and the Philosopher's Stone, the first to recognize the workâ s inherent value, and perhaps the most instrumental figure in getting the book published. Working at the time at Christopher Little Literary Agency in Scotland, Evens was the first point of contact in receiving and sorting unsolicited manuscripts. Evens read Rowlingâ s submission of the first three chapters of the book and passed it along to Little, who approved that she obtain the full manuscript and promote it to suitable publishers. Given a small budget, Evens was only able to print three manuscripts to pitch to publishing houses and, after twelve months and twelve rejections, was finally given the green light by editor Barry Cunningham from Bloomsbury in London. Bloomsbury published the book on June 26, 1997. A year later, Bryony attended a Harry Potter book signing event where Rowling received her with open arms and warmly inscribed the present volume. Rowling was working as a researcher and bilingual secretary for Amnesty International in 1990 when she conceived the idea for the Harry Potter series while on a delayed train from Manchester to London. The seven-year period that followed saw the death of her mother, birth of her first child, divorce from her first husband, and relative poverty. A true "rags to riches" story, the publication of the present volume would bring her from living on benefits to billionaire status. She was named the world's first billionaire author by Forbes in 2014 and the Harry Potter series has become the best-selling book series of all time. In near fine condition with a touch of rubbing to the extremities. At the time of the bookâ s publication in 1996, illustrator Thomas Taylor had just graduated from art school and was working at Heffers Childrenâ s Bookshop in Cambridge. At Heffers, Taylor educated himself on the childrenâ s book market and its major publishers and decided to submit a portfolio of his illustrations to the offices of Bloomsbury Publishing, including several drawings of dragons and wizards. Taylor heard back from Bloomsburyâ s editor, Barry Cunningham (who had recently decided to take a chance on publishing Harry Potter and the Philosopherâ s Stone after it had been rejected by twelve other publishers) almost immediately. Cunningham phoned him at Heffers and asked if he could create a design for the cover of a relatively unknown authorâ s first book about a schoolboy wizard. He sent Taylor an incomplete manuscript of the book and, after two days, Taylor had a final product: a watercolor painting of a young Harry Potter with his lightning-bolt scar standing next to the Hogwarts Express on Platform Nine and Three-Quarters. Only 500 copies of the first printing were published, 300 of which were distributed directly to libraries. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. An exceptional association and effusive inscription to the person who first recognized the value of Harry Potter. The first novel in the Harry Potter series and Rowling's debut novel, Harry Potter and the Philosopher's Stone follows Harry Potter, a young wizard who discovers his magical heritage on his eleventh birthday when he receives a letter of acceptance to Hogwarts School of Witchcraft and Wizardry. The book was first published in the United Kingdom on June 26, 1997 by Bloomsbury and in the United States the following year by Scholastic Corporation under the title Harry Potter and the Sorcerer's Stone. The book reached the top of the New York Times list of best-selling fiction in August 1999 and stayed near the top of that list for much of 1999 and 2000. It has sold in excess of 120 million copies, making it one of the best-selling books of all time. The majority of reviews of the popular book were favorable, revering Rowling's imagination, humor, simple, direct style and clever plot construction. Rowling's style has been compared to that of Jane Austen (her favorite author), Roald Dahl (whose works dominated children's stories before the appearance of Harry Potter), and even the Ancient Greek story-teller Homer. The first book in the series was followed by six sequels published on an annual basis between 1997 and 2000. The series has sold more that 500 million copies worldwide and has been â translated into 80 languages, â making it the best-selling book series in history and among history's most translated literary works.â The last four books in the series consecutively set records as the fastest-selling books of all time, where the final installment, Harry Potter and the Deathly Hallows, sold roughly fifteen million copies worldwide within twenty-four hours of its release. With twelve million books printed in the first U.S. run, it also holds the record for the highest initial print run for any book in history. Harry Potter and the Philosopher's Stone was adapted into the 2001 fantasy film of the same name directed by Chris Columbus, distributed by Warner Bros. Pictures, and st.

First edition of one of the most influential and popular expositions of classical liberalism ever published. Octavo, original black cloth. Association copy, inscribed by the author on the front free endpaper, "To Dr Karl Popper a fellow struggler for freedom with friendly greetings from F.H. Hayek." Also included is a letter signed by Karl Popper to his assistant Melitta Mew, presenting her with this book as a birthday gift (".It is the copy he sent me to New Zealand on publication of the book, with a beautiful dedication. And thank you for everything you are doing for my work (and me). Karl"), on his stationery of 136 Welcomes Road, Kenley, Surrey, and dated 23 January 1994. While this book was very special to Popper, he had been diagnosed with cancer and passed away from complications in September. Ms. Mew helped to put together Popper's lectures and essays in a book, which was published in 1996: "In search of a better world : lectures and essays from thirty years." Easily the best association copy in existence, as the lives of both of these great economists, Fredrich von Hayek (1899-1992) and Karl Popper (1902-1994) greatly impacted the other and their lives were intertwined. They both experienced the destruction of their Bourgeois Viennese families' savings by hyperinflation due to the fragility of the liberal society. While both men studied at the University of Vienna, they first met in London in 1935. Hayek was at that time employed at the London School of Economics and Popper was in the city on a visiting lectureship. While Popper accepted a position in New Zealand, where he was to remain until after World War II, he would also later assume a chair at the LSE, due to Hayek's influence there. Near fine in a good dust jacket. The British edition (which this example is) was published in March of 1944, preceding its American counterpart, which was published later that same year in September. Housed in a custom half morocco clamshell box. "Hayek has written one of the most important books of our generation. It restates for our time the issue between liberty and authority with the power and rigor of reasoning that John Stuart Mill stated in his great essay, On Liberty " (Hazlitt, 82). Its arguments against economic control by the government inspired many politicians and economists. John Maynard Keynes has been quoted as saying, "[I]n my opinion it is a grand book. . . . Morally and philosophically I find myself in agreement with virtually the whole of it: and not only in agreement with it, but in deeply moved agreement." While the Road To Serfdom placed fourth on the list of the 100 best non-fiction books of the twentieth century by National Review magazine, it was not as popular at the time of its writing, and Karl Popper was one of Hayek's few intellectual allies. He shared many of Hayek's views and Hayek even read the manuscript of Popper's own work, The Open Society and Its Enemies, prior to his publication of this book.

Hardcover. Etat : Very Good. Etat de la jaquette : Very Good. First Edition. ONE OF THE MOST IMPORTANT HEMINGWAY PRESENTATION COPIES EVER OFFERED FOR SALE: Inscribed by Ernest Hemingway to Hadley Hemingway and his son Jack (Bumby), on the dedication page, as Hemingway expands the printed dedication ('To Philip, to Charles, and to Sully') . Hemingway's continuing inscription, entirely in his hand in black ink, reads: 'also to Hadley and Paul and to Bumby with much love from Pauline, Ernest, Patrick. and Gregory, and all of Africa. The lion enclosed under separate cover is the same lion Pauline almost shot on page 40.' To our knowledge, this is the only presentation copy from Ernest to Hadley ever to come on the market. First edition, first printing of this classic Hemingway. Original black cloth stamped in gilt, in original jacket (jacket has a large chip to 'T' in title on spine extending to rear cover, with some other nicks and tears and tape repairs to verso; book has some minor fading in spots and light edge wear). Hanneman A10A (Scribner's seal and 'A' on title page verso; jacket complete with $3.50 price). Color frontispiece by Juan Gris; 81 b/w 'action photographs' on plates. 1 color & 81 b/w Illustrations. Hadley Richardson Hemingway, later Hadley Mowrer (1891-1979), first wife of Ernest Hemingway. As Hemingway later said, Hadley was Ernest Hemingway's greatest and truest love, the woman he betrayed to his everlasting regret. The subject of the recent 'The Paris Wife', she is a figure of enduring public interest. She married a second time, to Pulitzer Prize-winning journalist Paul Mowrer in 1933, two years before this work was published. We have firm provenance for this book. The true first printing of the first edition in original jacket (green cloth binding has usual fading to spine and edges; minor wear; jacket has fading, nicks and wear from use). Hanneman A13A; with 'A' and Scribner's seal on title page verso. Decorations by Edward Shenton. [8],294,[1] pages.

First edition, first printing of the rarest book in the Harry Potter series, a cornerstone of young adult literature, and one of the best-selling books of all time. First printing with â First published in Great Britain in 1997â , the full number line â 10 9 8 7 6 5 4 3 2 1â , â Joanne Rowlingâ for â J.K. Rowlingâ , and â Thomas Taylor1997â (lacking the space) on the copyright page and â 1 wandâ listed twice (as the first item and last item) on the â Other Equipmentâ list on page 53. Octavo, original illustrated boards, without a dust jacket as issued. In fine condition. With an original illustration by cover artist Thomas Taylor of Harry Potter on the dedication page. At the time of the bookâ s publication in 1996, illustrator Thomas Taylor had just graduated from art school and was working at Heffers Childrenâ s Bookshop in Cambridge. At Heffers, Taylor educated himself on the childrenâ s book market and its major publishers and decided to submit a portfolio of his illustrations to the offices of Bloomsbury Publishing, including several drawings of dragons and wizards. Taylor heard back from Bloomsburyâ s editor, Barry Cunningham (who had recently decided to take a chance on publishing Harry Potter and the Philosopherâ s Stone after it had been rejected by twelve other publishers) almost immediately. Cunningham phoned him at Heffers and asked if he could create a design for the cover of a relatively unknown authorâ s first book about a schoolboy wizard. He sent Taylor an incomplete manuscript of the book and, after two days, Taylor had a final product: a watercolor painting of a young Harry Potter with his lightning-bolt scar standing next to the Hogwarts Express on Platform Nine and Three-Quarters. Only 500 copies of the first printing were published, 300 of which were distributed directly to libraries. An exceptional example, easily one of the nicest examples extant. The first novel in the Harry Potter series and Rowling's debut novel, Harry Potter and the Philosopher's Stone follows Harry Potter, a young wizard who discovers his magical heritage on his eleventh birthday when he receives a letter of acceptance to Hogwarts School of Witchcraft and Wizardry. The book was first published in the United Kingdom on June 26, 1997 by Bloomsbury and in the United States the following year by Scholastic Corporation under the title Harry Potter and the Sorcerer's Stone. The book reached the top of the New York Times list of best-selling fiction in August 1999 and stayed near the top of that list for much of 1999 and 2000. It has sold in excess of 120 million copies, making it one of the best-selling books of all time. The majority of reviews of the popular book were favorable, revering Rowling's imagination, humor, simple, direct style and clever plot construction. Rowling's style has been compared to that of Jane Austen (her favorite author), Roald Dahl (whose works dominated children's stories before the appearance of Harry Potter), and even the Ancient Greek story-teller Homer. The first book in the series was followed by six sequels published on an annual basis between 1997 and 2000. The series has sold more that 500 million copies worldwide and has been â translated into 80 languages, â making it the best-selling book series in history and among history's most translated literary works.â The last four books in the series consecutively set records as the fastest-selling books of all time, where the final installment, Harry Potter and the Deathly Hallows, sold roughly fifteen million copies worldwide within twenty-four hours of its release. With twelve million books printed in the first U.S. run, it also holds the record for the highest initial print run for any book in history. Harry Potter and the Philosopher's Stone was adapted into the 2001 fantasy film of the same name directed by Chris Columbus, distributed by Warner Bros. Pictures, and starring Daniel Radcliffe as Harry Potter, Rupert Grint as Ron Weasley, and Emma Watson as Hermione Granger. Warner Bros. bought the film rights to the book in 1999 for a reported £1 million ($1.65 million) and the film was released in November 2001 in the United Kingdom, Ireland, the United States, Canada and Taiwan. It was a critical and commercial success, grossing $974 million at the box office worldwide during its initial run, and over $1 billion with subsequent re-releases. It became the highest-grossing film of 2001 and remains one of the highest-grossing films of all time. It was followed by seven sequels beginning with Harry Potter and the Chamber of Secrets in 2002 and ending with Harry Potter and the Deathly Hallows â " Part 2 in 2011, nearly ten years after the first film's release.

First edition, first issue with first edition stated on the copyright page of the author's first major novel, as well as her first best-seller. Octavo, original red cloth. Association copy, inscribed by the author on the front free endpaper, "To Jack L. Warner - Thank you for your courage and for a magnificent picture - with my profound gratitude - Ayn Rand. January 7, 1949." The recipient, Jack Warner, was the co-founder, president, and driving force behind the Warner Bros. Studios. His career spanned some 45 years, its duration surpassing that of any other of the seminal Hollywood studio moguls. Rand sold the film rights to Warner several years earlier with the contractual proviso that she would provide the screenplay, which would be unalterable. In fact, the director wanted changes, but Warner supported the author and honored the contract. This book's inscription, clearly referring to this, was presented about a half year prior to the film's release. Of Rand's fiction, The Fountainhead is generally conceded to be her most important and enduring work, a passionate portrait of uncompromising individualism. In the decades since its debut, the film has gained the critical acceptance, even the acclaim, that initially evaded it. Near fine in a near fine first-issue dust jacket with a touch of rubbing and no fading to the spine, which is endemic to this title. Housed in a custom full morocco clamshell box by The Harcourt Bindery. One of the finest association copies possible, linking the famed author with the legendary founder of Warner Brothers and producer of the iconic film. Although Rand was a previously published novelist and had a successful Broadway play, she faced difficulty in finding a publisher she thought right for The Fountainhead. She let Macmillian Publishing go when they rejected her demand for better publicity (Branden, 1986), and when her agent criticized the novel, she fired him and handled submissions herself (Burns, 2009). After sifting through eleven more publishers, Rand finally released The Fountainhead with Bobbs-Merrill Company in 1943. The reception was instant, and The Fountainhead became a bestseller in two years. The protagonist, Howard Roark, whose character was thought to be inspired by Frank Lloyd Wright, is a young architect fighting against convention. Cited by numerous architects as an inspiration, Ayn Rand said the theme of the book was "individualism versus collectivism, not within politics but within a man's soul." Rand chose architecture as the analogy of her heady themes because of the context of the ascent of modern architecture. It provided an appropriate mode to make relevant her beliefs that the individual is of supreme value, the "fountainhead" of creativity, and that selfishness, properly understood as ethical egoism, is a virtue. Some critics consider The Fountainhead to be Rand's best novel (Merill, 1991). Indeed, philosopher Mark Kingwell described it as "Rand's best work" (Kingwell, 2006). In 1949 it was adapted to film, produced by Henry Blanke, directed by King Vidor, starring Gary Cooper, Patricia Neal, Raymond Massey, Robert Douglas, and Kent Smith.

First edition. EXTRAORDINARY SAMMELBAND OF SIX RARE WORKS BY KEPLER - INCLUDING SOMNIUM, HIS 'VOYAGE TO THE MOON'. An extraordinary sammelband, with a remarkable provenance, containing six rare works by Kepler, including the first edition of Somnium, Kepler's imaginary voyage to the moon, in which he utilizes the motions of the planets as they would be seen from the moon to argue for the Copernican system, and gives a remarkable description of the appearance of the earth as seen from the moon - this is Kepler's rarest major work. "At Sagan, Kepler finally began to print a short book whose beginnings went back to his school days at Tübingen: his Somnium, seu astronomia lunari. The 'Dream' is a curiously interesting tract for two reasons. First, its fantasy framework of a voyage to the moon made it a pioneering and remarkably prescient piece of science fiction. Second, its perceptive description of celestial motions as seen from the moon produced an ingenious polemic on behalf of the Copernican system" (DSB). In The Dream, a young traveller lands on the Moon to find that lunar beings believe Earth revolves around them - from their cosmic vantage point, the Earth rises and sets against their firmament, something reflected even in the name they have given Earth: Volva. Kepler chose the name to emphasize the fact of Earth's revolution - the very motion that made Copernicanism so dangerous to the dogma of cosmic stability. Kepler suggests that our own certitude about Earth's fixed position in space is just as misguided as the lunar denizens' belief in Volva's revolution around them. The final part of the work is Kepler's translation of, and commentary on Plutarch's fantasy on the face of the moon. Kepler wrote Somnium in 1609, circulating it in manuscript form. Some 20 years later he added the dream framework and wrote the 223 notes, but it was only published after his death in 1630. Most of the book was printed in Sagan, whilst the title and dedication (by Kepler's son) were printed in Frankfurt. Bound here with the Somnium are five other works by Kepler: the first edition of his Letter to Jacob Bartsch, which resulted in their joint production of the Ephemerides - this work is an important biographical source for Kepler's life and final years; the second edition of Admonitio ad astronomos, Kepler's correct prediction of the transits of Mercury and Venus across the face of the Sun in 1631; the second edition of Chillias logarithmorum (differing from the first in only the first two leaves), containing Kepler's original construction of logarithmic tables which enabled him to complete the Tabulae Rudolphionae; and two works devoted to the issue of establishing a correct chronology of events described in the Holy Scriptures, the first edition of Eclogae chronicae and the first Latin edition of De vero anno. Caspar records twenty-two copies of the Somnium in German and Swiss libraries, the smallest number in his census for any major work of Kepler. Only three copies of the Somnium have appeared at auction in the last 40 years, of which only one was in a contemporary binding (the Richard Green copy, Sotheby's, November 17, 1988, lot 12, $92,500). Provenance: Title of the first-bound work, De vero anno, with two notes in ink: 'Ex bibl. Nic. Heinsii / Frid. Ben. Carpzov / Lugduni Bat. 1683' and 'Ex auctione Carpzoviana / JPW A = 1700'. The first identifiable owner of the anthology was the Dutch classical scholar and poet Nicolaas Heinsius the Elder (1620-81), who spent several years in Stockholm at the court of Queen Christina. He assembled one of the largest private libraries in Europe, comprising some 13,000 books. The present sammelband is listed as no. 139 in Heinsiana, sive catalogus librorum . (Leiden, 1682), p. 220. The Leipzig lawyer and councilor Friedrich Benedict Carpzov the Elder (1649-99), who was co-editor of the Acta Eruditorum, assembled a large library which was auctioned after his death. The present sammelband is listed as no. 118 in the auction catalogue Bibliotheca Carpzoviana (Leipzig, 1700), p. 442 - it was sold for 2 talers, 19 groschen. "When Kepler was enrolled at Tübingen University, the students there were required to compose a number of dissertations or disputations. One such composition written by Kepler in 1593 dealt with the following question: How would the phenomena occurring in the heavens appear to an observer stationed on the moon? Kepler had hit upon this ingenious device in an effort to overcome the deep-rooted hostility to the Copernican astronomy. According to Copernicus the earth moves very swiftly. But the people who live on the earth do not see or hear or feel this movement. Yet they can watch the moon perform various motions. These lunar motions, however, will escape detection by an observer located on the moon for the simple reason that he would be participating in those motions. Since the lunar motions would not be apparent to an observer there, by the same token the terrestrial motions are not noticed by observers here. This seems to have been the basic theme of Kepler's 1593 dissertation. "It was never presented as a Tübingen disputation, however, because Veit Müller, the professor in charge of those academic exercises, was so unalterably opposed to Copernicanism that he refused to permit Kepler's theses to be heard. This rebuff did not dishearten the young student to the point of tearing up his work in disgust and throwing it away. On the contrary he kept it and bided his time until he would no longer be under the control of a reactionary and unsympathetic professor. This earliest draft has not survived - it was not mentioned in the first catalogue of Kepler's manuscripts. "That earliest draft was apparently left undisturbed for 16 years, during which all sorts of things happened to Kepler, both good and bad. Among the good things was his appointment as Imperial Mathematician. In this capacity he lived in Prague, which was then the capital of the Holy Roman Empire. T.

Hardcover. Etat : Good. 1st Edition. Notes For children. Subjects Adventure stories. | Girls -- Juvenile fiction Edinburgh : Oliphant, Anderson & Ferrier, 1893 320 p. ; 20 cm.

Hardcover. First Edition; First Printing. Very Good+ in the original third state dust jacket professionally restored Very Good+. Scribners Seal Errors not corrected that verify true first printing: p.60, line 16-"chatter"; p. 119, line 22-"northern"; p. 165, line 29-"away"; p. 205-lines 9-10-"sick in tired"; p. 211, lines 7-8-"Union Street station". With 3,000 third state jackets printed this is exceedingly harder find than the first two jackets.

Exceedingly rare complete first edition set of all three books in Defoe's classic Robinson Crusoe series, including the scarce first and only printing of the third book in the series. Octavo, three volumes bound in full crushed red morocco by Francis Bedford with gilt titles and tooling to the spine in six compartments within raised gilt bands, triple gilt ruling to the front and rear panels, gilt turn-ins and inner dentelles, marbled endpapers, all edges gilt. The set consists of: Vol. I. The Life and Strange Surprizing Adventures of Robinson Crusoe, of York, Mariner: Who lived Eight and Twenty Years, all alone in an un-inhabited Island on the Coast of America, near the Mouth of the Great River of Oroonoque; Having been cast on Shore by Shipwreck, where-in all the Men perished by himself. With An Account how he was at last as strangely deliver'd by Pyrates. Written by Himself. First edition, mixed state with the famed engraved frontispiece portrait of Robinson Crusoe by Clark and Pine, the title in second state with semi-colon after London, third state of the preface with the catchword "apply" correctly spelled, and first state of Z4r with "Pilot" misspelled "Pilate" and "Portugnese" for "Portuguese", four pages of advertisements at rear. Bibliographic note tipped in. Vol. II. ; Being the Second and Last Part of His Life, And the Strange Surprizing Accounts of his Travels Round three Parts of the Globe. Written By Himself. First edition, second issue with the publisher's notice to the verso of the last leaf of the Preface and page 295 corectly numbered, folding map of the world and 11 pages of advertisements at rear. Volume III. : With His Vision of the Angelick World. Written By Himself. First edition, first issue with the catchword "The" on page 270, folding engraved plan of Crusoe's island by Clark and Pine, 2 pages of advertisements at rear. [Grolier English 41; Hutchins 52-71, 97-112, 122-8; Moore 412 & 417; PMM 180; Rothschild 775]. In fine condition. An exceedingly rare and handsomely bound complete set of this cornerstone in English literature. Often hailed as the first novel in the English language and purportedly based on the experiences on Alexander Selkirk, who spent four years on the uninhabited island of Juan Fernandez from 1704, the adventures of Crusoe and his companion Friday have attained mythical status in the history of Western literature. The book's success was immediate, a second edition being called for only seventeen days after publication of the first on April 25, 1719, with a further two editions published before the end of year. The Farther Adventures appeared on August 20, and relates how Crusoe revisited the island with Friday. A final part, The Serious Reflections, followed in 1720. "The romance of Crusoes's adventures, the figure of civilized man fending for himself on a desert island, has made an imperishable impression on the mind of man. much of modern science fiction is basically Crusoe's island changed to a planet" (PMM).

Early calf. Etat : Very Good. First edition. Extremely rare first edition of this far-reaching exposé that provoked King James, inspired Shakespeare and was the first significant work to document the secrets of illusion and the occult. A magnificent copy from the Biblioteca Lindesiana. The Discoverie of Witchcraft, written by Reginald Scot in 1584, upended many sixteenth-century beliefs in Britain about witches, superstition, spirits and magic. Scot proves that what was believed to be witchcraft was little more than illusion and delusion. Infuriated by a "ridiculous" 1581 witchcraft trial, Scot in The Discoverie challenges popular beliefs about dark magic, providing diagrams documenting the performance of staged illusions previously ascribed to witchcraft (Reid, "The Discoverie of Witchcraft"). The evidence presented in this pivotal work angered political and religious leaders, gave inspiration to literary masters of his era and contributed a blueprint to future generations of magicians and practitioners of the dark arts. Consulting hundreds of treatises in Latin and English, studying various scripture and visiting courts of law in districts where witchcraft prosecutions occurred, Scot collected evidence that witchcraft had neither rational nor religious basis. He asserted that the Biblical terms which had been translated as "witch" did not, in their original languages, share the associations ascribed to them in contemporary witchcraft discourse. Thus, one pillar of Scot's work is the undermining of the scriptural argument for the execution of witches -and further blaming the Catholic Church for encouraging dangerous superstitions. Scot also contends that spirits cannot take human form nor interact with humans, and consequently that the link between spells cast by so-called witches and any unpleasant events spuriously attributed to witches is entirely coincidental. As set out by one of Scot's recent biographers David Wootton, Scot explains the witch phenomenon as "resulting out of a particular type of social encounter: old women begging for food or other assistance would curse their neighbours when they were turned away empty handed; if something bad then happened - the death of a child, perhaps - the old woman would be taken to be a witch. Those who confessed to being witches were either deluded or the victims of torture. mere fable and fiction" (Wootton, "Scott [Scot], Reginald"). Published during the Scientific Revolution, Scot's lengthy and unrelenting work contributes to a period in which intellectuals were redefining rationality and questioning of old beliefs. Defying both church and state, he labels those who believed in witches as heretics and those who claimed to be witches as mentally ill. Read widely in the late sixteenth and early seventeenth centuries, The Discoverie of Witchcraft became an often-cited reference for those who doubted the existence of witchcraft. James VI, King of Scotland from 1567 to 1625 (and later King of England from 1603), was outraged by Scot's opinions and penned his objections in his 1597 Daemonologie. The three-book treatise, in which the King holds that witches are not only real but pose a substantial threat to the realm, is a defence of the practice of witchcraft prosecution and a guide for identifying and trying witches. Combined with his writings on a vast array of topics ranging from his views on poetry to his distaste for tobacco, James VI's response to rising scepticism towards the presence of witches in Britain (chief among them being Scot's Discoverie) is a central part in his project of text production throughout his reign -second only as an expression of his theology to his commission of the King James Bible, published in 1611. According to legend, on the occasion of his accession to the English throne in 1603, King James VI and I called for all copies of The Discoverie of Witchcraft to be destroyed. While there is no contemporary evidence to support this story, which first appeared in 1659, The Discoverie was continuousl.

Soft cover. Etat : Very Good. 1st Edition. Weird Tales was launched to showcase writers trying to publish stories so bizarre and far out no one else would publish them stories of unearthly dimensions and dark possibilities, gothic seductresses, and cosmic monstrosities. Since 1923, the pioneering publication has introduced the world to such counter-culture icons as Cthulhu, the alien monster god, and Conan the Barbarian. Weird Tales is well known for launching the careers of great authors like H.P. Lovecraft, Ray Bradbury, and Robert E. Howard. Even Tennessee Williams' first sale was to Weird Tales, with a short story titled "The Vengeance of Nitocris." This was published in the August 1928 issue under the author's real name, Thomas Lanier Williams. Other well-liked authors included Nictzin Dyalhis, E. Hoffmann Price, Robert Bloch, and H. Warner Munn. The artwork was an important element of the magazine's personality; Margaret Brundage, who painted many covers featuring nudes for Weird Tales, was perhaps the best-known artist. Many of Brundage's covers were for stories by Seabury Quinn, and Brundage later commented that once Quinn realized that Wright always commissioned covers from Brundage that included a nude, "he made sure that each de Grandin story had at least one sequence where the heroine shed all her clothes." For over three years in the early 1930s, from June 1933 to August/September 1936, Brundage was the only cover artist Weird Tales used. Another prominent cover artist was J. Allen St. John, whose covers were more action-oriented and who designed the title logo used from 1933 until 2007. Hannes Bok's first professional sale was to Weird Tales for the cover of the December 1939 issue; he became a frequent contributor over the next few years. Historians of fantasy and science fiction regard the magazine as a legend in the field, Robert Weinberg considering it "the most important and influential of all fantasy magazines." Weinberg's fellow historian, Mike Ashley, describes it as "second only to Unknown in significance and influence," adding that "somewhere in the imagination reservoir of all U.S. (and many non-U.S.) genre-fantasy and horror writers is part of the spirit of Weird Tales." Today, Weird Tales remains one of, if not the most loved and cherished pulp series. This complete set is an exceptionally rare opportunity to own a large piece of literary history in one fell swoop. The average condition of the set is Very Good, including the scarce first issue.

Hardcover. Etat : Fine. Etat de la jaquette : Fine. 1st Edition. The ABC Murders by Agatha Christie First Edition The Crime Club Collins 1936. A fine book, completely free of inscriptions or signs of previous ownership. Covers are unmarked. In like original bright dust jacket that has no closed tears or creasing. Scarce. For further images please see the Brought to Book homepage.

Etat : Very good. First edition run of all 24 novels in the Tarzan series, including TARZAN OF THE APES in the rare original dust jacket and five inscribed books - along with Burroughs's rare 1917 AUTO-BIOGRAPHY and two further Tarzan titles. Tarzan is one of the most recognizable pop cultural icons of the 20th century. Beginning with the novels, but quickly translating to film and beyond, Tarzan soon had his own merchandise, piracies, and international adaptations (including Bollywood films and Japanese manga). Tarzan's relationship with the movies - beginning in 1918, during the early years of popular film - was especially rich. One producer of Tarzan films, Sol Lesser, described Tarzan's global market saturation with only slight hyperbole that "there is always a Tarzan picture playing within a radius of 50 miles of any given spot in the world - in Arab villages, African bush theatres and in pampas settlements down the Argentine way" (quoted in Abate & Wannamaker, 3). But Tarzan enjoyed many revivals in print as well; in 1963 "one out of every thirty paperbacks sold was a Tarzan novel" (Torgovnick, 42). For over 100 years, Tarzan has remained a vivid figure in our popular imagination. Tarzan's world is not all boyhood innocence: it also "embodies a powerful emblem of past white Western imperialism and, correspondingly, of the present colonialization of the world by American culture" (Abate & Wannamaker, 5). But alongside this, Tarzan has remained internationally beloved as a potent mix of the Rousseauian "noble savage" and the Swiftian "stranger in a strange land," - a mythic figure like Romulus and Remus (one of Burroughs's inspirations) or Robinson Crusoe (also an early literary phenomenon). Above all, the books were fun: as Ray Bradbury recollected, "we may have liked Verne and Wells and Kipling, but we loved, we adored, we went quite mad with Mr. Burroughs" (intro to Porges, xviii). This complete collection of the Tarzan novels features one of the rarest and most sought after books in Modern Firsts collecting: a first edition of TARZAN OF THE APES in the original dust jacket. Of the five books inscribed by Burroughs, two are among the earliest in the series: BEASTS OF TARZAN (#3) and SON OF TARZAN (#4). In addition to the novels of the main series, this collection includes the scarce early piece of Burroughsiana, a short memoir commissioned by the Republic Motor Truck Company on one of Burroughs's transcontinental journeys; only a few copies were bound in the deluxe suede binding, apparently for the personal use of the author. The final two included books are TARZAN AND THE TARZAN TWINS, which collects two Tarzan novellas for younger children; and THE OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA, published by Burroughs as a manual for organizing and running a Tarzan fan club. Altogether, these books form an exceptionally comprehensive monument to the Tarzan phenomenon. 27 volumes, most 7.25'' x 5''. Original cloth bindings. All in original dust jackets except RETURN, BEASTS, and SON; EARTH'S CORE in a later Grosset & Dunlap jacket. TARZAN OF THE APES in rarest state, per Currey: title page cancel, W.F. Hall imprint in Gothic lettering, binding without acorn. Additional first editions outside the Tarzan novels: AN AUTO-BIOGRAPHY (1917); TARZAN AND THE TARZAN TWINS (1963); and OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA (1939). Jackets of TARZAN OF THE APES, JEWELS, TERRIBLE, GOLDEN LION, and ANT MEN restored; a few others with tape repairs or chipping to edges. Condition ranges from fine copies (TRIUMPHANT, FORBIDDEN CITY) to very good minus (JUNGLE TALES, LORD); overall very good. Five inscribed books: BEASTS, SON, GOLDEN LION, INVINCIBLE, and LEOPARD MEN. AUTO-BIOGRAPHY and FOREIGN LEGION in custom clamshell boxes. A full inventory is available upon request.

First edition, first impression, the dedication copy, inscribed to Ernest Cuneo by the author on the front free endpaper, "To Ernie, who started these thunderballs rolling! From Ian". The printed dedication reads, "To Ernest Cuneo, Muse." Ernest L. Cuneo (1905 1988) was an American lawyer and newspaperman. At the outbreak of the Second World War, he was appointed a liaison officer between the OSS, British Security Coordination (a part of MI6), the Federal Bureau of Investigation, the United States Department of State, and US President Franklin Roosevelt. While working with British Intelligence, he became a close friend of Ian Fleming, as well as Roald Dahl, Noël Coward, and Ivar Bryce. After the war, Cuneo joined with Ivar Bryce and a group of investors, including Ian Fleming, to gain control of the North American Newspaper Alliance (NANA). When Fleming was considering writing detective fiction, Cuneo introduced Fleming to elements of the New York underworld. Cuneo was exactly the kind of affable, larger-than-life character calculated to appeal to Fleming. A college football star gone to fat, Cuneo was almost as wide as he was tall. Fleming named a taxi driver in Diamonds Are Forever "Ernie Cureo" (sic). Fleming later credited Cuneo with more than half the plot for Goldfinger. As Fleming's inscription acknowledges, Cuneo was crucial to the genesis of Thunderball. In mid-1958, Fleming and Ivar Bryce began talking about the possibility of a Bond film. Later that year, Bryce introduced Fleming to a young Irish writer and director, Kevin McClory, and the three of them, together with Fleming and Cuneo, formed the partnership Xanadu Productions. All four worked up various outlines, treatments and scripts, under such titles as "SPECTRE", "James Bond of the Secret Service", and "Longitude 78 West". Memories of who contributed which elements vary, but Cuneo seems to have been responsible for ships with underwater trapdoors in their hulls and an underwater battle scene. Xanadu Productions never made the film, and in the event James Bond did not make his screen debut until Dr. No. Fleming recycled all the major elements of these abandoned film treatments for this novel. This immediately led to legal difficulties with Kevin McClory, who claimed part copyright, but Fleming's inscription to his American friend, with his cheerful acknowledgement of Cuneo's part in the book's creation, predates that unhappy episode. Fleming did not dedicate all of his James Bond books. Only five from the series of 13 Bond titles published during his lifetime have printed dedications. Of these five, only two are dedicated to single recipients: Goldfinger dedicated to William Plomer, and the current book. Gilbert A9a(1.1). Octavo. Original dark grey boards, spine lettered in gilt, skeletal hand motif blocked on the front cover in blind (Gilbert's A binding). With first issue dust jacket (priced 15s). Extremities bumped, some minor marks to fore edge, unclipped jacket nicked and rubbed with some minor loss, a very good copy in a like jacket.

Hardcover. Etat : Fine. Etat de la jaquette : Fine. 1st Edition. Murder In the Mews by Agatha Christie First Edition The Crime Club Collins 1937. A fine book that is free of inscriptions. Very light foxing to edges. Covers completely unmarked. In bright original Robin Macartney designed dust jacket. The jacket is fine and has no nicks, closed tears or creasing. Scarce. For further images please see the Brought to Book homepage.

Hardcover. Etat : Wie neu. Etat de la jaquette : Wie neu. 1. Auflage. On offer is a comprehensive collection based on the writings of Raymond Chandler brought together over the last thirty-five years. The collection includes mostly fine original publications of nineteen of the twenty-four stories the author published in different magazines like Black Mask or Dime Detective (including his very first novelette "Blackmailers Don't Shoot"); two complete UK editions of Black Mask (1935 & 1936), over thirty first editions of Chandler's books, many in fine condition in fine (dust) wrappers, original publications in various magazines; a superb 1957 autograph postcard to his publisher Hamish Hamilton, discussing Marlowe's marriage to the "8 million dollar girl" (see picture), various editions of his letters, notes and papers; three books from Chandler's own library; a fascinating selection of books and writers mentioned in the Marlowe novels; works on Chandler; some movies, comics and memorabilia. While we intend to sell the collection as a whole, we are willing to part with some items that may catch your interest. You can view a fully illustrated catalogue (and e.g. enjoy photographs of all the original covers of all the stories) at ygrbooks. Signatur des Verfassers.

Ninth Printing of the First Edition. 205 x 160 mm. (8 1/8 x 6 1/4"). 4 p.l. (first blank), 735 pp. DRAMATIC DARK BLUE-GRAY CRUSHED MOROCCO, BLIND-TOOLED AND INLAID TO AN ABSTRACT DESIGN, BY SALLY LOU SMITH (stamp-signed with her initials in gilt on rear doublure), with overall wraparound design of inlaid elongated, irregular-shaped pieces of black, gray, blue, tan, and yellow morocco with blind-tooled lines extending from these shapes, MATCHING MOROCCO DOUBLURES tooled in gilt with branch-like lines, yellow handmade free endpapers, gray flyleaves, all edges gilt. In the matching morocco-backed clamshell box. Front flyleaf INSCRIBED BY JOYCE TO H. G. WELLS: "To / H. G. Wells / Respectfully / James Joyce / 5 November 1928 / Paris." Slocum and Cahoon 17. â Isolated faint foxing or marginal spots, but a clean, fresh copy with few signs of use, in a new binding. This later printing of what is generally recognized to be the most important 20th century novel in English is inscribed by the author to one of his earliest and most important supporters, and is offered in a binding by an influential Designer Bookbinder. First issued in 1922, "Ulysses" rocked the literary world. J. B. Priestley, writing in the "Clarion" in 1934, said what most scholars and critics acknowledge--that "as a literary feat, an example of virtuosity in narration and language, it is an astounding creation. Nobody who knows anything about writing can read the book and deny its author, not merely talent, but sheer genius." Our copy was presented by Joyce to H. G. Wells (1866-1946), whose support of "Portrait of the Artist as a Young Man" was instrumental in establishing Joyce's literary reputation. Reviewing that book in 1916, Wells praised "its quintessential and unfailing reality. One believes in Stephen Dedalus as one believes in few characters in fiction." He considered "Portrait" to be "by far the most living and convincing picture that exists of an Irish Catholic upbringing," and noted how sharply it contrasted the Irish and the English: "No single book has ever shown how different they are, as completely as this most memorable novel." The two men did not meet until 12 years later, in Paris, at which time Joyce inscribed the present copy of his masterwork to Wells. At the same time, Joyce presented Wells with some excerpts of what would become "Finnegan's Wake." On 23 November 1928, Wells wrote to Joyce from his winter home in the south of France, expressing his regret that he could not promote these latest works with the same enthusiasm: "I have enormous respect for your genius dating from your earliest books and I feel now a great personal liking for you but you and I are set upon absolutely different courses. . . . I want a language and statement as simple and clear as possible. . . . Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?" Still, Wells acknowledged, "Your work is an extraordinary experiment and I would go out of my way to save it from destructive or restrictive interruption." The abstract binding by distinguished modern artisan Sally Lou Smith evokes a journey: as the multicolored inlays march from the rear edge around the spine and across the front against a grim, gray ground, Bloom's peregrinations through Dublin and the characters he encounters seem to be brought to mind. Born in the United States, Smith (1925-2007) spent several years in France, then settled in 1958 in London. There, she spent four and a half years learning bookbinding under John Corderoy at Camberwell School of Arts & Crafts before beginning to work out of her own bindery in 1963. Her work has been widely honored both in her early days (she won the bookbinding award given by Major J. R. Abbey in 1965) and for many years since (among others, she won three Thomas Harrison Competition prizes). In the catalogue for the "Modern British Bookbinding" exhibit held in Brussels and The Hague in 1985, five of the 50 bindings pictured were executed by Smith, who is listed in the catalogue as one of the 20 Fellows of Designer Bookbinders, the principal bookbinding society in Great Britain. She served as president of that society and was a greatly respected teacher of bookbinding. A comprehensive survey of her work appeared in "The New Bookbinder" no. 21 (2001).

Hardcover. Etat : Fine. Etat de la jaquette : Fine. 1st Edition. Lord Edgware Dies by Agatha Christie First Edition The Crime Club Collins 1933. A fine copy with no inscriptions and no age toning or foxing to contents or edges. Covers are bright, unblemished and have no toning or darkening to spine. In a bright fine dust jacket with no creasing or closed tears, completely unfaded. An excellent copy.

First edition, first printing. Original blue-green cloth with gilt illustration and title to the front and spine, in the supplied first printing dustwrapper. Top edge gilt. Black and white frontispiece by Graham Robertson, complete with tissue guard, as issued. A better than very good copy, the binding square and firm with a little rubbing at the extremities. The contents, with some spotting to the endpapers and deckled edge are otherwise clean througout and without inscriptions or stamps. Complete with the rare first printing dustwrapper that is chipped with a little loss to the spine ends and corners with thin archival tissue paper strengthening to the underside at the folds. Correctly priced 6/- to the upper panel (subsequent editions were published at 7/6). Housed in a bespoke quarter green morocco solander case. An excellent example of this classic of children's literature and a genuine rarity in the first printing dustwrapper. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

First edition in English of the authorâ s masterpiece, published just one year after the original French edition and before the American first, the Richard Manney copy. Octavo, 2 volumes, original publisher's terracotta cloth, decoratively blind-embossed, gilt titles to the spine. Twenty wood-engraved plates after Henry Valentin. In near fine condition with only light rubbing to the extremities and toning, with the bookplate of legendary collector Richard Manney. Housed in a custom half morocco clamshell and chemise box. A superior example, scarce in the original cloth, with exceptional provenance. The Count of Monte Cristo, in particular, is "perhaps the outstanding work of fiction to reveal the futility of human vengeance, even when it attains its utmost completeness. Maurice Baring calls it the most popular book in the world" (Frank Wild Reed). First published in 1845-46, Dumasâ â most brilliantly successful novelâ (Harvey & Heseltine, 232) expresses â the frustrated dreams of its era and the deep aspirations of Dumas himself to unlimited knowledge, power and fameâ (Amelita Marinetti). The story takes place in France, Italy, and islands in the Mediterranean during the era of the Bourbon Restoration through the reign of Louis-Philippe of France. It begins on the day that Napoleon left his first island of exile, Elba, beginning the Hundred Days period when Napoleon returned to power. The historical setting is a fundamental element of the book, an adventure story centrally concerned with themes of hope, justice, vengeance, mercy, and forgiveness. It centers on a man who is wrongfully imprisoned, escapes from jail, acquires a fortune, and sets about exacting revenge on those responsible for his imprisonment. "The Count of Monte Cristo has become a fixture of Western civilization's literature, as inescapable and immediately identifiable as Mickey Mouse, and the story of Little Red Riding Hood (Lucy Sante). "One of the best thrillers ever written" (Reid, 134).

*** "Edition la plus belle et la plus complète de ce recueil." (Brunet) Lemaire de Belges tente de prouver, sous couvert de la fiction mythologique et héroïque, que les Germains et les Gaulois sont d'illustres descendants des habitants de l'ancienne cité de Troie. L'ouvrage comprend notamment le "Traité de la différence des schismes et des conciles", violent plaidoyer gallican après le retournement du pape contre la France. La Couronne margaritique publiée après la mort de l'auteur par Cl. de Saint Julien, est ici en première édition. PROVENANCES : I - Annoté en français par Jérôme Capelle, frère de l'Ordre des Minimes. Nous avons compté 106 annotations pour les "Illustrations" et 201 annotations pour le "Traicté de la différence des schismes". Certaines de ces notes sont particulièrement copieuses. Trois nous donne le nom de l'annotateur. On lit : (1) Scolies & annotations par frère Hierosme Capelle minime sur ce livre des Illustrations afin d'exposer aucuns passages et éviter aucuns erreurs - l'an 1560" (Illustrations, p. 3); (2) "Scolies de frère Hierosme Capelle minime sur ce historiographie françois commencées l'an 1560" (Illustrations, p. 8); (3) "Annotations faictes par frere Hierosme minime l'an 1560 a fin que les lecteurs ne cheoyent en erreurs" (Traicté de la difference des schismes., p. 6) ; Des recherches en archives permettront peut-être de trouver des éléments biographiques sur Jérôme Capelle; ou encore d'autres livres annotés par lui dans des collections publiques voire celle de Peiresc lui-même. Hierosme Capelle était-il relié d'une manière ou d'une autre à la famille de Guillaume Cappel (né en 1530), humaniste, éditeur des Mémoires de Guillaume et Martin du Bellay, traducteur de Machiavel (1553) ? La famille de Guillaume Cappel ou Capel - une famille de Parlementaires de Paris - comptait d'autres humanistes, dont Ange Cappel, traducteur de Sénèque et Tacite ou encore Louis Cappel, ardent partisan de la Réforme. II - Claude de Fabri (1545-1608), seigneur de Calas, frère de Reynaud de Fabri et oncle de Nicolas Claude Fabri de Peiresc. On relève son ex-libris "Claude Fabrii" sur le titre, accompagné de la devise "Sub fide clara". Installés à Aix dès 1515, les Fabri, furent seigneurs barons (puis marquis en 1657) de Rians, seigneurs de Valavez (ou Valavoire), Callas et Peiresc. Claude de Fabri était conseiller en la sénéchaussée au siège d'Aix, reçu conseiller-clerc au parlement de Provence au mois d'octobre 1572, en la charge de son père. Il se démet de sa charge en faveur de son neveu Nicolas-Claude Fabri de Peiresc en 1607 et lui transmet son poste de conseiller au parlement d'Aix. Célibataire sans enfant, Claude Fabri s'est occupé de l'éducation de son neveu. Il a donc joué un rôle très important dans la vie de Peiresc. Ce dernier adresse un certain nombre de ses lettres à son oncle. III - Bibliothèque de l'érudit et bibliophile Nicolas-Claude Fabri de Pereisc (1580-1637), relié à son monogramme, avec son cachet au titre. Peiresc est né en à Belgentier (Var). Il fut étudiant à l'Université d'Avignon, ami du président du parlement Guillaume du Vair, puis reçu conseiller en la cour du parlement de Provence le 26 juin 1607 en la charge de Claude de Fabri son oncle. Par la suite il sera nommé abbé et seigneur de Guîtres en Guyenne (diocèse de Bordeaux) en 1623 avec la faculté de continuer ses fonctions de conseiller au parlement. L'office de conseiller au Parlement était à peu près équivalent à celui de député aujourd'hui par la fonction exercée et représentait un niveau social très élevé. Et dans la famille de l'humaniste, bien avant cette date, l'office de conseiller passait déjà d'une génération à la suivante tel un précieux patrimoine qu'il fallait préserver. IV - Georges Dubois, ex-libris contrecollé sur le contreplat supérieur. (1966). Très belle reliure attribuable à Simon Corberan, le relieur aixois de Peiresc. De légères mouillures, coiffe supérieure restaurée. Cartier, Bibliographie des éditions de Tournes 145. Brunet 3, 965 recueil. La Couronne margaritique publiée après la mort de l'auteur par Cl. de Saint Julien, n'est pas dans les autres éditions." - Tchemerzine IV, 161 : "Très belle édition." Cartier, Bibliographie des éditions de Tournes 145. Brunet 3, 965 recueil. La Couronne margaritique publiée après la mort de l'auteur par Cl. de Saint Julien, n'est pas dans les autres éditions." - Tchemerzine IV, 161 : "Très belle édition." *** In-folio de (16), 423, (1), 9 pp., 1 f. bl., 80, 72 pp. Maroquin rouge, filets dorés d'encadrement sur les plats, chiffre de Peiresc doré au centre, dos à nerfs orné. (Reliure du XVIIe.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * "Edition la plus belle et la plus complète de ce recueil" [Most elegant and most complete edition of this compilation] (Brunet). First edition of the the Couronne margaritique, published posthumously and composed in honour of Marguerite of Austria. The main work, Les illustrations de Gaule et singularitez de Troye, is a mythological and heroic fiction in which Lemaire de Belges sought to prove the ancient Trojan origins of the Germans and Gauls. The present compilation also contains the Traité de la différence des schismes et des conciles, clearly partisan of the gallican position following the Pope's adversarial stance towards France. PROVENANCE: I. Profusely annotated in French by Jérôme Capelle, brother of the Order of Minims. We have counted some 106 annotations in the 'Illustrations' and 201 annotations for the 'Traicté de la différence des schismes'. Some of these notes are lengthy. Three of these clusters of annotations reveal the name of the annotator. One reads : (1) 'Scolies & annotations par frère Hierosme Capelle minime sur ce livre des Illustrations afin d'exposer aucuns passages et éviter aucuns erreurs l'an 1560' (Illustrations, p. 3); (2) 'Scolies de frère Hierosme Capelle minime sur ce historiog.

Hardcover. Etat : Fine. 1st Edition. Highlights include: an inscribed copy of the bound galleys of O'Brien's first book, issued under the provisional title of Fire In The Hole: War Stories Of A Part-Time Pacifist (1973), and an inscribed first edition in dust jacket of that book, published as If I Die In A Combat Zone Box Me Up And Ship Me Home (1973); inscribed copies of the bound galleys and signed first editions in dust jackets of both Northern Lights (1975) and Going After Cacciato (1978); a signed set of both the galleys and limited edition of Speaking Of Courage (1980); a broadside of A True War Story (1990); signed limited edition broadsides of The Nuclear Age (1980), How To Tell A True War Story (1987), Style (1990), "Stories Are For Joining The Past " (2008); a proof copy and a signed limited edition of The Nuclear Age (1981); a proof copy with a rejected-design dust jacket, an inscribed proof copy, and a signed first edition in dust jacket of The Things They Carried: A Work Of Fiction (1990); revised page proofs and a signed first edition in dust jacket of In The Lake Of The Woods (1994); signed copies of the uncorrected proof, advance reading copy, and first edition in dust jacket of Tomcat In Love (1998); the publisher's dummy and signed limited edition of Friends & Enemies (2001); a signed advance reading copy and an inscribed first edition in dust jacket of July, July (2002); and various contributory appearances and blurbs spanning the entire length of the author's career Approximately 410 items. A magnificent collection from a very fine private library. Please contact Clouds Hill Books for additional details and an illustrated catalogue of the collection. Inscribed by Author(s).

Asbestos Binding. Etat : Fine. Etat de la jaquette : Fine. First Edition. First edition in perhaps the nicest example of this dust jacket extant in the world today; a rarity that practically glows. Number 25 of 200 copies with limited issue asbestos binding, hand numbered and signed by Ray Bradbury on the colophon. Approximately 50 copies of which were sold in trade dust jackets though not called for, and this is one of those copies. [viii], 199, (3) pp. Johns-Manville Quinterra asbestos binding, lettered in red. Fine, with light ambient toning to the boards, light offsetting to the front free endpaper and contents lightly tanned. In a Fine dust jacket, with absolutely no fading (we have never seen one without fading); two micro-tears to the edge, a minuscule crease to the top corner of the rear panel and trivial rubbing at the folds. The classic dystopian, anti-censorship novel, plus two short stories "The Playground" and "The Rock Cried Out." A sought-after signed limited edition with the dust jacket extremely uncommon in such impeccable condition. Truly a sight to behold.

Small quarto (196 x 151 mm), two parts in one volume: pp. [1-4] 1-182 [183-184], title within typographical border, 6 woodcut diagrams in the text, woodcut head and tail pieces, modern full calf binding by Atelier Laurencet. First edition. A virtually unobtainable edition of a highly important early imaginary voyage to the Moon. "The 'Dream' is a curiously interesting tract for two reasons. First, its fantasy framework of a voyage to the Moon made it a pioneering and remarkably prescient piece of science fiction. Second, its perceptive description of celestial motions as seen from the Moon produced an ingenious polemic on behalf of the Copernican system." - DSB. The final part is Kepler's translation of, and commentary on, Plutarch's fantasy on the face of the Moon (see Nicolson, pp. 16-7). Kepler wrote SOMNIUM in 1609, circulating it in manuscript form, after which he amended and added to it, but the work was not published until after his death in 1630. "Around 1611, Kepler circulated a manuscript of what would eventually be published posthumously as SOMNIUM (A Dream), part of the purpose of which was to describe what practicing astronomy would be like from the prospective of another planet, and to demonstrate the feasibility of a non-geocentric system. The first version of SOMNIUM, a thesis rejected by the University of Tübingen in 1593, was shelved until 1609 when Kepler worked on developing it into its final form, a dream narrative with additional material on lunar geography. It was never published at the time, and during the 1620s Kepler, appreciating that it was too succinct and in need of further development, added 223 footnotes explaining the background theoretical physics and astronomy which expanded the text to several times its original length. He also included an essay on lunar geography with explanatory notes. Kepler died in 1630 and the compound manuscript was prepared for publication by his son Ludwig, together with Kepler's translation of Plutarch's 'The Face in the Moon' . Kepler's SOMNIUM was first published at Frankfurt in 1634 . The work remained little known for three centuries and was not reissued in the original Latin until 1969. It was first rendered into English in 1947 by Joseph Keith Lane as a thesis for a Master of Arts degree at Columbia University. This was never published. A partial translation of the basic document was made by Everett Bleiler in 1950, but it was not until 1965 that the first complete translation by Patricia Kirkwood was published by the University of California. The subsequent translation and commentary by Edward Rosen (1967, 2003), with its copious notes and introduction, is now regarded as definitive." - Howgego, Encyclopedia of Exploration: Invented and Apocryphal Narratives of Travel K2. "Ironically enough, the best of all supernatural voyages to the Moon was written by a great scientist. Kepler's SOMNIUM marks at once the end and the beginning of an era. No important later voyage will employ so fully the supernatural, yet none will be more truly 'scientific' than that 'Dream,' which was the fons et origo of the new genre, a chief source of cosmic voyages for three centuries." - Nicolson, Voyages to the Moon, pp. 41-7. ". Kepler's SOMNIUM has been very important in the early history of fantastic fiction." - Bleiler, Science-Fiction: The Early Years 1218. Anatomy of Wonder (1976) 1-22; (1981) 1-109; (1987) 1-54; (1995) 1-54; and (2004) II-590. Clute and Nicholls (eds), The Encyclopedia of Science Fiction (1993), p. 662. Ley, Rockets, Missiles, and Space Travel (1951), pp. 14-18. Versins, p. 493. First two leaves (title leaf and dedication leaf) affixed to stubs, dedication leaf closely trimmed, just touching letters on first line, margins of two leaves professionally repaired, faint old stamp on blank verso of title leaf, a very good copy overall. Enclosed in a custom quarter leather clamshell box. (#157025).

Hardcover. Etat : Very Good+. 1st Edition. The Moonstone Signed by Wilkie Collins First Edition Tinsley Brothers 1868. London. Published in three volumes. Original publisher's violet cloth covers. Spines lettered in gilt. Volume I (viii) + 316 pp Volume II (vi) + 298 pp. Single leaf of publisher's advertisements before half title. Volume III (iv) + 312 pp. Publisher's advertisements pp 311-312. From the Frank J. Hogan library, with his bookplate to front pastedown. Signed by Wilkie Collins to slip also affixed to front pastedown: 'with Mr Wilkie Collin's / compliments'. With an accompanying signed, dated and monogrammed personal notepaper leaf loosely inserted. Further images available on request. Signed by Author(s).

First edition, first printing, first issue, of Hugo's gothic masterpiece, in a contemporary binding. "This first edition. is the rarest of all the works of Victor Hugo; it has had a resounding impact worldwide, and is one of the most difficult titles of the Romantic period to obtain" (Carteret). Copies of this issue preserved in contemporary bindings are exceedingly scarce. Published on 16 March 1831 in an edition of 1,100 copies, the first printing was issued in four separate groups of 275 each, with the subsequent three issues being fictitiously labelled as the second, third and fourth editions on their respective title pages. "The success of this darkly moving novel was immediate, establishing Hugo as the premier historical novelist of his time. Lamartine called him 'the Shakespeare of prose fiction'" (The New Oxford Companion to Literature in French). Clouzot 86-87: "Les exemplaires de la premiere tranche, sans mention d'edition et sans nom d'auteur sont extremement rares"; Carteret Romantique I, 400; Lhermitte 317; Ray French Illustrated Book 180; Vicaire IV, 256. 2 volumes, octavo (200 x 120 mm). Contemporary tree sheep, spines gilt with red morocco lettering- and numbering-pieces. Housed in marbled slipcase. With half-titles. Wood-engraved title vignettes by Tony Johannot. Provenance: Juste Daniel Olivier, 1807-1876, Swiss poet (calligraphic gift inscription signed "Olivier" with red wax seal on front flyleaf, dated 19 April 1832, recipient illegible). Joints and extremities discreetly restored, joints rubbed at head, some pale foxing, a very good copy.

First edition. Elephant folio. Original illustrated boards, titles to front cover and spine in white, in the dust jacket. 498 pages, illustrated throughout, including 13 fold-outs plates. Together with the bookstand designed by Marc Newson. Issued with an 8 colour ink-jet drawing on cotton-fibre archival paper, measuring: 56 × 43.2 cm. In fine condition. All housed in the original packing box. Signed limited "Art" edition, "A" issue. This example number 177 of 250 copies signed by the artist and accompanied by Untitled 329, a print from David Hockney's 2010 iPad flower drawing series, signed and dated lower right, numbered lower left. (There were four "Art Editions", A (1-250), B (251-500), C (501-750) and D (751-1000), each of these limited to 250 copies and accompanied by one of a series of four prints on paper). Hockney takes stock of more than 60 years of work, from his teenage days at the Bradford School of Art, through his breakthrough in 1960s Swinging London, life by Los Angeles pools in the 1970s, up to his recent extensive series of portraits, iPad drawings, and Yorkshire landscapes. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

Hardback. Etat : Good+. Etat de la jaquette : Good+. First Edition. [8], 9-286pp. Original cloth in DJ. DJ lightly browned, lower panel very lightly browned, minor chipping to corners, slightly rubbed, especially to joins, and very lightly creased. Spine of book lightly faded, endpapers lightly browned from the glue, small stain to top margin of A6-B4, otherwise internally quite bright and clean. Now housed in a morocco backed drop back box, with raised bands, spine in six panels, title lettered direct to second panel, author to fourth, and date to foot, all panels with double line gilt border, made by Temple Bookbinders. An early Hemingway work, published in the US as 'The Sun Also Rises', in the rare first issue dust jacket. A cornerstone of modernist fiction, Connolly notes that "here the post-war disillusion and the post-war liberation are united in the physical enjoyment of living and the pains of love", further opining that Hemingway became "an immediate symbol of an age" (Connolly, The Modern Movement, page 53). Hanneman 33A; Connolly, 'The Modern Movement', 50 Size: 8vo.

Softcover. Etat : Wie neu. Etat de la jaquette : Wie neu. 1. Auflage. Paris: Shakespeare and Company, 1922. First Edition, First Printing. Original blue printed wrappers. 4to. This is number 986 of the edition of 750 numbered copies of a total edition of 1000 copies (+ some more described below). Very minor wear to extremities of the spine and some slight toning to the wrappers, else a lovely copy: uncut, mostly unopened and completely untouched by any restorer. Small contemporary portrait of Joyce by C. Rup mounted on the recto of the half-title (taken from the original subscriber's form, which is in itself very rare) together with the neat signature of Frank Layton, who bought this copy on the 16th of March in 1922 according to Sylvia Beach's "Ulysses" Notebook. There are six known versions of the first edition of Ulysses: 1. Unbound proofs. 2. Review copies that came without the famous blue wrappers. 3-5. The three editions of the published version: 100 signed (3); 150 on large paper (4); 750 regular copies numbered like the one we are offering here (5). 6. There are some unnumbered copies - most prominently the one inscribed to the printer Darantiere - hors commerce. Please note that any copy of the first edition of Ulysses in its original condition is flimsier than any paperback you have ever owned: the book is heavy, the folded blue paper front and back covers only strengthened by a sheet of paper and the spine directly glued on to the book. This copy formed part of the Allan D. McGuire Collection of Cyril Connolly's "The Modern Movement - 100 Key Books from England, France and America 1880-1950" and was also exhibited in the "Allspace in a Notshall" Exhibition in Zürich in 1991. It comes with a beautiful three-quarter morocco slipcase and all the documentation of provenance and exhibtion. The Book of Books on any list of modern fiction (even after 100 years) and a great and funny read at that, which comes here in beautiful condition and with a full record of provenance. It is part of our Catalogue 10: James Joyce.