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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.

Unique acrylic, resin, formed paper and fiberglass, 1995, signed and dated on the relief centre left: 'F. Stella, 95', 136.5 x 137.2 cm. (53¾ x 54 in.) frieze23 At the end of the 19th century and the beginning of the 20th century fantastical tales of other worlds and eras began to grip the imaginations of the public. The title Atvatabar I references the science-fiction story The Goddess of Atvatabar by William Richard Bradshaw. The story is based on the theory that the planet on which we live is a hollow shell that is one thousand miles in thickness within which are entire continents and oceans that are all lit by an interior sun. Within this fictional earth, fifty million people worship a living goddess of surpassing beauty named Atvatabar. Stella's circular composition confines an abundance of abstract forms and structures, referencing the book's advanced social, philosophical and religious matrix that exist within the earth's interior walls. Given this piece is part of Stella's Imaginary Places series, it is not surprising that Bradshaw's book has earned its place, praised to be one of greatest imaginative efforts put forth by a modern writer.

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 editions of all fourteen James Bond books, each in their original [first state] dustwrapper, without repair or restoration. On Her Majesty's Secret Service is the limited edition, numbered and signed by Ian Fleming. The Man with the Golden Gun, is signed by and from the collection of the dustwrapper artist Richard Chopping. Together with six of the earliest continuation novels: Kingsley Amis' The James Bond Dossier and Colonel Sun (as Robert Markham); John Gardner's Licence Renewed; For Special Services (signed); Icebreaker (signed); Nobody Lives For Ever. A stunning set, a full catalogue description for each book is available on request. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

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 : 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. 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.

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).

Unknown edition, signed by the artist in pencil lower left. The image depicts a dodecahedron merged with a glass sphere, reflecting broken and disorderly objects. Escher's work explores the concept of impossible geometry used frequently in fantasy and science fiction, from notable early examples such as E. A. Abbott's Flatland (1884) to later works such as those by Jorge Luis Borges in which the "construction of the fourth dimension in their literary creation can find analogy in the magic mirrors of M. C. Escher" (Zeng). Escher's works have likewise provided a visual language for many subsequent illustrations of the weird, including the works of H. P. Lovecraft. Bool/Kist/Locher/Weird 366; Bruno Ernst, The Magic Mirror of M. C. Escher, 1976; Hong Zeng, The Semiotics of Exile in Literature, 2010. Original lithograph on smooth wove paper. Image size: 28 x 28 cm. Sheet size: 31.9 x 31.5 cm. Framed size: 52.2 x 51.2 cm. Excellent condition. Presented in a white gold frame with museum acrylic glazing.

First Editions. First Printings, one of 1,268 copies. Two octavo volumes (24cm); black cloth, with titles stamped in gilt on spines; dustjackets; xiv,553,[5]pp. The present offering consists of two unique copies:- Copy 1: Trivial wrinkling to cloth at crown, else Fine. Dustjacket is unclipped (priced $5.00), gently spine-sunned and lightly edgeworn, with shallow loss to base of spine, and some light dust-soil and waviness to rear panel; Very Good+. Inscribed vertically along the left margin of the rear flap by dustjacket designer Virgil Finlay: "This jacket is a photographic composite of early Weird Tales drawings, probably only one or two were for HPL stories - I wish I might have found time for more of his work which I did admire / Virgil Finlay." Housed in a custom half-morocco clamshell case. - Copy 2: Trivial wear to lower board edges, faint dust-soil to upper edge of textblock, with mild offsetting and some faint, scattered foxing to endpapers; Near Fine. Inscribed by Arkham House co-founder Donald Wandrei on front endpaper: "For Priscilla and the goon Donald Wandrei / Christmas, 1939." In the apparently unique trial dustjacket, printed in green instead of blue, with the flaps and rear panel without text; light wear and a few tiny tears to extremities, hint of sunning to spine, with a faint vertical fold along rear joint, and some mild dust-soil to rear panel; holograph printer's measurements (in ink) across base of spine panel; Very Good+. For the sake of completion, offered together with a Fine copy of the replica dustjacket produced in the 1970's by specialty publisher and collector Gerry de le Ree, from Finlay's original plates. Folded and laid into this copy are examples of the publisher's original prospectus (measuring 7.25" x 7.75"), as well as an earlier, mimeographed announcement letter (measuring 8.5" x 11"). Housed in a custom half-morocco clamshell case. The first major collection of Lovecraft's weird fiction and the first production by the legendary Arkham House - a landmark in 20th century genre publishing. The 32 stories written for various pulp magazines were gathered and preserved by Lovecraft's friends, August Derleth and Donald Wandrei, who founded Arkham House in 1939 to preserve and publish the best of Lovecraft's fiction. The stories "range from early exercises in Dunsanian pastiche to the mature and highly distinctive tales of the Cthulhu Mythos, which construct a horrific cosmological and historical context for human history. Luckless protagonists who stumble upon various dire intrusions of Cthulhu and his kin, or who unwisely pursue dangerous inquiries in the appropriate revelatory tomes, are inevitably brought to repulsively stick ends. Lovecraft became the consummate master of the confirmatory ending, in which what has been suspected all along finally becomes manifest" (Barron, Horror Literature: A Reader's Guide 3-132). It took Derleth and Wandrei nearly five years to sell through the modest print run, and The Outsider has not been reprinted since. Enclosed with the present copies are a five letters (written between May 10, 1937 - November 26, 1939) between the Arkham House principals, detailing both the publication history of The Outsider, as well revelatory background information concerning the dustjacket design by Virgil Finlay (1914-1971). In his time, Finlay was among the most in-demand illustrators of fantasy, science fiction, and horror literature in the United States, and his panoramic composition for The Outsider's dustjacket remains among the best executed and most desirable examples in the genre. According to a letter to Derleth from Adolph J. Hyson (of the George Banta Publishing Company), proofs for the dustjacket were struck in three colors - black, bronze blue, and a dark olive green. Both the black and green versions of the dustjacket were vetoed by all involved the black on account of having "a strangely flat and monotonous effect, without depth or life. Second, and more important, certain of the figures, such as the monkey-like and ass-like creatures to the right of the topmost star containing the woman's figure behind the lettering "By", faded away to almost absolute imperceptibility in black, but stood out with fairly well defined clarity in the blue" (DW to VF, Nov.14, 1939). The green jacket was dismissed right out, and described by Wandrei as being "a peculiarly detestable and odious color." It is not clear how many examples of either the black or green trial state dustjackets survived after being scrapped, though all of the predictably few extant examples originated with the personal collection of Donald Wandrei, sold close to four decades ago. Joshi 15.

Hardcover. Etat : Very Good. No Jacket. 1st Edition. Specially bound in full leather in 2 volumes. This is number 389 of a the special 750 copies printed on handmade, laid paper. Signed and dated in ink by James Joyce: "James Joyce, Paris, 9. ix. 1924" on the front endpaper following the front blue wrapper. Joyce's Signature has been authenticated by Glenn Horowitz of NYC. Volume I contains 370 pages. Volume II begins on page 371 and and ends on p. 732 with the "Trieste-Zurich-Paris, 1914-1921" dateline. The next page is printed in capital letters: "Printed for Sylvia Beach by Maurice Darantiere at Dijon, France." The rear wrapper is not present at the end of volume two. Both volumes have been specially bound in full leather with 4 gilt rectangular rules and a delicate inner rectangle of hand-tooled chain patterns culminating in larger floral designs at the inside corners of the front and rear boards. Both front boards bear the name of "JOAN" in vertical gilt capital letters. The spine of volume I is missing 6" of the 9.5" of the spine length, but the top portion with "I" is present. The front blue wrapper printed in White with "Ulysses" by James Joyce is clean and crisp, as is the text throughout volumes one and two. The top edges are gilded. And there are predominantly orange and grey marbled endpapers. There is hand-tooled dentelle gilding along the front and rear inside edges of the boards as well. Both volumes have some pencil scrawlings on the front endpapers, but nothing affecting the text. Despite the unusual two-volume format and the missing rear wrapper, modern first edition authority Allen Ahearn opined that this signed and dated copy in Joyce's hand of one of the 750 specially printed first editions is perhaps as scarce as one of the 100 signed copies, given that none of the 750 copies was issued with Joyce's signature. This copy was signed and dated two years after publication in 1924. This edition is limited to 1000 copies: 100 copies (signed) on Dutch handmade paper numbered from 1 to 100; 150 copies on vergé d'Arches numbered from 101 to 250; 750 copies on handmade paper numbered from 251 to 1000. This is copy No. 389. "The publisher asks the reader s indulgence for typographical errors unavoidable in the exceptional circumstances. S.B." In a review in The Dial, T.S. Eliot said of Ulysses: "I hold this book to be the most important expression which the present age has found; it is a book to which we are all indebted, and from which none of us can escape." He went on to claim that Joyce was not at fault if people after him did not understand it: "The next generation is responsible for its own soul; a man of genius is responsible to his peers, not to a studio full of uneducated and undisciplined coxcombs." The book has its critics; Virginia Woolf stated that "Ulysses was a memorable catastrophe immense in daring, terrific in disaster." Ulysses has been called "the most prominent landmark in modernist literature", a work where life's complexities are depicted with "unprecedented, and unequalled, linguistic and stylistic virtuosity." That style has been stated to be the finest example of the use of stream-of-consciousness in modern fiction, with the author going deeper and farther than any other novelist in handling interior monologue. This technique has been praised for its faithful representation of the flow of thought, feeling, mental reflection, and shifts of mood. (Wikipedia) First Edition, One of 750 numbered copies. Signed by Author(s).

The complete run of The Forerunner, three volumes inscribed by the author to her husband George Houghton Gilman, her "most-Essential Co-Worker in this Production". The journal was the couple's first joint venture, published by "Charlton": a portmanteau of their names. Volumes I, II, and VI are inscribed by Gilman on the front free endpapers as follows: Vol. I, "To my dear husband; and most-Essential Co-Worker in this Production with grateful love - Charlotte Perkins Gilman / Dec. 1910"; Vol. II, "Special for a Husband - from a loving wife. Call it Xmas 1910"; and Vol. VI, "For The Husband, still helping it along - from C.P.G."; Vol. III has her ownership inscription: "C. P. Gilman, 627 W. 136. New York City". Gilman was previously unhappily married to the artist Charles Walter Stetson, who enforced a "rest cure" on her while she was suffering from postpartum depression, depriving her of reading, writing, painting, and any mental or physical stimulation. Her haunting short story The Yellow Wallpaper (1892) is based on this experience of confinement. Gilman's daughter, and only child, Katharine Beecher Stetson, became a well-regarded artist and sculptor with close ties to other American suffrage activists. At the age of 24, she designed the front cover for The Forerunner, and later she inherited this set, inscribing the front free endpaper of Vol. I, "To Walter Stetson Chamberlain - my dear son - these seven volumes written by my mother (including advertisements) with lovely design by Katharine Beecher Stetson - Pasadena Jan 1954 - from Katharine S. Chamberlain"; and inscribing the subsequent volumes on the front free endpaper, "Wallace Stetson Chamberlain, from his mother, Jan. 1954". In her second marriage, Gilman finally found a partner who offered her the companionship, support, and respect for which she campaigned. In 1893, she became reacquainted with her first cousin, the Wall Street attorney Houghton Gilman, and in 1900 they were married. Together, they founded a publishing company to publish Charlotte's works, which were deemed too controversial by many commercial publishers. Houghton Gilman provided financial backing and his Wall Street address as the office for both the Charlton Company and The Forerunner. Gilman's inscriptions are a testimony to the success of their partnership. Gilman wrote all the material in The Forerunner, even (as her daughter notes in her inscription) the advertisements. This amounted to around 21,000 words per month. Across her editorials, articles, reviews, essays, poems, and stories, Gilman consistently encourages her readers to campaign for women's liberation from society's sexist constraints. She advocates for women's employment outside of the home, men's participation in domestic duties, economic emancipation for women, and equal education for all. Significantly, her feminist utopian trilogy - Moving the Mountain (1911), Herland (1915), and With Her in Ourland (1916) - appears in print for the first time here. At its peak, The Forerunner had an audience of 1,300 subscribers, and it remains a landmark work of early American feminism. Cynthia Davis, Charlotte Perkins Gilman: A Biography, 2010. 7 volumes, tall octavo. Original orange cloth, spines and front covers lettered in black, front covers with black pictorial block of a family supporting the world. Spine of Vol. III cocked, covers silverfished, extremities rubbed with a few spots of wear, top edges foxed, first few volumes damp stained with spots of mould at head, inner hinges tender, a few cracked but firm, Vol. I with fore edge of rear cover slightly chewed away, front free endpaper professionally stabilized, internally fresh and well preserved: a very good set.

First Edition, First Issue on thicker paper with one blank leaf at rear and no ads with the original endpapers. Presentation copy signed by the author, Bram Stoker, to Frank A. Munsey (1854-1925), the great American newspaper and magazine publisher. Inscribed: ÒFrank A. Munsey from Bram Stoker, 22.6.97.Ó Undoubtedly, Stoker presented the book to Munsey in an unsuccessful hope that Munsey would serialize Dracula in one of his magazines. MunseyÕs pulp magazines Argosy, Munsey's Magazine, All-Story Magazine all had distinguished records of printing fantasy fiction. This book is beautifully bound in a modern full black morocco leather binding with gilt-stamped red labels, raised bands, and tooling. With gilt inner dentelles with terrific blood red marbled endpapers. Enclosed in a matching morocco and cloth clamshell box.

First British edition of Leeâ s Pulitzer Prize-winning novel. Octavo, original cloth. Signed by both Harper Lee and Truman Capote on the front free endpaper. Truman Capoteâ s friendship with Harper Lee began in the summer of 1929 when the two became next door neighbors in Monroeville, Alabama; both were the age of five. They shared a love of reading and began collaborating when Lee was gifted a typewriter by her father as a child. Lee drew on their friendship as inspiration for the characters Lee and Scout in her masterpiece To Kill A Mockingbird; Capote based his tomboy character Idabel Thompkins in his first novel Other Voices, Other Rooms on Lee. They worked together on Capoteâ s true crime novel, In Cold Blood; Lee acted as his â assistant researchistâ and edited the final draft of the book. Upon its publication in 1965, Capote failed to acknowledge Leeâ s contributions to the book, after which their relationship was never the same. Near fine in a near fine dust jacket with light rubbing and wear to the extremities. Jacket design by Fratini. Exceptionally rare and desirable signed by both Lee and Capote. To Kill a Mockingbird became an immediate bestseller and won the 1961 Pulitzer Prize for Fiction. The New Yorker declared it "skilled, unpretentious, and totally ingenious". It has gone on to become of the best-loved classics of all time and has been translated into more than forty languages selling more than forty million copies worldwide. Made into the Academy Award-winning film, directed by Robert Mulligan, starring Gregory Peck. It went on to win three Oscars: Best Actor for Gregory Peck, Best Art Direction-Set Decoration, Black-and-White, and Best Screenplay for Horton Foote. It was nominated for five more Oscars including Best Actress in a Supporting Role for Mary Badham, the actress who played Scout. In 1995, the film was listed in the National Film Registry. In 2003, the American Film Institute named Atticus Finch the greatest movie hero of the 20th century. In 2007 the film ranked twenty-fifth on the AFI's 10th anniversary list of the greatest American movies of all time. It was named the best novel of the twentieth century by librarians across the country (Library Journal).

First editions of each volume in C.S. Lewis' important space trilogy including the dedicatee's (Lewis' brother's) copy of Out of the Silent Planet, the rarest book in the series. Octavo, three volumes, original cloth. Inscribed by C.S. Lewis' brother Warren Hamilton Lewis on the front free endpaper to whom the book is dedicated, "This book. Well, speaking as dedicatee I felt that it was up to me to buy it. What's more, I also think that you, as being friendly to us two, should try it. But if you should dislike the tale, Don't say so and thus spoil its sale: Keep quiet! W.H.L. to H.D.P. 10/10/38." The dedicatee, Warren Hamilton Lewis, was a British historian and officer in the British Army. He wrote on French history, and served as his brother's secretary in the later years of C.S. Lewis's life. Lewis referred to his older brother Warren ("Warnie") as "my dearest and closest friend," their lifelong friendship was formed as the boys played together in their home Little Lea, on the outskirts of Belfast, writing and illustrating stories for their created world called "Boxen" (a combination of India and a previous incarnation called "Animal-Land"). In 1908, their mother died from cancer and as their father mourned her, C. S. ("Jack") and Warren Lewis had only each other for comfort and support. Soon after their mother's death, Jack was sent across the North Channel to join Warren at an English boarding school named Wynyard in Watford, Hertfordshire, just northwest of London, where they both endured a harsh headmaster named Robert Capron. Warren had been taken there by his mother Flora on 10 May 1905. In 1909, Warren transferred to Malvern College in Worcestershire and was followed there by his brother a few years later. Each volume is near fine in a very good dust jacket. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. An exceptional set including one of the most important copies of the rarest book in the trilogy. Lewis' Space Trilogy relays the adventures of a philologist named Elwin Ransom, who voyages to Mars, Venus, and finally to earth after discovering that Earth has been exiled from the rest of the Solar System. The trilogy was inspired and influenced by David Lindsay's A Voyage to Arcturus. According to biographer A. N. Wilson, Lewis wrote the novel after a conversation with J.R.R. Tolkien in which both men lamented the state of contemporary fiction. They agreed that Lewis would write a space-travel story, and Tolkien would write a time-travel one. Tolkien's story only exists as a fragment, published in The Lost Road and other writings (1987) edited by his son Christopher.

First edition of Puzo's definitive novel of the Mafia underworld, signed by him and legendary Academy Award-winning actor Marlon Brando. Octavo, original half black cloth. Boldly signed by both Mario Puzo and Marlon Brando on the front free endpaper. Fine in a near fine dust jacket. Jacket art by S. Neil Fujita. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. We have never seen another first edition signed by Brando and Puzo. A searing novel of the Mafia underworld, The Godfather introduced readers to the first family of American crime fiction, the Corleones, and the powerful legacy of tradition, blood, and honor that was passed on from father to son. "A voyeur's dream, a skillful fantasy of violent personal power" (New York Times). It was made into the 1972 film directed by Francis Ford Coppola and produced by Albert S. Ruddy, starring Marlon Brando and Al Pacino. It was the highest-grossing film of 1972 and was for a time the highest-grossing film ever made. It won the Oscars for Best Picture, Best Actor (Brando) and Best Adapted Screenplay (for Puzo and Coppola). Its seven other Oscar nominations included Pacino, James Caan, and Robert Duvall for Best Supporting Actor and Coppola for Best Director. It is widely regarded as one of the greatest films in world cinema and one of the most influential, especially in the gangster genre. It was selected for preservation in the U.S. National Film Registry of the Library of Congress in 1990, being deemed "culturally, historically, or aesthetically significant" and is ranked the second-greatest film in American cinema (behind Citizen Kane) by the American Film Institute. It was followed by sequels The Godfather Part II (1974) and The Godfather Part III (1990).

Hardcover. Etat : Very good. Jeff Pike (illustrateur). Format approximately 4 inches by 6.75 inches. Unpaginated (28 pages). No dust jacket present (may not have been issued). Signed by both the author and illustrator on the title page. Very rare early published compendium by emerging poetic force and award-winning illustrator. Contents include: After the Party, On Plenitude, Metropolitan, the Consolations of Philosophy, After Love, Charlie Chaplin, and Nineteenth Symphony. Handsome and well made example of a finely produced specialty volume. This volume was printed on the letterpress and handbound at Virginia Arts of the Book Center, Charlottesville, in the summer of 2009. The text was set in Cambria and printed from polymer plates made by Boxcar Press of Syracuse, NY. The paper used was Hahnemuhle photo rag 100% cotton, smooth. Ryan Fox is a graduate of the University of Missouri, and received his MFA from the University of Virginia. The poems in this volume first appears in New Orleans Review, Columbia, Caketrain, and New Ohio Review. Jeff Pike is a Professor of Communication Design program of the College & Graduate School of art, Sam Fox School of Design & Visual Arts, Washington University in St. Lois. He worked in Charlottesville while on sabbatical. Ryan Fox attended St. Louis University High School where he was an editor of Sisyphus and a frequent contributor to the magazine, and also features editor of the Prep News. Fox was a 2016 winner of the Discovery Poetry Context. He earned an MFA from the University of Virginia, where he was poetry editor of Meridian, and a JD from Fordham University School of Law, where he was Editor-in-Chief of the Fordham Intellectual Property, Media & Entertainment Law Journal. His poems have appeared in The New Yorker, Boston Review and others. A member of the New York State bar. Jeff Pike earned a BFA degree from the Kansas City Art Institute and an MFA in Visual Communication from Syracuse University. Pike joined the faculty of the School of Art at Washington University in 1983. He has directed the Illustration program, and in 1993 he was appointed Associate Dean, responsible for the undergraduate programs. Pike was appointed Dean of the School of Art in 1999, a position he held through July 2008. Pike's professional work has appeared in numerous print and broadcast venues. He has worked for major advertising agencies and clients. His work has been recognized in Print, Art Direction, Creativity, and Adweek magazines. He also has won Addy's and Flair awards for his creative work in advertising. In 2010, Pike published a boxed, letterpress book of illustrations and works of fiction by two authors based upon the letters of Heloise and Abelard titled, From Letters to Fictions: Heloise & Abelard. Most recently, Pike's work has been accepted into the 53rd Annual New York Society of Illustrators exhibition. Pike has lectured at a number of schools and universities. He has twice been a resident at the Cité International des Arts, Paris. He has led abroad programs in Belgium, France, and Italy. As dean, he has traveled throughout Asia. Pike has been a board member for several art organizations, most recently the National Association of Schools of Art and Design (NASAD). Limited Edition (number 4/50 on last page).

Hardcover. Second Revised Edition. All three volumes Very Good+ in a Very Good+ dust jacket. The Fellowship of the Ring 2nd impresssion, faint stain on FEP. Marring on both The Two Towers and The Return of the King front flaps. ; The Return of the King signed by J. R. R. Tolkien on title page. ; Signed by Author.

First edition of Friedman's magnum opus. Octavo, original blue cloth. Association copy, inscribed by the author on the front free endpaper to colleague and friend, "For Merton Miller with many thanks for his assistance Milton Friedman." Fine in a very good dust jacket with light rubbing. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. An exceptional association, linking these two Nobel Prize-winning economists and giants in the field, as Friedman revolutionized economic theory with his free-market, free-from-government principles and Miller changing the way markets assess a company's value. "Friedman, a laissez-faire economist and professor at the University of Chicago, is considered one of the leading modern exponents of liberalism in the 19th-century European sense. In Capitalism and Freedom he argued for a negative income tax, or guaranteed income, to supersede centralized, bureaucratized social welfare services, which in his view are inimical to the traditional values of individualism and useful work" (Britannica). Selected by the Times Literary Supplement as one of the "hundred most influential books since the war". It also placed tenth on the list of the 100 best non-fiction books of the twentieth century compiled by National Review and on Time Magazine's top 100 non-fiction books written in English since 1923.

First Edition. A COLLECTION OF 40 SIGNED HOLOGRAPHIC LETTERS SPANNING THE YEARS 1964 THRU 1993; 14 from Edith Tolkien (wife of J.R.R.) dated 1964 thru 1971 and 26 from Priscilla (only daughter of J.R.R. & Edith) dated 1969 thru 1993; most in fine condition, many multi-page; all but two with original envelope when called for and all addressed to long time family friend Professor W. Meredith Thompson of Canada. Some details/highlights: Edith thanks Meredith for naming her the dedicatee of his book and receipt of same; mentions that her and J.R.R. give nicknames to those people they are fond of (indeed in all 14 letters from Edith, she refers to the recipient as "My Dear Merrie Tom"); notes that the pirated edition (Ace paperback publication) of THE LORD OF THE RINGS is causing her husband extra work and delaying work on his next book; the reasons leading up to leaving and selling their Oxford residence; J.R.R.'s fall down the stairs and complicated knee surgery and later thrombosis as well as other serious ailments; referring to various titles by J.R.R., Priscilla mentions and thanks the recipient for the good times spent by him with her parents; how neither of her parents are very practical people despite being so different from each other; the sudden death of her mother, Edith, and the causes and last days as well as who was able to see her and who was not and the funeral services in Bournemouth, but the actual burial in Oxford; how her father held up during these times; the return of her father to Merton College and how he was welcomed with lodging there; his much needed socialization in Oxford; his trip to London with her and brother John to receive the C.B.E.; thanks Meredith for the copy of THE LAST UNICORN but states "although perhaps rather obviously imitative of Tolkien in style, it (does) not contain the interest because (it's) a rather more crude fairy tale;" a trip to Edinburgh, one of her favorite cities, where her father received an honorary degree and held up well with banquets and festivities; how she was helped so much by his (Meredith Thompson) sympathy and kind words concerning her fathers passing; that her father was lonely without his wife but was bolstered by all those back at Oxford and happy to be in familiar surroundings; that just prior to his death he began hemorrhaging while spending time in Bournemouth due to an ulcer but had excellent medical care; how she and brother John were able to spend precious time with her father while still conscious but that brothers Michael & Christopher were alas unable to do so but were there for the funeral; that Christopher was named Literary Executor; that Michael had a near nervous breakdown perhaps precipitated by his fathers death; that brother John was coping well and a great comfort to her; that the younger members of the family were likewise supporting; she extends an invitation for Christmas this year (1973); that she encloses a photo (here present) of her father next to his favorite tree along with two of his grandchildren, among the last photos ever taken of him; that enclosed newspaper cuttings of her fathers death are his to keep (likewise here present): thanking the recipient for his hospitality when she went to see him; that her brother Christopher has to yield his teaching fellowship to begin work on the publication of THE SILMARILLION; the excitement of the on going preparation of the Tolkien biography by Humphrey Carpenter; the recently released Caedmon recordings of her father reading from both THE HOBBIT & LORD OF THE RINGS; cousins living in Canada; slowly going through her fathers papers to give to the Bodleian Library; the 50th anniversary celebration of THE HOBBIT and exhibition of manuscripts and drawings at the Bodleian Library along with window displays at new bookstores; etc. All in all, very chatty, informational and personal letters about the above as well as state of health, vacationing in different places, welfare of children and grandchildren, thank y.

First edition, first printing. Signed Limited Edition. Small 4to. Stunning contemporary orange morocco by Zaehnsdorf, titles and ivy leaf tooling in gilt to the spine, upper board with titles in gilt, upper and lower boards decorated with acorns and oak, ivy, sycamore and willow leaves in gilt. The inner dentelles are decorated with ivy leaves in gilt, the binder's name stamp in gilt at the front and exhibition stamp in gilt at the rear. Top edge gilt, others untrimmed. Retaining the original upper wrapper. Illustrated title page in red with black vignette, printed title page in red and black. Illustrated with a frontispiece and two further plates by Walter Crane, each in two states, and 12 head and tailpieces by Jacomb Hood. A beautiful, near fine copy. Imperceptible repair to the upper joint, minor toning to the leather. The contents with light offsetting to the endpapers and a faint mark to the margin of one page are otherwise clean and bright throughout. Housed in a recent full black morocco, felt lined solander case, titles in gilt to the spine, and grey cloth slipcase. Limited to 75 large paper copies of which this is hand numbered 36 and signed by Oscar Wilde and the publisher David Nutt on the limitation page. A superb example of the rare first edition (preceding the trade edition of 1000 copies, issued later the same year), in an exceptional contemporary exhibition quality autumnal foliate binding. The Happy Prince is Oscar Wilde's first and best known collection of children's stories, including "The Selfish Giant", "The Nightingale and the Rose", "The Devoted Friend" and "The Remarkable Rocket". Wilde's "Reputation as an author dated from the publication of The Happy Prince and Other Tales in London in May 1888. The Athenaeum compared him to Hans Christian Andersen and Pater wrote to say that 'The Selfish Giant' was 'perfect in its kind,' and the whole book written in 'pure English' - a wonderful compliment" (Ellmann, Richard: Oscar Wilde p. 282). [Mason 314]. Provenance: Charles Mills, Lord Hillingdon (1830 - 1898); Sotheby's sale of 1932, lot 454; purchased by book dealer and co-founder of the Society for Theatre Research Ifan Kyrle Fletcher (with his neat pencil note recording the sale on the front pastedown); Helen Hambro, née Boyson (1936 - 2004). Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

Born in Northumberland, Timlin emigrated to South Africa, where he studied art and practised as an architect. The Ship That Sailed to Mars (1923) is his only published book, a fantastical illustrated gift book that rivalled those of Rackham, Dulac, Goble and Nielsen. The book was published by George Harrap, who had earlier published Willy Pogany in the same format, with calligraphic text mounted, like the plates, on grey matte paper. Timlin's book is divided in three parts: detailing the building and outfitting of the space ship, the journey, and the arrival. "The Arrival" is the first plate of the third part, showing the ship's arrival on Mars itself, sailing high over a lake surrounded by fantastical buildings, the Martian princess watching them from a terrace overlooking the lake. The painting is signed by the artist after publication at the lower left. Original watercolour on paper (image 270 x 247 mm; framed 615 x 540 mm). Together with two original leaves of accompanying calligraphic text: the contents list for "Part three: Mars" including "The Arrival", and the descriptive text to accompany this plate (text in black with initial letters and decorations in blue). Three individual items each framed separately in a white gold frame with UV and scratch resistant acrylic.

Asbestos Binding. Etat : Fine. First Edition. First edition, #106 of 200 copies with limited issue asbestos binding, hand-numbered and signed by author on colophon. [viii], 199, (3) pp. Johns-Manville Quinterra asbestos binding, lettered in red. Fine, with light wear to crown heaviest to the rear, light bumping to bottom corners, trivial soiling. Two tiny spots to the textblock edge. Issued without a dust jacket. The classic dystopian, anti-censorship novel, plus two short stories "The Playground" and "The Rock Cried Out." A sought-after signed limited edition extremely uncommon in such stellar condition.

Small octavo, pp. [1-8] 1-151 [152], original decorated tan cloth, front and rear panels stamped in purple, spine panel stamped in light blue; binding measures 18.2 cm vertically; "HEINEMANN" at base of spine set in 12-point type; top edge uncut, fore and bottom edges rough trimmed. First British edition, second cloth binding, no inserted publisher's catalogue. Signed by Wells on the half title page. The author's first SF novel. "Many rank it as Wells's best book, certainly its qualities are striking and direct . All time-travel stories since owe a debt to Wells, none has become so acclaimed." - Bleiler (ed), Science Fiction Writers, p. 26. "THE TIME MACHINE might be considered the first work of modern science-fiction, and it is still the classic statement of an important subgenre . A remarkable work, and necessary reading." - Bleiler, Science-Fiction: The Early Years 2325. Anatomy of Wonder (1976) 2-161; (1981) 1-171; (1987) 1-103; (1995) 1-103; and (2004) II-1232. Clareson, Science Fiction in America, 1870s-1930s 800. Clarke, Tale of the Future (1978), p. 21. Lewis, Utopian Literature, p. 207. Locke, A Spectrum of Fantasy, p. 227. Negley, Utopian Literature: A Bibliography 1175. Sargent, British and American Utopian Literature, 1516-1985, p. 107. Survey of Science Fiction Literature V, pp. 2287-92. Suvin, Victorian Science Fiction in the UK, pp. 62-3. Bleiler (1978), p. 205. Reginald 15085. Currey (2002), p. 424 (binding C). Hammond B1. Wells 4. Neatly signed and dated 1904 in pencil by an early owner on the front free endpaper. Tipped onto the front paste-down is a lengthy letter of provenance detailing where and when this copy was signed by Wells (17 January 1939 at a P.E.N. Club dinner). Hint of tanning to spine panel, some mild spotting to front free endpaper and darkening to rear endpapers, a nearly fine copy. A lovely copy with a bright, clean and unworn binding. THE TIME MACHINE is rarely found inscribed or signed by Wells. (#151827).